Francesca Tarantino is an actress-singer from Lehigh Valley, Pennsylvania in the mold of Abigale Fierce. Tarantino relocated to Central Florida at age eight and has been honing her musical craft and her passion for the arts ever since. Her newest release is an acoustic track titled Tragedy, described as “a poignant, stripped-down version of the original song, highlighting her emotive vocal delivery and musical prowess.”

Tarantino began singing quite young and the same way many of us do, by performing classic rock hits at home or on long car rides (though I’m sure her performances were more appreciated than mine!). Her first, incredibly early big music moment came in the second grade, closing her school’s talent show with a performance of KISS’s “I Wanna Rock and Roll All Nite,” which must been startling for more than a few parents! In Florida Tarantino attended a school with many opportunities to learn acting, singing and musical theater. This is my first exposure to Ms. Tarantino and I’m not familiar the track this acoustic version is based on, so I’ll take this single on face value.

Tarantino starts the song with a clean, simply-picked acoustic passage. Tarantino’s voice has, as you’d expect, a fresh young quality while hitting all the notes with ease and confidence. Almost as soon as the vocals begin, there’s a lovely string section adding just enough background to cradle the vocals. Lyrically the song reminds me of the early tracks by Michelle Branch, who - despite being quite young - wrote about love affairs with the world weary voice of someone three times her age. Tarantino certainly finds many ways to rhyme “dreams” and “tragedy”!

The middle section is a mirror image of the first, though lyrically Tarantino takes us even further into tear-stroked sadness and regret. There’s a part where she basically wails, similar to bone chilling moments by Americana singer Sophie Dorsten. Tarantino builds power toward the conclusion and the string section matches her at every step.

This is a lovely track and would sit nicely in any vocal lover’s playlist! Go see what Francesca’s all about!

francescatmusic.com

Present Paradox is the quite clever project name coined by German artist David Kleinekottmann. He’s released many albums, and most have been reviewed here on Pitch Perfect. His latest work is titled A Trace To Keep Control, which is described as “taking the listener into the feeling of losing control by thematizing personal upheavals, the end of trusted and familiar relationships, the pressing climate crisis, and the social shift to the political right.”

Musically, Present Paradox is known for playing indie and electronic music somewhat outside the envelope. For this album, Kleinekottmann hopes to present a fusion of melancholic and danceable elements, combining krautrock, post-punk, and experimental rock. Kleinekottmann even adds clarinet and saxophone to some of the tracks. Inspirations include Radiohead, CAN, Fink, The Smile, Fontaines D.C., and Nick Cave. Recording took place at Kleinekottmann’s home studio in Dortmund, Germany, as well as rented home studios in the Netherlands.

“The Crack” begins in striking fashion, with muted bass notes whooshing into the song proper. It’s got an interesting construction, with the beat slightly “off” and the continuing muted notes sounding a bit like “Are You Experienced” by Jimi Hendrix, while Kleinekottmann’s voice has some of the gravity of Jim Morrison. I’d say it’s hypnotic, and the lyrics repeat enough to give you that feeling (“What I heard / What you said / When I heard / What you said / Don’t get sad…”) but the unusual beats keep you from floating away too far. There’s a very dramatic “chorus” featuring ghostly vocal overdubs that I found quite striking.

“The Boxes” adds quickly strummed acoustic guitars to the mix, closely matched to the haunting background keys and vocals. In this context, “boxes” appears to be an analogy for the weight of the unneeded stress we carry throughout life. This track has a much more traditional beat and drive. Speaking of beats, “An Avatar On A Black Surface” has a very real-sounding kit playing an interesting, off-kilter rhythm while the guitars and keys jam along with '60s style riffs. “Ready To Hide” is the first track to feature Antonio Necchi on saxophone, and his lines add a Gong-like quality to the music. I was amused to see the lyrics “Slip Slop… slide” as I myself used those exact words in a song years ago. What are the chances? Necchi also features on “Ephemeral Ghosts,” which again has a dark, mysterious Doors quality.

