Normal Fox is a four-piece band composed of Derek Fredericksen, Trae Titus, Spencer Fox and Jacob Sveum hailing from Oshkosh, WI. Their recent release The Tragic Hero is a random mix mainstream pop act like Panic at the Disco and Fall Out Boy with inventive attempts at trying to reinvent the wheel.
Lets start with the vocalist who has a classic emo pop punk voice that is ubiquitous and familiar. Something about his delivery and the actual production of his voice mirrors the aesthetic style of a myriad of bands that bark up a similar tree. The music is often different from song to song. There are hits and misses throughout The Tragic Hero. The band starts off with an inventive song entitled “Presque Vu.” It starts off with electronic drums and goes off in all sorts of interesting directions. There is some kind of backward effect that gets implemented and the acoustic guitar is then layered into the mix. The song is also quite catchy and gets more intense as it progresses. “Presque Vu” is the highlight of the album and shows the band’s unique qualities while also appealing to an established demographic. Unfortunately, the next song “Memphis” adheres to the same pop punk style we have been hearing since Blink 182. The song isn’t bad but does nothing to establish the band as anything but another cloned pop punk band that is delivering the tropes and clichés we have come to expect. The next track “Emo Girls” has more in common with ‘90s boy bands then pop punk. It mixes R&B and sound radio ready. “The Vaudeville” was a success as a song but is also another style that displays the inconsistency of the album. As the album progresses the band has some success with “Quaker” which sounds like a CD is skipping at points and “Fishing for Whales” which has some original concepts and ideas. The Tragic Hero points to a band that is onto something but hasn't quite arrived. The songs are like misaligned puzzle pieces that don’t fit into a cohesive picture. It’s a flow that is jagged and turbulent. My thoughts are that Normal Fox may truly come into their own with their next release if they can keep their nose to the grindstone and build off of the original aspects of a song like “Presque Vu.”
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DP aka Domenic Petrella is sticking to what he knows on his latest release UP CLOSE. For all his releases Petrella limits himself to a drum machine, bass guitar and keyboards. Petrella hasn’t uttered a single word though and nothing indicates we will hear anything in terms of vocals anytime soon. Even though some of the songs might benefit from a vocal melody Petrella finds other ways to keep your attention. One thing that you notice about UP CLOSE is the guitar playing feels the loosest and arguably most creative it’s ever been. There were multiple times I was reminded of Stephen Malkmus type guitar playing.
The guitar ends up being the focal point for a majority of the songs on UP CLOSE but he tends to keeps it simple regarding effects. His guitar usually carries a bit of fuzz on it, the bass is clean and the drums have an early Joy Division aesthetic that he doesn’t deviate from. The album opens with a highlight entitled “UNDERSTANDING” which contains some of his most notable guitar work. Petrella plays a lot of lead on this song going up and the scale of his guitar and keeping the bass rather limited. The song has a ‘90s indie rock vibe that was easy to appreciate. “UP AGAINST THE MONITOR” is a solid track that changes parts when it needs. Petrella is getting an ear for when riffs start to wear out their welcome. “UP AGAINST THE MONITOR” is a track that keeps you engaged for its entirety. “WALKING WITH BLUE SNEAKERS” has a bluesy lead guitar part that combines an equally as integral bass line while “DAZED” puts the guitar in the background making distorted ambience while the bass takes the lead. “DAZED” has a Pixies feel to it minus Frank Black of course. My only advice to Petrella at this point would be to implement some variety into the drum programming or add more percussive effects. Once Petrella finds a beat he tends to stick to it for the remainder of the song. That being said UP CLOSE is another solid piece of work from an ambitious artist who is getting more comfortable and creative as time goes on.
Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating Pelican Daughters We Are Duly Bored & Restless 3.3 Four Block Walk Weekends in the Parking Lot 3.2 Pineapple Village Smasher EP 3.1 Morning Banana Diet MoBaDi Lives! 3.4 George Ogilvie Count Your Blessings 3.5 Stephen Rudd Home-Made Heartache 3.5 Adam PC Windy (With a Chance of Stupid) 3.3
Death is a Blessing by Kizmet has a unique sound that brings indie and rock together arm and arm. The first song “It Never Hurts Now” gives reverence to the sun, the moon and the earth. He sings the lines "Tell me about the sun and how it makes you whole, Now the moon is ready, It smells your fear. With your head in the ground, in the end it worked out" and sounds a bit like Britt Daniel from Spoon. The lyrics are ambiguous but it makes me feel like someone was running from something and buried it all away because they couldn't be bothered being seen by the sun and the moon and the earth as whole. Whether that death is real or metaphoric, the listener can feel the heaviness. It feels angst-y and by the same token like a breaking out of that angst with a hopeful tinge. Crossing over from indie into a more surf rock feeling lightens the load.
The next song “Angels Pray for You” continues the theme and title of the album by relating it to death and afterlife. The band really finds freedom in the idea of death and the dance of all the puzzle pieces coming together at the end - that is the real end of pain. "Life's a mess/But i guess what never comes next/Will be best in the end/All the things/That coulda-woulda-shouldhave been/Remain in heaven/Where death is a blessing/Yeah death is a blessing /You're death is a blessing/Ill see you again." Something gives me the feeling that they lost a friend and forged an album in honor of that. Fortunately for the hopeful tinge in the album, nothing is too heavy. The inevitability of heaven I think is really what sets this music in a positive direction. “Blue Suede Shoes” is about walking the blues day in and day out. The main vocalist reminds me of Shannon Hoon from Blind Melon. The guitar and drums are uplifting and succinct. Sparse solos loaded with piano and vocals. The main vocalist’s voice is sultry and oaky. He feels the blues every step he takes and dances with this struggle of being on planet Earth. I am so glad when I hear music that outlines the strain and existential suffering with living because it is a great release for people. I really appreciate this track as one of my favorites on the EP for it exemplifies the soul’s desire to be free, but must walk the bluesy path because he can feel it all. Ending on the song “Backroads,” the main vocalist’s voice takes a different approach. The sound of the band also sounds different in a more hopeful love song like sensation. "To catch my dreams on and uncensored canvas like you/To hide the nightmares hold my heart and soul in these shoes/Before I lose control." Although the heart has been trodden and confused, there is still an opening for love to come in and save the soul. I think that is the hopefulness one gets from listening to this piece that there still is hope as long as there is love as cliché as that may sound. But hey, clichés are here for a reason! Death is a Blessing takes you through a journey of a fight with being alive and the emotional struggle that comes with it, knowing that somewhere under the rainbow when this is all over and the spirit is free it will dance about without any constraint! A few songs refer to heaven, the stars and the moon as a guide to life on earth. I love the main vocalist’s voice, and the overall content feeling that you get from the music. It is hopeful and sad, dreary and upbeat. It encompasses the darkness and pushes it toward the light toward love. It is like a small tree that is reaching toward sunlight despite the fact it may be planted in the shadows. Knowing the light is there - the love is there - brings hope inspiration and art. Without the struggle there would be no music! Kudos to Kizmet for embodying the struggle in such a beautiful way.
The four-piece band Indiobravo consisting of Steven Bailey (vocals, guitars), Brandon Howell (bass), Eric Doyle (drums, vocals) and Roberto Morales (guitars, vocals) formed from the debris of other projects. Their story is a common one as bands in similar geographical areas sometimes end up recruiting a better drummer or that guitarist who is the style they want.
The band's first release is a short two song EP Indiobravo that tips its hat to rock bands like Guided by Voices, Dinosaur Jr, early Pavement and The Replacements. I think it’s safe to say that not only the song structure but also the production is reminiscent of a good amount of lo-fi recordings from rock bands in the early ‘90s. The EP was a complete DIY production and sounds live, raw and unprocessed like some classic records like Slanted and Enchanted and Bee Thousand. The first song is called “Breakdown” and starts with a distorted electric guitar playing chords and vocals. Drums, bass and another guitar enter into the mix before the thirty-second mark and the groove is easy to get behind. It feels like home to anyone who was and still is into indie rock bands from the early to mid ‘90s. The guitar solo has a J Mascis type vibe that has the perfect amount of crunch and distortion. Bailey’s voice wouldn't work in R&B or soul but is does just fine for rock. He’s got an almost lethargic voice that breaks at the seams during certain notes but fits the vibe and feel. The second track “Crawl Back” is just as good as ”Breakdown” if not better. It contains a little more uplifting energy and Bailey’s vocals have a cathartic punk feel that is visceral. I enjoyed the build of the songs. It starts with delayed guitar that gets layered with more guitar which leads to fireworks when the drums enter. The song arrives at an explosive and slightly chaotic chorus. My favorite part was the last ten seconds, which leads to utter mayhem. The two songs are around seven-minutes long so there isn’t too much you can say about this band at this point but I like what I’m hearing. I thought the band did a good job at forming a recognizable sound while also hinting at some of the more original aspects. I’m looking forward to hearing more from Indiobravo.
