The 90’s produced some of the best guitar rock bands that seem all too seldom in this day and age. Bands like Weezer (at least early Weezer), The Smashing Pumpkins and Nirvana provided us with three-four minute power pop guitar rock that sounds just as good today as it did 20 years ago! Like these bands, The Passenger is a like-minded band whose roots align with the 90’s mentality. On their latest album entitled A Dog Named Bear they showcase seven songs that, while not quite up to par with the best bands of the 90’s, have a solid foundation of good songwriting, infectious hooks and anthemic choruses that get implanted in your brain. Forming in the summer of 2011 they sound as if they have been together much longer than that. The Passenger is a five-piece band with Nick Kussack (vocals, guitar), Bennett Newsome (guitar, vocals), Will Brotz III (bass), Manny Monteagudo (keys) and Beau Rothman (drums). It should also be noted that the album sounds professionally polished thanks to Ed Rose and his mixing abilities. The album starts with “Pile of Bones” which is a meditation on our temporary existence and that despite its rather bleak subject matter has a ridiculously catchy chorus that is as anthemic as it is infectious. “Down and Out” could be a Weezer outtake if you didn’t know any better with it’s vocals harmonizing, Kussack’s Rivers Cuomo type tone and inviting, warm guitar sounds. Possibly the most modern sounding and commercially viable song is “When It All Went Down” a decent song that while a bit predictable and sticks to the soft verse/loud chorus mentality shows us again that these guys know how to write a pop song. “Killer Fashion” while sticking to their preferred format seems to have some more emotional resonance than some of their other tunes. I also thoroughly enjoyed the playful little synth on this one – nice touch. The album closes with “Favors & Questions” which seemed to encapsulate what these guys were good at; anthemic chorus, solid guitar riffs and a tip of the hat to the guitar bands of the 90’s While this band sometimes veers a little to the side of music I might want to forget this is a seldom occurrence. Overall, A Dog Named Bear should satisfy those who have a thirst for solid 90’s inspired power pop with a modern twist.
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Hailing from Manassas, VA, The Rebuilt Machine is a five-piece band that seems bound for success. They play accessible, commercially viable power- punk not unlike that of The Used. While this music will find its main demographic in teenagers rather than aging hipsters it has its moments that transcend any age barriers. The Rebuilt Machine recently released a seven-song album entitled Despite What You've Been Told that contains crafty songwriting and that revolves around a timeless simple setup of drums, bass, guitar and vocals. Power chords aplenty, metronome-inspired drumming, and a somewhat nasally lead singer permeate the album. You should know what to expect after the first song and whether or not you will be sticking around for more. If you are a fan of this type of music and are also an audiophile this is some pretty impressive work. They had the joy of working with nationally-acclaimed and Grammy-nominated producers like Matt Dalton, David Adam Monroe, and Paul Leavitt who all really improved the sound of this record. The album starts with “A Week Shy of August” as the singer shouts 1-2-3-4 to kick things off. Before you know it the band is in full swing. Creative use of reverb effects is a bonus but the chorus feels like you’ve heard it before. Even though it lacked some of its own personality it was a song that was obviously heartfelt, passionate and played with conviction by the band. I enjoyed “Drama Queen” which had a great intro that I wish they would have toyed around with a bit longer before plunging into the more predictable power punk. The song starts with what sounds like synthetic strings, clean guitar picking and some good vocal work. I also enjoyed the synth they added which helps differentiate the band a bit and gave them an extra layer of depth. “Runaway” is a pretty straightforward number revolving around young unrequited love that could easily be a single for the band. “It’s about Damn Time” is the best and most emotionally mature song on the album. They forgo frantic drums and guitars and replace them with pianos, heartfelt vocals, and melancholy. They eventually rock out but it doesn't have the punk feel. Instead it feels like arena rock. The Rebuilt Machine have made a solid album and it wouldn't surprise me if I heard this on FM radio one day soon. They know how to write songs and will be best received by younger audiences.
