Hailing from Barrow-In-Furness, Cumbria A Year Gone By is a five-piece band that formed in 2012 and recently released a self-titled five-song EP A Year Gone By. They have a familiar sound not unlike bands such as A Day To Remember, The Used, and Asking Alexandria. If you are into energy-filled pop punk that tips its hat to some of the pioneers of the genre then you just found you new favorite band. You can’t deny the band has the formula down pat - from the explosive choruses, to the nasally lead vocal and to the overall anthemic tendencies. The production is professional and can compete with any other commercial releases that play in the same genre. The band bursts out of the gate fast with a high octane number called “Tyne Will Tell.” It starts with two dueling distorted lead guitars that quickly get bombarded by snare rolls, which leads to the whole band rocking out. Power chords drip with distortion and white noise as verse plays. The band plays into their strengths and know when to emphasize certain parts as they strategically place vocal harmonies. Although far removed from John Lennon they sing about a similar sentiment did in “God.” The vocalist sings, “I don’t believe in any god but I believe in you”. “Bruises” rocks even harder than the first song. The drumming is spot on and is some of the most technically impressive on the EP. The band brings down the distortion and intensity a bit for “Forget Me.” They go for a triumphant and nostalgic vibe rather than fast, heavy and slightly pissed. It is arguably the most melodic and commercially viable song on the EP. “Thieves & Liars” is the definition of soft verse/loud chorus. The band creates a soft dreamy canvas during the verse and with little warning does port-rock type chorus with soaring guitars and vocals. A Year Gone By’s self-titled EP will fit in along nice a snug next to your Paramore and Underoath albums. You should know pretty quickly if this is your cup of tea.
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Ryan D White isn’t wasting any time. Last year he released a full-length This Is How We Lose Our Minds and is already back with another five-song EP entitled Something Brilliant Is About To Happen. The EP is no filler until his next full-length. White actually ups the ante this time by putting Mark Hallman in the producer's chair and adding female vocals provided by Genevieve Baer. White “wanted to write optimistic pop music that didn't make anyone cry” and after listening I think he achieved his goal. The music here is not cheesy, happy-go-lucky pop with no emotional weight behind it. What White serves up is in line with the type of cathartic, triumphant rock that the band Spiritualized delivers. The music is a testament to forging forward and feeling hopeful. White kicks off the album with the title track “Something Brilliant Is About To Happen.” His voice sits on top of a dark pad and the guitar as he sings the question “Am I really better than I was yesterday?” It doesn’t take long for the drums and chorus to kick in and change the mood of the song. The pensive almost ominous ambience is replaced by a soaring triumphant chorus where he sings, “something brilliant is about to happen” as if it is solidified truth that is as certain as the sun rising in the morning. The second track “We Are The Dreamers” is a dance song that combines synth bass, guitar, organ and drums. It jumps out at you with a good amount of energy that just picks up as it progresses. For a majority of the song Baer and White sing together, which adds to the emotional impact of the vocal melody. “Love Story” is a nostalgic rock song, which has the most triumphant chorus on the EP while “Let Go” is the most subdued and melancholy. White closes with “Earthbound,” which is arguably the highlight of the EP. The music is inviting, warm and hit a number of harder to reach heights without sounding contrived. The EP ends on an extreme high in fact the last lyric is “higher than this.” It’s evident after listening to this EP that White is taking into consideration all he can to put out music that maximizes his talent. Something Brilliant Is About To Happen is a step in that direction for White and showcases not only his talent for song writing but his ability to conceptualize what he wants to release.