“We Need To Take Control” has an expansive, sci-fi-like beginning with cymbals mushrooming and guitars plus synths building ever louder. It finally settles into a tight drum and descending guitar pattern over which Kleinekottmann sing-speaks his lyrics. Thematically it’s something of a call to arms, and as such, builds more power and insistence as it rushes toward conclusion. “Distorted Mirror Images” features some especially evocative acoustic guitar and piano, with background pads recalling the best of the Moody Blues. It’s a great and unexpected moment when the beat finally kicks in. The next song, “After The Rain,” flows effortlessly from the previous song, with a lovely fractal pattern on the keys building slowly. Kleinekottmann’s vocal here is among his warmest, with guest flugelhorn by Flippo Tungo. It’s basically a single movement repeated throughout the song but it’s quite beautiful. The piano chord fades out until you hear the reverb pedal lifting up. For the closing track, “A Lens To Find The Trace,” I’m finally hearing some Radiohead influence, along with the tenor clarinet overdubs of Michael A. Grant.

​I can see now that as a project, Present Paradox is filled with an endless store of ideas and more than worthy of discovery. Great work!

Based in the Tampa Bay area, In Transit formed in 2018 and have since become pillars of their regional music scene. Comprised of seasoned veterans from the local community, their collective experience and extensive backgrounds shine through in their work. On Illusionary, they expertly blend the raw intensity of Dischord Era post-hardcore with the infectious hooks of late '90s emo, and the nostalgic synths and samples reminiscent of classic Cure albums.

The album opens with "Transmission/Gambit," immediately setting a cinematic tone. It's an atmospheric journey, featuring layers of sound that build into a dramatic, almost villainous vocal presence. This introduction is a prelude to the adrenaline-pumping "Poison Pill," which thrusts the listener into a futuristic soundscape that feels right out of a post-apocalyptic world. "Apertures" is a massive track, evoking the colossal sound of Linkin Park with its towering guitars and soaring vocals.

In Transit continues to push the boundaries of sonic enormity with "Lost In The Lights," a track so rich and dense that it threatens to overflow the speakers. "Electric Sheep" offers a lush, dreamlike quality, fitting seamlessly into the EP while still delivering explosive moments and showcasing their post-rock influences.

The EP culminates in "Nesting Dolls," a standout closer where the guitar work is particularly striking and the vocal melodies linger long after the track ends. The song features a memorable breakdown section that adds to its overall impact.

​Even at lower volumes, In Transit's music maintains a sense of loudness and intensity that suggests their live performances are not to be missed. Illusionary demonstrates the band's dedication to creating expansive, cinematic, and dynamically progressive indie rock. This is a band that truly delivers, making Illusionary a must-listen for fans of genre-blending, high-energy music.

Cincinnati's own Phantom Pat, a rapper who cut his teeth at the tender age of fifteen, offers a nostalgic nod to the golden age of hip-hop with Unleash the Doombox. Pat, who self-describes his sound as "old school," evokes the gritty, unfiltered spirit of '90s rap, drawing stylistic parallels to Big L and the irreverent energy of the Beastie Boys. This eight-track album is a tapestry of conceptual thought, each song stitched together from lingering ideas and spontaneously generated one-liners that coalesce into complete tracks.

The album kicks off with "Evacuate," an assertive opener that channels the high-octane, tag-team dynamic of Run The Jewels. Phantom Pat's flow is both fluid and forthright, riding a wave of beat-driven coolness that sets the stage for the auditory journey ahead. "The Skull of Rap" shifts gears with its whimsical, almost ethereal new-age soundscapes, underpinning Pat's intricate wordplay. The track stands out for its unique blend of music and lyricism, creating a distinctive sonic experience. "That Power" reaches further back in time, tapping into the essence of '80s hip-hop, while "Phantoms" envelops the listener in a dark, groovy ambiance with its innovative percussion.

Phantom Pat's creativity shines brightly on "The Doombox," a track that feels like a cinematic masterpiece. Its jazzy undertones and noir film vibes are a testament to Pat's inventive approach. "Silence" impresses with its cool piano arpeggios, and "Cat Dance Prance" brings a surprising fusion of metal and rap, echoing the aggressive, hybrid style of Linkin Park. Closing with "The Depths," Phantom Pat takes a contemplative turn. The meditative quality of the track, accentuated by light bells and atmospheric pads, offers a tranquil finale to the album.

Unleash the Doombox is a testament to Phantom Pat's multifaceted talent. The variety of styles and influences showcased throughout the album keeps the listener engaged and intrigued. This is an album that deserves a listen, if only to appreciate the depth and breadth of Phantom Pat's artistry.

On "Crash and Burn," Randie O'Neil crafts a sonic explosion that resonates with both raw power and emotional depth. Her background as an adolescent intervention specialist injects a unique authenticity into her songwriting, lending a grounded perspective shaped by real-world experiences. O'Neil's storytelling is not just a reflection of her own tumultuous upbringing—marked by survival in an abusive, alcohol-fueled environment—but a beacon of hope for students navigating the labyrinth of life's challenges.