Let’s start things off by saying Patrick Goble is ridiculously talented. He is a multi-instrumentalist who plays awe- inspiring guitar, complex rhythmic piano progression, and has a great voice to boot. On his latest album entitled Behemoth he mixes various genres (sometimes a bit too much) that displays his talents to full effect. I didn’t know what to expect next. On one track “Transmission Condition” we have Les Claypool-inspired bass playing while the next track is a true to form cover of “Ave Maria.” The album often felt like a collection of singles displaying his fondness for different genres than a cohesive album.
The first song we are introduced to is “Behemoth” which is one of the best songs on the album. The odd time signatures, splendid piano and guitar playing, and electronic drums aren’t only technically mesmerizing but serve to create forces that display his pop sensibilities at work here. Behind the virtuoso type performances are accessible songs that don’t demand you have a degree in music to enjoy. Almost as impressive is “Jade’s Song” which contains mountainous harmonies and some sweet clean electric guitar. The next two songs were not what I was expecting and this is where he starts to lose me a bit. The technical ability on both “Ventricular Alternator” and “Transmission Condition” are incredible but lack the emotional center that was apparent on the first track. If you like Primus you will enjoy this. After a classical rendition of “Ave Maria” we are treated with the first electronic minded song entitled “Jupiter Venus Saturn You;” a solid, fun, energetic song that makes good work of arrpegiating keys in different tones. Yet another drastic change happens with “Subtle Lessons” which is the closest to folk he comes. You get treated with some warm orchestral strings on this one; bonus. The next two songs “Quartet No. 8 Expanded” and “Opus No. 29” are classical instrumental compositions while “The Banjo” contains a banjo wouldn’t you know it. Closing the album is “Cardboard Robot Theme.” It is a short instrumental composition mixing in electronic elements with angel-like voices. Behemoth is an album that slightly suffers because of the rather unpredictable genre hopping. If you go into this album looking at it as a collection of singles you may be inclined to enjoy it a bit more. That being said the majority of these songs excel in both their creativity and technical prowess leaving little to find fault with. The Brothers Kaschak is a duo born in upstate New York and currently residing in Cleveland, Ohio. The band is comprised of two brothers who have been playing together for more than a decade. There’s nothing more real about family members getting together and making some real music, and on The Brothers Kaschak’s latest EP titled Marching On you can hear the honesty permeating every song. The entire collection has a soft yet rugged feel of down-home southern folk music. These are a few songs that are fit for grabbing a cheap brew, walking down to the lake in your boots, and laying out by the banks to soak up the dusk. The track that named the album “Marching On,” is a solemn ode to the simplicity behind moving on after an event of misfortune, and remaining resolute throughout. The lyrics in the song, “the battle goes on” reflects on the innate strife of life, and the soft tempo of the song shares optimism with the listeners. Mark Kaschak, the lead singer, has an inquisitive voice as he softly sings through the gentle melodies on the EP. He also plays acoustic guitar and some percussion, sharing most of these roles with his brother, Sean who plays electric guitar, acoustic guitar and some percussion. It is hard to tell who is controlling any of the instruments just mentioned, and that’s a type of synergy between band-mates that is rarely seen. "The Orchard" relies of sparse instrumentation as the vocals and guitar need little accompaniment to let the solid songwriting shine through. The guitar picking is its most delicate and the vocals are there most fragile on "Real Thoughts" which exudes solace and melancholy. The most upbeat track on the EP is “Shoulders,” the song maintains its southern folk vibe while also infusing some good old fashion strumming to get your foot a-tapping. The song definitely showcases the abilities behind the band; the song is clean and simple, while maintaining complexity in lyrics and melody. The song “Moonshine Kids” is a song for flailing about besides a blazing fire under a bright moon, they really give you the melodies and lyrics to construct a beautiful scene. The Brothers Kaschak is a band to watch for as they shimmer in the dawn out on the farm of fresh folk music