Randy Allen aka One Sore Thumb is kicking the dusty jams of southwest blues mid tequila from a bench in Phoenix, Arizona. But truthfully speaking, this cat is the real deal when it comes to gritty flavor having 30 years playing experience in his saddle. Trained in studio reading with studies in classical, jazz and rock formats he’s more than comfortable on any stage and even more in focus when it comes to composition and recording situations. And just to give him more badass credentials, the guy was born with only part of his left arm. He’s a bold and talented fighter, making music for a world of dreamers just like him. The first track “Peach Farmer” on his album titled Isolated is without question rooted in the blues of old, but Allen puts his grunge flair on top and it becomes something very progressive. It has a mean stomp and strong bite with a great chorus sing-along, “Trading peaches,” complete with repetition and solid groove. Plus who doesn’t love singing about peaches? Ever since the Presidents of the United States said they were moving to the country we couldn’t wait to find out why. “Monarch” has a full sound with more instrumentation than before including heavy padded chords and voice doubling. “Done By Two” doesn’t try to be too flashy and uses the go-to typical funk rock beat to establish the sway it wants. I especially liked the integration of supplemental percussion on “Frenzy of Fools.” It’s a nice mixture and textural array that paints the picture of Old West meets Texicana attitude. The album is a reflection of Randy Allen's life experiences and the title track "Isolated" is the core message of the album. It speaks of four ways that a person can become isolated - being different, being stubbornly independent when truly in need of others, failing on promises or being overly prideful. Isolated is a great ride that is more profound than you think.
Flight 49 is putting Llandudno, North Wales on the map. In September 2011, four guys and one girl joined forces in a common goal to save the airwaves from the stale market of cover bands and formula pawns. They sought a fresh and entertaining live show and weren’t about going easy on the rock sauce. The local scene, already dominated by long established bands playing cliché covers, stood back and watched as Flight 49 grabbed them by the face and demanded the masses to obey. If I was walking outside of a club and heard these guys playing I’d be in line in no time. They have a thick sound that’s heavy when it needs to be and gentle when you least expect it. Their mission statement is simple: “Just have fun! Because if the band is having fun, then the audience is more likely to have fun too.” As a frequent club musician myself, I know this to be very true. It’s not a “fake it till you make it” type of thing, but a genuine understanding that you have to enjoy what you’re doing and more importantly show it. Stage presence is the key to making impressions. You can sound good all you want, but you have to move and engage to bring the crowd into the moments you feel. Flight 49 quickly developed a following and found themselves on the same bill as Manchester’s #1 Metallica cover band. During this time, they split their efforts between the stage and studio. What came next was their aptly named album That Smell Of Sweat And Sin. The band moves in constant driving motion with rock solid backbone on drums and bass guitar plus crushing and melodic guitar. The vocals are smooth and rough at the drop of dime. There’s an especially killer track called “Rage.” It has great range and power throughout. At times it’s Foo Fighters and at then the heaviness breaks like a lamp over your head and it’s Deftones circa 1998. I can see the crowds jumping against the barrier as we speak. And what is likely the biggest surprise, but one of the best songs on the album, is a cover of the 1980 hit “9 to 5” which was the title track for the movie “9 to 5” that eventually led to a modern day musical. I wouldn’t expect this group to go in that direction as it seems more geared toward a vocal jazz or musical theater bunch. Nonetheless, they put their spin on it and it’s a damn good tune. One thing’s for sure, the fun doesn’t stop with Flight 49.
Just who is Oeoyvwxia The name is nearly impossible to pronounce (correctly at least), and no one really seems to have a finger on the pulse of his intentions, origins, process or general aesthetic. Does he exist or is the brand of avant-garde strange-house dance pop all just some sound mistake in the matrix? These odd and perplexing questions might come to mind if you’re not familiar with low-profile artists that gimmick toward mystery. I’m a fan myself and this album is just weird enough to pique my attention. But I quickly learned to tread lightly because there are plenty of sonic surprises and off-putting elements lurking around every corner.
It was one year ago in April that Oeoyvwxia emerged from a portal and delivered his musical message in the debut Abyss. It gained an immense amount of popularity in an extremely short amount of time, making him a Bandcamp celebrity in about a week. But fame made no difference to him and he recluded back into the shell of some unknown vortex. Now he's back on the scene with a sophomore release Mauretania that walks the line of house music and trance. At this point, people were curious enough to learn more about the resurgence of such an esoteric artist. Turns out he lives in California. And to that I say, fine choice sir. So where to begin? Might as well take it from the top with “bum.” Stellar warping beat of sound effects and classic club clap was a welcome experience after the crescendo of chaos that was “Vig-vil-vol.” It became clear to me early on that this album was about atmosphere and minimalism, but it’s genius because so many interpretations are created. Imagination is fed through every wave of non-descript sound. One minute you’re grooving to a quick break beat and the next your face is scrunched with confusion. Or is it entrancement? “(NO)” is almost like Baroque dance music. I hear digitalized harpsichord and embellishments that even Haydn would have to bounce to. It’s another of the few structured songs that pans out in a loose fashion, but at least more conventional than constant looping, skipping, dynamic lunacy or left field sound blasts that you’ll find sprinkled throughout Mauretania. Last words on the album – One of a kind.