From the first strike of the drum, "Crash and Burn" propels you into a whirlwind of nostalgic fervor. There's a palpable energy reminiscent of Heart's anthemic vigor and The Bangles' polished rock sensibilities. The track opens with a barrage of hard-hitting drums and distorted guitars, underpinned by a steadfast bassline that drives the song forward with relentless momentum.

O'Neil's vocal performance is a tour de force; her voice commands attention with an undeniable presence that’s both powerful and inviting. There's a sense of fun that permeates the track, a spirited rebellion that feels both timeless and urgently contemporary.

The gritty groove and infectious melody make "Crash and Burn" an instant earworm, begging for repeat listens. The song's dynamics are masterfully executed, showcasing O'Neil's ability to blend accessibility with a raw, edgy charm. It's a track that invites listeners to sing along, tapping into a universal wellspring of emotion and resilience.

​"Crash and Burn" stands out not just as a compelling piece of music, but as a testament to O'Neil's skill in transforming personal adversity into a communal anthem of strength and understanding.

Jess Jones is a folk and alt-country artist from Indiana with several releases to his name, the newest being The Flatlander. I can relate to the title of this album right away: many years ago, I had a girlfriend who lived high up in the Big Bear mountains and was surprised to learn that I was considered a “Flatlander” by the mountain dwellers (and it wasn’t a compliment!).

Jones crafts heartfelt narratives in his deeply personal songs by drawing from his Midwest roots. He has released several albums since 2019, both on Bandcamp and on his official website. For this new album, Jones' intent was to write songs with even more honesty than before. Recording took place at the Elephant Lounge in Anderson, Indiana.

The first thing I noticed about the opening track “Five Leaves Later” is how stark and unadorned it sounds. For anyone who plays guitar, you can visualize Jones’ chords as he plays, so of course the important parts are his vocals and lyrics. Jones has an honest, somewhat pleading voice, and his words are colorful and evocative. Although there’s some variation, this song is basically built on the same chord cycle without a bridge, making it quite hypnotic. Jones says this song is about his love for Nick Drake’s songs and writing, and I can certainly see that. “Add Free” has a slower and even more stark chord scheme, feeling like outlaw blues. Jones’ singing is lower, with lots of extended notes that play like a man moaning with pain or regret.

“Pinwheel Heart” is a genre I love—the observational folk song about your own kids. Jones says: “I wrote this song for our twin boys, trying to keep special moments with them fresh in my memory.” You can feel the affection in the upbeat, hopeful chords and cyclical structure. “Ease” tackles nothing less than Jones’ own mental health, and as such, it feels more studied and introspective. I especially like the chord scheme here, as well as in the following track “For No One,” where the heaviness of the lyrics seems to literally weigh down Jones’ voice. With “Soot and Dust,” Jones adds harmonica over his gently-picked guitar, which (along with his vocal delivery) can’t help but feel like early Bob Dylan. Jones says he wrote this song after a car wreck, “having this overwhelming feeling of desperation.” I love both the title and the world-weary imagery: “These things don’t matter anymore… it’s all just soot and dust now.”

“Consciousness Streams” features an interesting “sliding” guitar riff. Without a lyrics sheet, I can’t always tell if Jones is describing something specific or just playing with phrases and imagery, but this song really does seem to be describing streams of consciousness. “The Federal Mail” again has a Dylan delivery with words that conjure visions of a dusty Coen Brothers movie location. “Wet Sand” has a rolling picking style with evocative and heartbreaking lyrics about imaginary friends made out of sand and wishing you were literally someone else. This song reminded me a bit of The White Stripes’ “We’re Going to Be Friends.”

​There are 13 songs in total, and these were just some of my favorites. I didn’t feel too much alt-country, but folk music is definitely here in spades. Compelling stuff!

Young Jimmy O’Meara of Chicago has created a musical project titled Stray Currents, which he pilots from his Georgetown University dorm room. He explores emotions inspired by unrequited love, growing up, and experiencing loss. His debut album, Stray Currents, features music that combines raw bedroom pop with the piano-based rock of the early 2000s.

Among his influences, O’Meara name-checks John Mayer, Jack’s Mannequin, The Fray, and Ben Folds. All recording took place in O’Meara’s dorm room using Logic, with mastering by Sam Wheat. There are 12 songs, and each one that plays becomes my new favorite, but let’s pick out a few.