The concept of The Analogue started with a very simple idea: what if a person awakened one day in a world with nobody else and no memory? The music on the record follows The Analogue in his travels following his awakening, whilst offering few clues about his origin and nature. Through the story, the piece explores ideas surrounding energy, from its deadly use in weapons to renewable power and its ultimate role in the life and death of the universe. This idea is what intrigued me to listen further to The Analogue. As The Analogue describes itself, it is nothing like what you have heard before, nor will it be like anything you will ever hear again. With its light but progressive melody of the guitar and the eerie vocals that play off each other, The Analogue starts out with “Wall of Fire,” which amazes you like the brightness of a volcano before it consumes you. It has strong vocals with guitar that does not overpower. As I was listening to this song some of the sounds such as the synthy crystal bell sound reminded me of a song I used to listen to in high school called "Tubular Bells" by Mike Oldfield. While the first song didn't cling to many genres there was a 80's type vibe that was emanating from his voice. Then “Expanse” tells the tale of a thawed earth, with sounds from a very different new age keyboard, guitar and synthesizer that keeps your mind wanting more. The song starts to rock out at the end in a valiant way with synth horns and thunderous drums While “Aira Force” is even more perplexing as it is the opposite of “Wall of Fire” in the sense that the vocals are more of the background and synthesizer and guitar is the foreground music. We close with "Streetlight" which has some of the best vocal and guitar work on the album. It is a powerful song full of emotion and ends with a bang rather then a wimper. The Analogue keeps pulling you in like the story it promises but it is not for everyone. If you are looking for straightforward good feeling rock songs, this is not the band for you. In fact I would categorize this as new age or Symphonic rock if you had to, but honestly I haven’t heard anything like it in this genre. It is also not folk rock or anything you listen to for easy listening on the radio, which could be a smart or a very bad move on their part. On one hand it is unique. On the other hand, how many times do you have the craving for Symphonic rock? Instant People might as well be called an instant success because this album not only delivers the right dose of entertainment that this much anticipated album was expected to but so much more. Instant People are a Los Angeles based indie band with Cal Campbell, Ry Jarred and Siggy Sjursen who finally came out with their debut album Play and Rewind. Siggy Sjursen (bass) is a multi-instrumentalist who has professionally played with bands as diverse as Poe and Powerman 5000 and was also the musical director for Solange Knowles. Cal Campbell (drums) is the son of country legend Glen Campbell. Cal is a multi-instrumentalist who also honed his passion for engineering and production. The three friends became the band that would back Cal's father on his Goodbye Tour. For the past 2 years they have been playing to sold out venues around the world, US talk shows – Jay Leno, Conan O’Brien and Ellen DeGeneres as well as UK shows. Their music has been synced for network television, and in the UK they have had early support from Janice Long and have appeared live on Dermot O' Leary's show. The band describes themselves as having a unique style and being influenced by no particular band or genre, and their debut reflects that. Out of the gates you know this band is something special with "Into The Wonder". It contains an infectious vocals that is almost as fun to listen to as the banjo. The song “Believe” has a very upbeat rhythm, with guitar riffs that grab you instantly, along with lyrics such as “into a brand new day, we will watch the city build back up again. There was an alarm to hear, a bright light to fear, a reckoning from the pain. I’m bringing back these good intentions,” that keep you suspended in midair. In sharp contrast, “King’s Sleep” is a very deep song that is slower paced and contains harmonious vocals paired with background piano that showcases the true art of what this band is about. I can only describe the energy similar to Radiohead in the 90s. They crafted the mundane into anything but. However, unlike this band, their lyrics have a sense of optimism that is hard to compare. If you want to listen to an album that is full of surprises, has touching lyrics that matches perfectly with spot on vocals, guitar and keyboard, I feel you should check this album out. This album is perfect for the person who likes soft rock, pop or just something completely out of the ordinary all together. With masterly crafted lyrics, this album is great for picking that one song you want to play again and again, or to listen to the entire album when you have free time and want to vent out your frustrations to the world.