Old Flames by Lace is a summery, light and crisp album that tantalizes the audio senses. The album's name in itself is reflected in the content - odes to old relationships and how they made the artist feel. The first song “Velvet” is hosted by a classical piano and the stunning bird song voice of Lace. She has a warble like a morning songbird that breaks open the day at those soft golden, morning hours. The piano is emotional and sentimental. The lyrics are sweet and simple. "You are like velvet/You are like starlight."
This song must be referring to reminiscing about the beginning stages of a love affair. It is soft and cuddly, makes you feel like there isn't any bad in the world. Perhaps she hasn't gotten into the flaws of the person yet. “Common Sense” is a gorgeous ballad with a more Hawaiian ukulele like sounding guitar playing. There is some interwoven violin holding up the classical and buttercup insatiable sound that is this music. It reminds me of something that you would hear in a Wes Anderson flick - and I get the same imagery as I do from such movies - creamy pinks and blues and very pop art. The lyrics bring light to another facet of a relationship. "You don't realize you’re lonely until you are free." I believe this is regarding to the moment when you split ways with someone thinking that you just want to be solo - then loneliness creeps in and becomes reality. Although the content is a bit more emotionally distraught than the first track, it continues to uphold the sweet, soft buttery sound. Cruising through to “Better Days,” this song is hypnotic with its angelic voices and simple guitar strumming. This song also seems to be slightly tropical or beachside inspired. Lace’s voice somehow brings a freshness that can only be compared to being near the sea. There seems to be a gentle hint of steel drums in this song further bringing that beach-y love song sound. Lace's soul is so transparent through her voice that it really puts the listener in her shoes. “Pearls to Breakfast” utilizes a filter that makes her voice sound more old school ‘50s. It makes me feel like I am at one of my parents’ school dances - really throws me into a time machine. Love songs are timeless - always about heartbreak or being super fluttery head over heels. This track definitely feels more like an oldie though. Moving on in the album to “Drifting through the Open Seams.” "Can't you see your daydreams, drifting through the open seams." Poetic prose matched with a harmonic chiming sound. "I know you're not the type to settle down/that you would only drown." This song touches on the inevitable heartbreak we all face when we are ready to commit and the other cannot because they must be free. You can imagine her standing at the front door watching him take off. It brings up a welling of emotional familiarity and inner strength to be able to say just go and I will stay. The album ends on the song “Autumn Leaves.” I would like to believe this song is about the fall and a new beginning coming up. Let all of the old emotions fall down to the ground and the earth goes into winter hibernation before rebirthing again. "I miss you most of all my darling when winter leaves start to fall." That time when things are changing and you know you are going to want to cuddle and there is no love, it can make it even more difficult. She even speaks a bit of French in the end of the song which confirms my inkling that she sounds like she would fit well on a Wes Anderson soundtrack because he often has French singer/songwriters make debuts there. It is a gorgeous track that ties up the album by admitting she is generally missing her darling. Old Flames takes us on a journey through all of the different emotional levels of love. Sometimes you are in love with someone and they aren't with you. Sometimes you are ready for a commitment and they aren't and vice versa. You need space and they cannot get enough of you. This album fully portrays all of the facets of the tug-o-war, push and pull game that is love. I always say that when it comes to love I am like a broken Nintendo because I don't play games. But perhaps we all play games and fall prey to the incessant need and desire of love’s powerful force. I appreciate the gentle and angelic voice of Lace and her ability to sing forwardly about these emotions and for us to vicariously feel all that she is feeling. This album is very human and leaves deep grooves in my soul. Highly recommend it - it can put wings on your breakup if you are going through one.