“Lost Cause” immediately sounds like a silky-smooth pop-rock classic, and there’s no way I’d have guessed its dorm room provenance. O’Meara apparently writes his music on the piano, then follows along with guitars so that everything flows effortlessly together. O’Meara’s vocals come from the intimate, reassuring style of folk rock, similar to Al Stewart (“The Year of the Cat”) or Gerry Rafferty. The song itself is a sweet and simple offering, perfectly setting us up for what’s to follow. “If I Can’t Love You” is somewhat similar, though based more on jazzy electric guitar chords and prominent bass. The vocals this time flow freely between a few different takes, doubling the lead parts and allowing O’Meara to overlap himself.

For “Outside Looking In,” O’Meara switches to a Fender Rhodes-like keyboard sound, again backed up by electric guitar and chunky bass. I’m a sucker for these types of songs, where the narrator (despite his own trepidations) longs to start a new relationship. “You make me want to fall in love again… I’ll be on the outside looking in, until you decide I’m worth your time.” Thematically, “Six Months” seems to continue this story with an irresistible pop construction featuring guitars and piano sounding very close-up and clean. By the time “Surround Me” comes on, I’ve realized that O’Meara was not kidding when he said he was exploring unrequited love! He’s got a great knack for making relationships seem both desirable and terrifying: “Let your love surround me / When you’re around you make it hard to breathe.”

“What It’s Like” has a vulnerable lead vocal set against gently rolling piano chords and quietly twangy guitars. I haven’t mentioned the drums as I assume they’re digital, but they’ve got a great sound without calling undue attention to themselves. This track features an especially solid kick beat. “Don’t Let It Get You Down” has a Neil Young-like title and almost approaches rock with its rhythmic piano, steady beat, and lead solo. For the final track, “Let Go,” O’Meara seems to take his last chance to turn everything up: the piano feels louder, the beats have more bite, and the heartfelt vocals seem performed from inside the microphone. You can guess the topic, as the single release shows a sad Charlie Brown-like character holding a rose that has died and scattered its petals.

​I wasn’t sure what to expect from an album made in a college dorm, but the sound quality and production are excellent. I love the songs, though for the first few listens they somewhat blend together. I’m more than happy to take this ride but wonder how Stray Currents would sound changing things up just a bit. Never mind; what’s here is quite good and worth seeking out!

Become A Fan

The Self-Destructing Washing Machines bill themselves as a “Jazzy, Southern rock-inflected, 60s/70s-influenced take on the modern garage sound.” However, their latest release, Spin Cycle, Spin Cycle Boom!!!, leans heavily into garage rock and surf vibes, leaving the jazz influence conspicuously absent. The album’s lo-fi, demo quality exudes a raw, unpolished charm that feels inspired, though it sometimes teeters on the edge of underproduction. 

Some tracks shine through the rough edges, while others get lost in the fuzz. The talent is unmistakable on standout tracks like “1968” and “Odie’s House,” where the band’s potential is most evident. The songs themselves are straightforward, often relying on familiar chord progressions and blues scales. Despite the simplicity, the band often showcases a strong sense of chemistry. 

Highlights include the energetic “Harder Faster” and the gritty “Witch’s Brew,” both of which capture the band's raw energy and enthusiasm. However, some tracks, like “Captain Crockett (The Pioneer),” feel more like spontaneous jam sessions, riffing on well-worn blues motifs that tend to explore. 

The album closes with “Antarctic Waters,” a track that features an impressive yet straightforward guitar solo recorded with what sounds like a single microphone on the speaker, epitomizing the album’s lo-fi aesthetic. 

The Self-Destructing Washing Machines have demonstrated their talent and solid ideas on Spin Cycle, Spin Cycle Boom!!!. While the current production quality leaves a little to be desired, there’s a palpable sense of excitement. It will be interesting to see how their sound evolves with improved production. Give it a spin. No pun intended.

Become A Fan

Almost anyone can sling an acoustic guitar and make up songs, but Bart Moore is the real deal, an artist that even other singer-songwriters would respectfully stand back for (I know I do!). When that voice and that strumming hit your ears, it goes straight to your brain while also warming your heart. There’s not a doubt in the universe that this guy has lived every word he’s sung, and then some! His newest album is called Wild Flora.