Cinema is the newest album from the young four-piece Californian rock group The Royal Sound. The album is reminiscent of classic American rock bands like Seether, with a more progressive feel similar in sound to Circa Survive. The band describes their new album as written in two pieces, one side dark, and the other light, with each being told from different points of view. The sentiment can be felt as the album morphs from one shade, to the other. Cinema seems to be about an internal conflict and the album takes the listener through the struggle of restlessness and a sense of longing hope. "West" is the first song we are presented with on the album. It is a catchy rock song full of crunchy guitars, infectious vocal melodies and overall good songwriting. The album continues with "Holiday" which has a Zeppelin-esque vibe (as well as stellar vocal harmonies) that was one of the highlights on the album. The darkness starts with the track "Bloom"; this is where the conflict between a son and a father begins to unfold. The song is a bit sorrowful, the melody drags on and the vocals are somewhat whiney. That being said it is still a solid song that got better with repeated listens. The drama continues with "Plans," and even though the song is dark, there is some refreshing optimism heard through gentle flute melodies, but then shortly after, the screaming lyrics "no love words" brings us right back to the strife. "Five" is a classic anthem of struggle that has some of the best guitar riffs on the album. The album closes with "Red," which is an all out venting on dissatisfaction of unfortunate situations. Overall, the band has a good rock sound for those akin to indie-dark-progressive-rock. The lyrics on the album are meaningful and also tell a story that can engage listeners and provide a way to relate for some. In regards to the album’s dark and light sides, it seems as though the band is a bit more on the dark side with their deep riffs, running drum patterns, and intense vocals. Look out for The Royal Sound touring California this summer. Born and raised in Brooklyn, New York, Ben Wallick was always an avid music fan. His first real love was The Beatles, and Ben remembers until this day eagerly watching the Anthology videos on television when he was just a boy. At some point his parents directed him towards the piano, which he pursued for a few years until he made the switch to the bass guitar. Primarily an electric bass player, Wallick nevertheless managed to pick up the guitar, get back into piano in a big way and even learn some upright bass along the way. He studied music theory and history in both high school and college. During the college days, Ben played in several groups including Dank Skullkap, Gavriel Kahane, Yaakov Chesed and Sonic Itch, the dynamic duo that brought you the hit single "How About Me?" Ben's musical influences range from Radiohead and Paul Simon to Charles Mingus. He currently resides in Jerusalem where he gigs regularly and continues to pursue a career in music production and sound engineering. While songs like “I Don’t Wanna Wake Up,” “Another Day,” and “When it Rains” on his album Kings and Things remind you of his musical influences with hints of Paul Simon and even The Beatles, it sometimes lacks personal flavor that makes a song distinctly that musician’s work. The beats seem like a modern take on what was going on in the early 70s and if you closed your eyes, you would swear you are hearing an alternate version of a Beatles song. One of the highlights on the album was "It's Not Enough" which sounds absolutely inviting with its warm electric piano, dry drum kit and delicate voice. The album has very uplifting rifts and a synchronized harmony but for a debut album, I really expected to hear something that perhaps reminded me that the musician came from Israel or perhaps lyrics that related to his personal growth and struggles as an artist. The songs really aren’t as diverse as Wallick might believe, but they definitely are cohesive and that makes it easy and enjoyable to listen to from beginning to end in this album. One thing that has to be mentioned is how good the songs sounded. The recordings themselves were clear, had lots of separation and didn't have any of the qualities that usually plague indie recordings. This was an important factor that made the songs that much more enjoyable. I do recommend listening to at least a few of his songs to see if it's your cup of tea. I do feel that this artist could be interesting to watch develop his own musical personality, as the craftsmanship of the guitar, keyboard, even harmonica made this worth listening to. If you like Bob Dylan-like harmonica, The Beatles midway through their career, and some of the new work by Radiohead, this is a must listen to album. I do feel this is more fitted for someone who likes folk music versus a hard rock album, as all of their songs are definitely are for that end of day relaxation and not that vibrant wake you up music.
Teddybare grew up on an island the size of England in western Canada inhabited only by strange hairless birds (with him as the exception). He learned their traditions and their games and, more importantly, their songs. This is where his style of music comes from.