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Guitar is such a versatile instrument it’s no wonder that it’s become such a staple in music. It’s an instrument that has become an extension of players’ limbs and certain people like Robert Plant and Jimi Hendrix have literally created their own sound, which musicians mimic to this day.
Somewhere along the timeline of music you had virtuosos like Joe Satriani and Yngwie Malmsteen pop up and the guitar became the star not the vocals. In a similar vein of Satriani and Malmsteen, Frank Summa aka Perceptions of Fate tosses out any vocal melodies for technical guitar wizardry that aims to impress and be enjoyed at a very visceral level. It’s the type of music that gives aspiring guitarists doubt in their own abilities or inspires them to get better. The album Ascension starts off with the title track “Ascension.” It takes a little bit of time to get going but once it does get ready for an intense ride. The overall vibe feels like hyperspace metal that you can picture people swinging their hair to. “Across Time and Space “ is where Summa really starts to flex his muscles. The lead work is more than impressive as Summa climbs up and down scales with relative ease. Get ready for intense mayhem after the two- minute mark - wicked fun. Summa slows things down a bit with “The Dream” which is a desolate sounding piece that reminded me of walking through a never-ending desert. “Done With This” ramps up the BPM and is quite possibly the most intense song on the album. The metal is strong with this one and climbs a number of high peaks. “Reign From The Heavens” kicks you in the throat with distortion and unexpected changes All the songs lead up to the seven-minute epic “Awaken From All.” The song is heavy in all sorts of ways so buckle up. It’s a comic space ride through a never-ending lead guitar and intense heavy hitting drums. I wouldn't recommend this song to anyone with a heart condition. My only minor complaint I have is that the recording quality wasn’t always great. There were a number of times I thought the guitar lacked some essential frequencies and the drums sounded deflated. Overall Ascension is an intense journey into mayhem with the guitar as the pilot. Recommended.
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John McGuire and Adam Hutnik aka Miroki have been writing music together since they were twelve years old but only recently released a four-song EP entitled Incredibly Kind Toward Animals EP. Kind Toward Animals is a complete DIY effort and is slightly above average in a number of areas from the quality of the recording to the nuances of the music.
The songs could fit into the pop punk/emo category and draw comparisons to a band like Modern Baseball. Like Modern Baseball the songs contains infectious vocal harmonies and energetic music that keeps you engaged. The EP starts with “Haven” which begins with jangly guitars and a strong vocal melody. As the song progresses the addition of whistling and inventive guitar riffs are fun ear candy, It doesn’t take too long to realize Hutnik’s and McGuire’s years together has paid off. The songs are fully realized and it’s obvious they have a clear vision of what they want. The next song “I’ll Be Gone” is another solid song that displays the talent of Hutnik and McGuire. It’s not an over complicated song but it is dynamic and catchy. The vocals carry the song but the creative instrumental parts like that around the one-minute mark are also impressive. The next two songs “Dry Eyed” and “Benny” are a similar vibe to the first two songs. That being said, “Benny” is arguably the highlight of the EP. “Benny” is anthemic and even motivational sounding at points - good stuff. Even if you aren’t a huge fan of the genre of music Hutnik and McGuire play it’s undeniable they are talented. There are a lot of other bands in this genre who come off whiny and in the end you feel like slapping them - not the case here. Miroki sounds exuberant and happy to be here.
Golden Glory by Honey Wars is a fantastic amalgamation of power pop, psychedelia and Americana. The songwriting is smart, the performances strong and the production has lots of sonic prizes to listen for.
