Franknfuker is Elijah Frank’s moniker. My first thoughts were that he was one of the most hyperbolic singers I have heard when listening to Franknfuker Goodies. He reminded me of something out of a play. I later read that he has had an obsession with the play Rocky Horror Picture Show and it was all starting to make sense.
I wouldn't say his music is particularly catchy or even emotionally resonant. However I will say it’s pretty unique which isn’t easy to achieve. The production and recording quality is something that I hope improves on future efforts. There are a lot of issues I won't go into but the easy one that will help out a lot is simply putting less reverb on his vocals. I couldn't understand most of his lyrics which I felt were vital to the songs. “Gremlin Daze” is the opener and contains the most theatrical singing which is often humorous and sometimes off-key. “Last night I plucked my eyebrows a bit too short / now what do I do /what do I do, what do I do / you keep on noticing these things you do / I've noticed some things about you.” The song could have been shortened up by at least one or two minutes since there is little movement. Not much changes musically with the amount of synths he incorporates. Up next is the equally as theatrical “Maniac Cops” which felt like it was leading to something. The hi-hat and notes made made me feel like it was building to something a little more explosive but that something never happens. “Devatz” is an atmospheric song with very buried vocals while “Cruel World” slows things down and contains a bit more melancholy and emotion. “Le' Torrance Collection” is the catchiest song but the production is so lo-fi it's hard to fully enjoy. I can't say this is easy music to appreciate on first listen. His vocal style is not for everyone. I do hope he finds a way to make his music a smidge more accessible and melodic. The one thing I have to say is he’s original. He's doing his own thing and isn’t afraid and I got the sense he was being himself. That being said there is still a good amount of things on the production and composition side which could improve and take his music to the next level.
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Aaron Bowen is a songwriter and producer who just released his third album entitled Spring The Necessary Pilgrimage on More Than Folk Records. It’s a complete DIY effort where he recorded, mixed and mastered it. It’s one of most impressive efforts production wise that I have heard. That being said I am still a fan of someone who has recorded and mixed their album who then hands it off to a professional mastering engineer for a number of reasons I won't go into.
The music is a mix of jazz, R&B and soul, for the most part. Bowen truly has some talent taking these similar genres and combining them into a unique, cohesive sound. On top of that the songs are very catchy. He has no problem sounding exceptional in falsetto. Up first is “The Great Rabbit.” The music combines fuzzy bass, guitar, warm electric keys, percussion and pads. As much as I enjoyed the music, the vocals carry the song. The hook is very well done and I wanted to hear more of what he had to offer. I’m not sure if “Now I Know” was my favorite song but it was one of the more original ones. I say that because of the style. There an eastern vibe to it and the percussive aspects made me feel like I was heading into a tomb. The singing however is quite soulful. Up next is the more traditional jazzy sounding “Savage Harvest.” Unlike most jazz the vocal melody is infectious. “What is The Direction” is experimental in some ways but still feels connected to everything that came before. It has a little more in common with free jazz. The rising pads and samples were a nice touch. “ Around The Sun” is one of the more upbeat yet smooth songs on the album while “A Brave New World” has a strong beat and bass line. “Winter Women” was another standout which really just had a unique vibe which is slick, ethereal and atmospheric. “Seance” is another winner which is about as soulful as you can get. The samples are again tasteful. Spring The Necessary Pilgrimage is an exceptional album that gained my interest on the first song and kept it the till the end. Highly recommended.
Little Finn is an Indie rock band from Melbourne, Australia. Their self-titled debut EP Little Finn features four tracks of alternative rock genre with influences like The Red Hot Chili Peppers and the Arctic Monkeys. They have quickly attracted a local following and radio interest which is most likely due to the unique combo of a lively rock sound with a laid-back aura. There is definitely a mellow, beachy vibe to most of their songs, almost a 311-esque sound at times.