Against the Clocks hail from the Indianapolis area and have been together for only a year, a surprising fact for a group with such a seasoned sound. Of course, they have this tight musical unity due to the fact they all grew up together and went to the same high school. They balanced different bands for a while until finding the right mix within Against the Clocks. The two totems of talent can be found at the mic. Vocalists Logan and Landry are very strong singers who also give great performances on piano as well as many other instruments. All the members have honed their style and sound through mutual exchanges rather than ever folding into the bar band cover scene. They’re just starting their journey into solo touring well supported by their experience opening for national acts in the past. Logan and Landry’s approach to Against the Clocks is an irresistible formula of “what’s next?” The two trade vocal leads and at times are present together infusing their lovely harmonies. Logan’s voice is peculiar and pure while Landry has a rich tone that cuts through the music. Their self-titled five-track EP Against the Clocks takes on many shapes and colors, always returning to the urgency of artful piano rock. Adult contemporary at its finest is what we have here – the guitars are tame but full force, the drums stately and supportive, and things get just raw enough that you feel you might have learned some kind of life lesson when it’s all over. When the vocals exchange, the moods and intensity levels fluctuate keeping this album contrasting while interesting at the same time. It was hard to find a standout track, but I feel Against the Clocks should be appreciated as a whole, one of those few albums that really sit into you if you take in the whole score. On “Always Be” the beat is on the edge of paranoia while the piano lays down a lovely little melody following the snare pattern outline. By the chorus, the time is loose to start, but soon opens up with hard-hitting cymbals and widening strings. Landry keeps his voice cool but the power can’t be ignored. “Away You Go” is a touch less indie rock and more modern with the further distorted guitar and catchy chorus. The piano is put in the forefront on “Maybe Someday” and the intimacy is a nice touch for the album close. By the end, things are beautifully lost in a cloud of sound that fades like an ethereal breeze.
If I was told to sum up the debut album Just The Same by Bill Scorzari in one word I would have to chose the word “warmth.” Everything from the guitars, to the violins, to his voice is free of any harsh frequencies, which makes for a very inviting sound. Scorzari plays roots/blues/folk music that sound as old as the hills themselves. It’s a sound that in my opinion can only be achieved by live acoustic instrumentation that the album is decorated with. And then there is that voice. Scorzari has an incredible raspy voice that often sounds like a distant cousin to Tom Waits and an even more distant cousin to The Boss. His voice fits around the music like a glove and provides shades of melancholy, adversity and hope. The fluidity and cohesiveness of the album makes for an easy listen where you can press play and not have to worry about skipping tracks. Once you hear the “warmth” of the first track you won’t want to start skipping tracks. The album starts with “Eight of Nine (Just The Same),” which lyrically taps on seemingly disparate topics such as heartbreak, the omission of Pluto as a planet and drinking whiskey. A single shaker provides some rhythm while the string work takes center stage. The song isn't bursting with energy but finds a balance between melancholy and hope. One of the highlights was the festive “I Keep Rollin” On,” which has some excellent violin work. When Scorzari exclaims, “I keep rollin,” it resonates not only as an empathetic statement but also as a universal truth. Scorzari takes it down a notch on “Baby’s Got A New Blue Dress” while “Because Of You” introduces effective horns into the mix. The album closes with “Sweet Surrender.” It’s a lyrically potent yet instrumentally sparse song that puts Scorzari’s voice front and center. It’s an excellent way to close the album. At thirteen tracks Just The Same may seem a bit daunting at first but I encourage you to take this journey. Scorazi’s debut album is one you will not want to miss.