The album starts with a fade-in of acoustic guitar before the rest of the band drops in for the song “Unbottled.” The lead vocals have a Wayne Coyne like feel in phrasing and tone which fit in well against the Americana backdrop of the band. The chorus is catchy and fun and the song concludes with a psychedelic keyboard solo featuring some eastern modes. “Doug’s Philosophy" is propelled by brushed drums and has some nice steel guitar and harmonica swells that ebb and flow around the melody. There’s an oboe solo that comes out of nowhere, but the incongruence works as it is EQed almost like a fiddle solo. There are a series of Dylan/Byrds like couplets that tie the end of the song up in a neat bow. The band excels on this vibe on songs like “Idle Hands” that neatly moves between nimble tambourine and a breakdown, “Bumblebee” an excellent un-ironic country song with a catchy melody and smart lyric, and “We Try, We Fail” which has some Sting inflections in the vocals and message. The title track has a late Beatles/George Harrison feel in the drone of the organ and the EQ on the vocals, and an excellent harmonized guitar solo. The band also shines when they combine disparate ideas together. “Baby, Baby” moves through several feels/ideas seamlessly in the same song. The chime-y guitars over the shaker give the song a ‘60s ballad feel before a mariachi trumpet solo fills in, and then the song moves into more of a country feel before synth strings eighth-note piano pounding swirls the song around into more psychedelic territory. In lesser hands, this wouldn’t work, but Honey Wars is very clever in tying all of these ideas together and justifying each entrance and transition, leading the listener through the song without letting them know that anything has changed abruptly. “Same Way” is a dreamy song with swimming electric guitars and trippy drums in 6/8 time that builds into a fuzzed out psychedelic chorus before moving into a 4/4 section that rocks out. It’s an eight-minute journey, but each minute feels earned. “The Ransom” is another acoustic ballad that introduces and takes away additional instruments and voices throughout. It’s a slow build and it works. The only anomaly to this concept is “Sweet Summer Morning” which tries to move between several feels and ideas but the transitions feel forced. There’s a nice Tom Petty-ish inflection in the chorus, but ultimately the song feels more like an exercise than a finished thought. A few of the other songs don’t quite make it across the finish line. “Hey Man” leans more towards early Wilco/late Uncle Tupelo alt country and although the harmonized guitar solo is a smart instrumental break, there are some exciting drum fills and even a vibraslap, the song meanders and never quite finds its way. “Julianne” is an acoustic ballad with some interesting guitar work but some inconsistent time in the percussion. The melody is pleasant, but lyrically, the song feels a bit long with the point being made earlier in the song. “Still, Oh, How Time Flies” is pure jangly power pop as if the Beatles had been American when they made Rubber Soul or Help and ends with a hilarious but poignant duet of harmonica and a school bell. This kind of sums up the feel of the band and the album, they’re lots of fun to listen to. There is obviously lots of talent to speak of and they are able to tie many ideas and feels together into a fluid journey.
The self-titled debut EP Taylor Casey by Taylor Casey is a nice collection of five songs that dip their toes into several genres while swimming in a sea of ‘60s and ‘70s folk rock. Casey has a convincing voice and each song stands well on its own. There’s elements of Lennon/McCartney, Steve Goodman, John Prine, Bob Dylan and others in the songwriting, production and performance.
“Heaven Knows” is an energetic piece that has New Orleans style trumpets bursting over bluesy honky tonk piano and gritty saxophones. The vocals are swamped in reverb and the vibe recalls The Band. There’s a lot going on instrumentally and it does get busy at times, but the energy carries the song through. “The Ballad Of Dr. Jekyll & Mr. Hyde” has a Ryan Adams-ish flavor when it starts out but finds a way to the orchestral heights of Wings with the single violin segue into a full string section. The influence continues with a bridge that goes into a lo-fi inner monologue of the alter-ego of the title character(s). With the nature of the song and the catchy hook that follows, it works as a thoughtful brief excursion. The final three songs are more closely linked genre wise. “Kindness Of Others” is a harmonica led folk rocker. There’s some nice harmony vocals that blend very well with Casey’s voice and reinforce a ‘60s Greenwich Village sensibility. “Holy Water” an early ‘70s anthem with Lennon-esque doubled vocals, lush harmonies, bluesy guitars and impressive organ swells. “If I Die Tomorrow” closes the EP with a Dylan-ish vocal inflection as well as a Highway 61 Revisited performance by the band complete with dueling lead guitar and organ breaks. The EP stands as a collection of songs that function well on their own. It’s a quick ride, but it’s a smart package to keep it short and sweet, putting more focus on the individual songs rather than putting everything together. Instrumentally, there’s a lot going on and some simplification might be a thought down the road, but the band sure packs a lot of energy and it’s an engaging ride. The hooks are catchy and Casey’s voice sells the songs.
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