The album starts off with “The One” which instantly made me think of the California band The Expendables. It had the same mix of rock guitar and bass with an underlying surf-rock feel. I loved the overall sound, lots of loud guitar solos and aggressive drums with a mellow vocal melody. I’m not sure how I felt about the distortions on the vocals; sometimes it felt a little too much, but it didn’t take away from the overall appeal of the song. “Malibu”, despite its title, had a completely different vibe than the first song. With more of a dramatic rock intro, it had a darker feel with funky guitar and rhythmic bass lines. It reminded me of a less metal version of the alternative rock band Chevelle. The lyrics were fun and light and it ended with an entertaining guitar jam session. Next was “Should’ve Known Better” which had more of the beachy feel from the first song, almost ska without the horns. There was more of an intensity in the lyrics and ambiance, and it seems to fit with the progression of the album. I really liked the chorus, the repeating lyrics and the harmonies were full of passion. The EP ended with “Sweet Lady” which felt very different from the first three songs. The vocals came across as a little shouty and overwhelming, I preferred the previous more understated tone. But I still really liked the song; the harmonies and catchy lyrics made up for it. Again there was a cool mix of rock n’ roll and quirky ska melodies. I can’t say that it felt like a finishing track, though. Another song or two would have helped me get a better grasp of the overall direction of the band. Little Finn was a fun debut. Since the band is so young and new to their sound, I expect a lot of evolution and growth. But there are a couple of stand out tracks on this EP that establish Little Finn as a band to watch. Their sound is original and fresh, and the individual performances by each musician are impressive. As their songwriting and production expand, I think they’ll be a worthy contender in the Indie rock scene.
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Shadows and Fog is one of the more interesting albums I have ever had to review. I must admit it took me a few listens to really get into the whole atmosphere of this album. It wasn’t the song writing that’s for sure, in fact the song structure is what kept me motivated to find the gold in this record.
Hedfog’s new album is a concise experimentation with Synthpop elements and original hooks that sometimes make you wonder where the direction of this orchestrated mass of futuristic sounds is going. This was a challenge for me sonically which I love, I really didn’t understand what I was hearing. But with a few more listens I could start to paint a picture in my mind of what was going on. I got a real Nine Inch Nails meets David Bowie meets LCD Soundsystem and what a treat that is. My favorite track off the album is probably “Down.” This song sounds like he worked right with Trent Reznor making that deep gritty synth riff that powers the whole song through a hypnotizing experience. The arrangement will have you head banging the whole way through I promise anyone reading this. Having mostly been recorded at lead man Peter Greasley’s home studio in Brisbane, Australia, I have to give credit to the album’s all around cohesiveness. I am big on how albums are recorded because that really is the distinguishing art from a band or solo act. To really characterize all of your intention into a concise album that is recorded and sounds good is no easy feat so I give credit to the album’s overall great production. Greasley borrows inspirationally from great acts such as The Pixies, The Presets and Kasabian. The influences meld together well to create a very original sounding effort. “All Riders” is upbeat but reflective in sound and thought. It was a very original arrangement. I loved the piano work with the swing-esque drums tapping along with Greasley’s voice sounding sharp, clear and pristine. This album is certainly a trip. I would recommend it to you all. Give it a few listens and really sink into the gold.
Julia McDonald is a young artist who just released an EP entitled Gravity. At the tender age of nineteen she still has a lot of growth ahead of her as a songwriter but does show some potential on this EP. The songs unequivocally sound more viable for commercial and mainstream appeal. There are catchy hooks and palatable melodies that the general public will enjoy but nothing here that will attract an audience who prefers anything even a little off center. This is pop music - nothing more, nothing less.
The title track starts with “Gravity” which starts with a strummed guitar, drums and vocals. She has a good voice. There's no denying that. Suffice it to say the competition is going to be steep considering the familiar pop format that doesn't do much to separate itself. Up next is “Games” which felt even more pop oriented than the title track. The song is breezy like a summer day and apt for teenage consumption. “Pretty Committee” reminded me of Avril Lavigne while “No Good for Me” is one of those persevering through breakup songs. The next two follow similar structures. The production felt scattered like trying to see what would stick. It’s all undeniable pop yet a song like “Simpler Things” has a darker, electronic vibe but some of the songs felt like summer bubblegum hits. McDonald needs a little direction. Even though she has an FM radio sound it isn’t distinct. Her sound was very general. The production is well done and perfect sounding however doesn't attempt to push boundaries. It’s very safe through and through. I understand it's pop music but there's still needs be something there that makes you go - wow that's sounds unique. The good things are she has a good voice, ambition and is very young. I guarantee her style will shift and evolve as she starts to experience more of life. I hope to see her name in lights soon. One thing I do know from being in the music business for over twenty years is to stay away from trends. If you already heard it - it's already passé. Be a singular artist as much as possible and there will be a better chance of your music finding its way through the noise.