That's the biography Teddybare sent us. When you approach someone like that and you want them to listen to your music, you better have some certifiably cool shizz to offer. I was totally ready to hate this six-track EP, Audiospace, based on Teddy's origins alone. Then And Relax Don't Worry began playing and I thought that this would have to be a positive review after all. The individual behind this slightly offbeat ambient pop is the very normal-named Todd Wayne Schmid. He fancies himself an acolyte of weird, warm electronic music, citing acts such as Boards of Canada, Tortoise and Tangerine Dream as inspirations. I can get down with this, because Audiopace itself, while best played in the velvet awning of after-midnight, is a weird, warm electronic album. Surprise! "And Relax Don't Worry" is what I call a converter track. It features liquid-smooth, drawn-out beats, perceptible but not intrusive shuffling sound effects and Schmid's auto-tuned or whatever vocals, that sent me into a state of ambivalence. Initially I thought they had no place existing, but repeated listenings reveal a welcome, and relaxing addition to the song. And then further listenings make me think of the former…The voice is indeed a tough sell. It has presence the same way that a loudmouth co-worker with the need to share opinions and who wears bad perfume or aftershave has presence. It's there but you don't really want it to be. But maybe that co-worker is a good person who's just insecure and has good intentions? His voice is like that, and the tracks are best when unaccompanied by it. The exceptions are the opener and closer, "Positive and Happy and Asleep." The last track is almost disappointing because the way Schmid uses his voice is so good compared to the EP's other missteps, juxtaposing his voice on top of itself asking, "What is all that you know? What is it that makes you feel this way?" under a raincloud of ambient noise and shaky electronics. There are more contentious moments to choose from: "Put the Night Away" leads in with nebulous, flattened synth lines that let the music rise and fall, save for a supremely annoying clacking sound that I thought was a tree branch blowing outside my room. It's a stupid decision musically but by the song's end craziness reigns and there are breaks, inverted beats, etc. Teddybare can also Brian Eno the hell out of his music, such as on "Pause,” which sounds like an outtake from Apollo: Atmospheres and Soundtracks. Audiopace is definitely a case of the whole being greater than the sum of its parts. Some of the ideas seem trifling and other ideas clash terribly with the music, which is like taking a class called How To Not Make Ambient Music 101. Despite this, Teddybare aces his final, submitting his paper as "Exercises in Variegating Sonic Textures and Sounds.” Brian Gallagher is Pennsylvania-born and bred, but musically he was nurtured in The Contemporary Music Center in Brentwood, TN. A drummer for other acts, this five-track EP entitled You, Me and the Sky is Gallagher's attempt to write and record his own music, an attempt proposed by the Contemporary Music Center.vThe second and fourth tracks are basic alternative/emo rock and roll affairs. The drumming is great and the guitar playing is solid but otherwise they don't have too much going on for them. The second track “The Heart of It” is more like a Jimmy Eat World affair, the fourth track “Waste My Life” is the sad acoustic-based stuff that wafts from the entrance of an after-hours cafe. So if you like that stuff, you know what to do. The other three tracks though are very much worth anybody's time. The opener "Moon Song" sounds like it could be an early Explosions in the Sky outtake. It has all the sounds: heavy-ass percussion, glistening guitar chords and suddenly-there-and-not crescendos. It's awesome and makes me think of walking along a beach when suddenly I step on a landmine. It's that sort of cinematic quality that keeps the song strong. The percussion and the glistening guitar sound, as I said before, is prevalent throughout the album, but it's felt most strongly on this track. "The Fool" features Jennifer Budd on vocals, and if you ask me the name of this act should be Brian & Jennifer. He and she do this cool Asobi Seksu thing where despairing female vocals run headlong into a guitar-made wall of sound. Awesome stuff here, especially the washed-out but not washed-up guitars. It’s also a wise move to include a live track in your debut EP. This one in particular suffers no quality issues and does great justice to Budd's warbling moan. I got excited when I saw "Cloud Song” (featuring Jennifer Budd [again!]) on the track list. Totally thought it was a cover from The United States of America's classic 1968 self-titled. It's totally not a cover. At first I was insulted, like I personally took Gallagher's decision to not rerecord "Cloud Song" as a personal affront. But it's cool. Budd's breathy whispers and zephyr moans are gently dispersed through currents of electroacoustic rhythms alongside Gallagher's own voice. They deliver a confident duet, magnifying simple ideas with grand eloquence: "Dear sun, beam through, light upon my face/For warmth emerges to enter another day." Some cool stuff here. It's basically three-fifths of an EP that's enjoyable, not just listenable. Hats off, Gallagher
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