Bart Moore is a folk artist and veteran of the San Francisco alternative rock scene, and is now based on a farm in Lansing, Michigan, “to escape the big city club scene and postpone ultimate deafness.” His music in the past has shown the influence of the Pogues and Warren Zevon, while this new album features the mark of artists like Bob Dylan, Shane MacGowan, Robyn Hitchcock, the Beatles, and early Ian Anderson. Recording took place at the Troubadour Studio in Lansing and features eight guest players.

I previously reviewed Moore’s Graveyards, Winds and War, but if anything, this one leapt out at me even faster, grabbing my lapels and repeatedly slapping me in the face! Moore was kind enough to send detailed notes on each song, so I’ll be referencing those as we listen. “Molly Bloom” opens the album with an upbeat “Irish Reggae.” Apparently, this is based on the heroine of James Joyce’s Ulysses, which is a book I own but have never read! Moore reminds me a bit of Great Big Sea’s Alan Doyle here, nailing the Irish flavor with ease with help from Craig Cole (bass) and Corey DeRushia (piano). A classic couplet only Moore could come up with: “Molly Bloom! / Why did you cheat on your poor old man on the 16th day of June?”

“Heavenly Daze” takes a BIG U-turn south to Spain, with classical-style guitars and castanet-like percussion. Moore wrote this song for his wife, and she sounds quite amazing from the joy in his voice. Cody Wilson helps on guitar, with Corey DeRushia on bass and Ian Levine on percussion. “Comanche Land” shares subject matter of the American West with Moore’s mentor Warren Zevon. This track has the gravity of a movie epic’s concluding scene, helped immeasurably by the cello of Skip VonKuske and Tamiko Rothhorn’s backing vocals.

“The Railyard Ghosts” is one of my favorite tracks, and not just because I love trains. Moore calls it “fast-moving” and he’s not kidding! It’s about latter-day musical hobos and definitely recalls some of the great upbeat tracks by Dan Hicks, especially with the incredible fiddle stylings of Grant Flick and the background harmonies of Tamiko Rothhorn, who also adds chilling chorus vocals for the almost holy “October.” Only Moore could list heavenly bodies by name and make them work as lyrics. This may be my top song.

And speaking of heavenly bodies, “God Is Just Plain Lazy” is a bluegrass romp with a very simple explanation of why our universe is so messed up (after igniting the Big Bang, the Almighty is taking a nice long nap!). David Mosher stands out on chiming mandolin and violin. “La Paloma” recounts a dream Moore had about waking up in Madrid and trying to find his way home, and the ragged background vocals by Moore himself make this track a real delight. I would note that this is the second track with a Spanish flavor, and Moore seems quite comfortable there. Cody Wilson helps out on second guitar.

​This is one of those albums where whatever song is playing is my new favorite, and they all seem to go by in a flash. Get to know this man and his music—Bart Moore is truly a unique talent.

bartmooremusic.com

Fronted by sisters Caron and Michele Maso, Little Girls made waves in 1980s L.A. with their alternative radio hits "Earthquake Song" and "How To Pick Up Girls." Valley Songs serves as a comprehensive collection, spanning the group's musical journey from 1980 to 2020.

Described as New Wave Power Pop, Little Girls' sound draws comparisons to iconic acts like the Go-Go's, Josie Cotton, and the Bangles. Upon listening, it's clear why these parallels have been drawn.

"Earthquake Song" kicks off the album with straightforward power pop infused with a hint of surf, boasting catchy vocals, power chords, and a driving 4/4 beat. However, it's "How To Pick Up Girls" that steals the spotlight with its dynamic energy and experimental flair, showcasing the band's versatility.

Tracks like "Bandana" exude a classic rock attitude, while "Any Way You Want It" melds 1950s pop nostalgia with contemporary power pop sensibilities. As the album progresses, Little Girls consistently deliver solid tunes, with highlights including "Rich Girl" and "No Time To Say Goodbye." There are also anthems like "Upswing" which really shows the band leaning into a late 60's sound not too far off from The Byrds.

The inclusion of demos provides a treat for hardcore fans and offers insight into the band's creative process. "Love Song," in particular, stands out as a surprise, channeling 1970s folk vibes with the sisters' vocals shining brightly.

​"Valley Songs" offers a deep dive into the multifaceted world of Little Girls, showcasing the band's diverse musical palette and unwavering commitment to their craft. With each track, they paint a vivid portrait of their evolution over the decades, leaving listeners hungry for more.