Dessie is an artist from Australia who recently released a five-song self-titled EP Dessie. It didn’t take me long to appreciate her music. She has a soulful, jazzy voice that reminded me of a couple of notable female singers. There is unequivocally similarities to Amy Winehouse and I would also say Meghan Trainor. The music is quite good throughout but these songs are really about the vocals.
Apparently this is a DIY effort that was recorded in a makeshift studio on consumer gear. She was working with a producer who obviously knew what he was doing. The results sound professional. It's very rare that I hear something at such a high level of recording quality that wasn't recorded in a pro studio. As far as the arrangements go those were on point as well. The songs don’t drag and are full of infectious and proper use of little production tricks. Up first is “Love Train” which starts with atmospheric pads and vocals. A deep, soulful ’70s sounding drum kit and electric keys enter the mix. The hook is deep and mood is soulful, melancholy and somehow also upbeat at points. Up next is “Bullet For My Back” which is another success with a similar vibe which almost felt like a bit of an extension. “Morphine” contains fluttering synths, sax and cascading vocal harmonies. I thoroughly appreciated the dark, misty production on this song. The end of the song reaches a crescendo and slowly fades out. “I Will Say It Now” felt like a hopeful ballad. The closer “Beckoning Part” really hits upon the soulful jazzy vibe she had in the first two songs. A great way to end. Dessie has a boatload of talent and she seemed to team up with the right producer. She certainly has enough talent to go far with her music. All she needs now is some luck and a great marketing team. I hope to see more of her soon.
The Detached Collective is Tom Barter (guitars/vocals), Joel Allen (drums) and Ben Kaye (bass). In 2015 they released Forever and are back with a four-song EP entitled The Truth?
They are a pretty straightforward rock band and my first thought was that Barter sounded very similar to Eddie Vedder. His inflection and delivery unequivocally sound almost identical at times. In fact they even have a song that seems to be a tip of the hat to a specific song entitled “You're a Better Man.” The band opens with the title song “The Truth?” which is a fun, forward moving rock song. It gains energy as it progresses. I thought it was smooth and the transitions were tight. The song never dragged and was one that I’m sure sounds great live. “HaHaHa” has a similar energy to the opener. It definitely has a grunge flavor it. The lyrics are very broad and could pertain to any number of things. Barter sings “I, Haha I, I don’t need to know you To know, what you have done Oh I haha I, I don’t need to know you To know, what you’ve become….. Alright.” Up next is “You're a Better Man” which as I mentioned has so much in common with the Pearl Jam song “Better Man” that I wonder if it's supposed to be some sort of a continuation. Overall, it was a good sounding song that is closer to a ballad then a straight rocker. The band closes with a no frills rocker entitled “How To Feel” which comes in around the five-minute mark where the last minute is dedicated to a “Free Bird” type guitar solo. It felt like an apt closer if a little on the predictable side as well. The Detached Collective is a really solid rock band and I think there are some improvements from their first effort. I would still like to hear if the band could define their sound even more on their next effort and veer away from some of the more overt influence. Overall, the songs are enjoyable, well delivered and rock. Recommended.
New York-based rock band Crowd The Airwaves recently released their sophomore album All The Things We Don’t Say. Any fan of alternative rock will love this one.