Hailing from Los Angeles The Canyoneers consisting of Mary Beth and Ben James started rocking out in 2012 and recently released their debut album entitled Sneak Attack! On paper they might seem like a White Stripes clone but after listening to their album they actually have little in common with the band. The Canyoneers split vocal duties throughout the album and neither voice seems to dominate. Stylistically, most of the music is rooted in blues but doesn't shy away from rock and sometimes even metal. At the heart of the material is a guitar album with down home and gritty songs with a good amount of attitude. First up is “Wild Highways,” which revolves around a lot of creative lead guitar parts and Mary Beth James tackling most of the vocal duties. It’s a rocking first song, which shies away from the blues style they incorporate later on but nonetheless is a powerful intro. The second song “New Boo” is straight up blues-inspired in the vein of early ZZ Top. Ben James and Mary Beth James split up the vocal duties for the verses and eventually combine forces towards the end of the song. “Before the Past” has a playful vocal melody that lyrically dabbles in existential questions about the origin of the universe. The way they approach the topic doesn't seem contrived and pretentious but naturally curious. “Fire Sale” is the heavy-hitting song on the album sounding a bit like Soundgarden at points while “The Crab” is the first time the band embraces an acoustic guitar. I actually would have thought a couple of more stripped down songs like this would have been a pleasant deviation. They close with “Kittie Calypso,” which is another striped-down acoustic number. I did find it a bit odd that they decided to end the album with two acoustic songs when the rest of the album is predominantly distorted electric guitars. Overall, this is a solid effort with a number of well-written songs.
Erase The Decay is a five-piece punk/alternative rock band located in Haverhill, UK that has some potential. They recorded their recent EP Wastelands by themselves and while there are some decent songs amongst the batch the production is too poor to salvage the material. It sounds as if they may have had one mic and just pressed record. Don’t get me wrong I like lo-fi raw productions but there is very little separation amongst the instrumentation and a laundry list of things that adversely affect the listening experience. On top of that the vocalist is rarely on key, which adds to the chaotic noise. Tom Blackwell is the lead vocalist and is all over the place in terms of style. For instance, on the song “Wastelends” he goes from rapping to a soaring, singing vocal to a death metal growl. The experience to say the least was a bit jarring and may have worked better if there were different people attempting these singing styles. I appreciate Blackwell’s ambition to cover multiple vocal styles but in the end it just kind of leaves you feeling confused about the direction of the music. The guitars provided by Mark Wheeler and Adam Fielden are distorted loud and usually consist of hard rocking riffs while the drummer Sean Rawlinson is pretty impressive. The best thing that these guys have going for themselves right now is that they you can tell that they are enjoying the music they make and are having a blast creating it. My advice to the band is to do whatever they can to get the quality of the recording better. Befriend an engineer, become an intern and use the studio at night like Trent Reznor did early on in his career or just save up some cash and record in a studio. Godspeed.
Who says you can't be original these days with an acoustic guitar? The wickedly eclectic EP Lightning, No by the solo project Aminals sounds like Panda Bear during his Young Prayer era, Beck during his One Foot in the Grave era mixed with electronic elements and not too far off from Oneohtrix Point Never. The anchor that binds these songs together fairly well is the acoustic guitar, Aminals’ voice and the use of reverb. As the album progresses it goes in many different direction but these components give the EP a sense of unity. The album kicks off with “Downing” which is the first song on the album that made me want to sing it in tandem with other people around a campfire but not the last. There aren't many elements besides an acoustic guitar, percussion and the vocalist’s voice but that is all that is needed to make a huge sound. The vocal melody sounds more like something you chant during an ancient ritual than something from a contemporary pop song. “Sides” combines multiple vocal harmonies with a long reverb while “Jazzual.mark3” is the biggest deviation on the entire album. “Jazzual.mark3” sounds more like something you would hear from Matthew Herbert or Amon Tobin. It’s an upbeat song with a lot of energy and somehow works with the previous material on the album. “Frozen Light “ reverts to a chant around the campfire vibe we heard on the first song except with a bit more melancholy this time around. You are treated to warbly bass synth lines that lay next to an acoustic guitar on “Counterparted” while “Perhaps Though” sounds like the cousin to the Radiohead song “I Might Be Wrong.” The EP ends with “Start Over,” which is a straight up electronic track incorporating click, bleeps and blips. My only critique is that some of the material feels a bit too disparate. For example “Start Over” is worlds away from “Downing.” With that being said this EP has a number of tracks that are exceptional (still addicted to the first track). Aminals created a very solid foundation for his sound and I am excited to see where he goes from here.
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