The all-female rock trio brings a boatload of energy on this project. I only note that this is a band of females to draw a connection between them and Sleater-Kinney. While Crowd The Airwaves has a distinctly different style than Sleater-Kinney, I would definitely note that vocalist Heather Lee Marvin easily matches the upfront energy of Carrie Brownstein, while Lindsey Dragan and Christina Elliott provide Marvin with an exceptionally full foundation of sound. The seven songs on this album have different personalities to them, which is definitely one of the album’s best qualities. “No Approval” brings to mind the bridge in Green Day’s 2004 hit “Holiday” because of Lindsay Dragan’s seemingly innate ability to make you move with her thumping floor tom and the wicked distortion on Heather Lee Marvin’s vocals. This track certainly gives the project as a whole some character, while it also subtly conveys the band’s versatility. Due to it’s pristine power, “Unknowable” is a superb cap to the album as a whole. Dragan carefully slings soft vocals over Elliott’s slow and passionate electric guitar in the verse, while the trio comes barging through your earbuds during the loud chorus. The band is a rollercoaster without even trying to be one, which is a really charming quality to have. Their seemingly effortless ability to move their sound is hard to find in a lot of rock bands, but they do it without coming up for air. For a second project, this band assumes a delightfully surprising maturity in their sound. There’s no need to give mention to the individual talents here because it’s apparent upon first listen. However, the chemistry that this group assumes is what, to me, brings their sound it’s personality and magnetism.
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This project takes the concept of spaciness to a new level.
Human Condition is Lark Remy’s follow-up to her 2013 project Host. The four-song EP was recently independently released. Remy’s music encompasses a style that encourages the listener to drift into a subconscious venture of the human spirit. To categorize Human Condition as one genre or another would be ultimately unfair. Sure, there are plenty of clear electronic, specifically industrial, influences here, but the entire project seems to be more experimental than anything else. Lark Remy sounds like she’s is drowning in the sounds, yet there’s a pleasantness in her submersion. The vocals and instruments become uniform in the first track, and the bind remains constant throughout the rest of the EP. The samples on some of these tracks seem to assume physicality at times. “Dream Sleep” dazes with it’s smooth, yet powerful textures. Drawn-out synth notes set the foundation for Remy’s powerful and emotional vocals to drift with the tides of the ever-moving instrumentation. By far, I found this to be the most emotional track on the EP, mainly due to it’s beautifully helpless aesthetic. Remy covers Smashing Pumpkins’ 1997 track “The Beginning Is The End Is The Beginning” and gives the epic Corgan tune some industrial flavor. I think this may be Remy’s strongest vocal performance on this project because the more minimal instrumentation, in comparison to the other tracks, allow the singer’s voice to ring. I think that Human Condition could use a little more of Remy’s sweet vocals because, like I said earlier, they live not hidden, but contentedly submerged within the songs. Human Condition is incredibly well-produced and artistically conscious. Lark Remy seems to embrace the elegant chaos of her sound, creating a glitching paradise that any open-minded music listener will enjoy.
Mike Seguin (guitars/vocals/keys), Dan Fried (drums/percussion/vocals) and Budd Lapham (bass/vocals) are Heavy AmericA. They released an eclectic rock album entitled ...Now. The production is pretty solid overall and the songs are well written.
That being said the songs felt pretty traditional no matter what niche they attempted and there wasn’t a whole lot of out of the box experimentation. They open with “Proud Shame” which starts with drums, bass, guitar and moaning vocals. I was intrigued by the intro. On the verse you get to hear the vocalist’s pipes. He sounds good and I thought the melodies were fairly catchy. Once the chorus hits there is a classic ’70s crunch to the chorus. Up next is another solid rocker entitled “Bleed Mary.” The song has an ‘80s metal vibe especially during the part where his vocals are aggressive. “Pray For Me” is one of the heavier songs on the album while “Sweet Kisses” almost has a Steve Miller band type vibe. As the album progresses the band gently bends the rock genre implementing aspects of prog, metal and classic rock. One of my favorites was “Goliath” which had a distinct ’70s flavor that will make Alice Cooper fans happy. The other highlight was “Achilles Heel” which had a couple of infectious grooves. Although ...Now isn’t the most contemporary or original albums that I have heard recently it has its moments. At the end of the day Heavy America is a no frills rock band playing a batch of solid songs.
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