Driving Underwater is a three-piece band from Medford, NJ. The band is made up of William McCorry (guitar/vocals), Rob Biello (bass/vocals) and G. Fiordaliso (drums). They recently released Emotional Commitment.
The band has a pretty straightforward rock/emo sound not too far away from bands like Car Seat Headrest and Cloud Nothings. After an eight-second intro track the band gets going with “7 years” and it is made of crunchy guitar chords, a dynamic beat and a steady bass. This song in particular sounded like Weezer and other like minded bands. “Tongues” is in a very similar vein as is “Anyways” although the saxophone was a unique aspect of the song that gave it a distinct quality. As the album progressed I was impressed by songs like “Dad Rock” and the surf rock inspired “Getting Lost.” This is the sound of a couple young guys coming together to have fun. That’s what it sounded like to me. I’m still in a band and in my fourth generation of life but I started when I was in my teens. Emotional Commitment sounds like young dudes from top to bottom. The EP was a DIY effort and sounds every bit a standard home recording. I love the DIY approach. Their ideal production would be Steve Albini type aesthetics somewhere close to the album Attack On Memory. I’m not saying they have to hire Albini anytime soon but working with an engineer who can get closer to that sound would be a good start. The songwriting and delivery is solid. I would however push them on how they can further create a signature sound. Overall, I think this is a solid start from a promising band. I wish them luck in their evolution.
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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 Supernova Wallflower Trials and Dreams 3.6 Josh Ace Josh Ace 3.6 Trends Palettes 3.9 Lunar Reverb Younger Days 3.8 Ripship Greebles 3.6
Sam Daugherty aka Dullsville is a project he started a couple years ago as a creative outlet. He recently released The Song Festers which is an eleven-song album. On his Bandcamp page he explains he is inspired by ’60s pop, post-punk and ’80s goth rock, and artistically inspired by Saturday Morning Cartoons, Archie Comics and Horror Movies. I found the melding of genres to be highly original and not just a typical combination of genres like blues, folk and rock or other genres that seem to go together.
Daugherty does a great job melding these genres and everything seems to lean in different ways. I was really impressed by how he takes aspects of goth and ’50s pop and makes it seem like a natural fusion. The album starts with “Sad” which is an organ fueled song. It’s dark but also sort of fun. I was reminded of the group Gorillaz that sort of have a similar aesthetics. “Painted Like a Clown” was a highlight and another example of his genre bending in ways most artists won’t even think of. The ’50s vocal harmonies that then go into this metal riff was undeniably cool. The post-punk goth blends with a sense of levity on “Under Control” which is fun and even a little humorous. I loved it. “Bite Size” is another highlight. The song is undeniably catchy but there are also some killer transitions such as the dissonant and vertigo inducing breakdown and chorus. “Cowardly Dog” mixes of elements of bands like Queens of the Stone Age with grunge while “I Don’t Feel Well” is another testament to his ability to combine disparate genres. “Haunt Me” is a bit of a ballad and also a slow burn. “Burn It Down,” “So Ugly” and “Sayonara” were impressive in that the change is to slight degrees. He closes very strongly with “Sleep Forever” which sounds like a lullaby in some ways and is also him at his best by taking the song in directions you wouldn’t think. This is an exceptional release and one of the most original albums I have heard this year. Highly recommended.
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Ted Hajnasiewicz is an artist from MInnesota who says he “driven to write the perfect song.” As a musician myself for the last couple of decades that makes perfect sense to me. You are always trying to find that perfect sequence of sound and even though you might get close, it never can be “perfect.” Hajnasiewicz's recent release Tony Wanted to Make a Record is a big sounding album with an impressive array of musicians. The full lineup is Ted Hajnasiewicz (vocals/guitars/keys/mandolin/whistle), Tom Carlon (bass), Katianna Carlon (vocals), Mike Arturi (drums), David Falbo (harmonica/guitars), Tobias Wilson (pedal steel/dobro) and Tony Preston (guitar).
This album felt drenched in Americana to my ears. There are some songs which have a lot of movement and others which are ballads. Either way you cut it I found the songs moving and very polished. The production and recording quality was top notch. The album begins with the invigorating “Lethal Dose” which revolves around distorted guitars, a driving rhythm section and impressive vocals. It’s a straightforward song with catchy vocals and the American spirit of this song is undeniable. I thought it started the album with a bang. Up next is “Darlin’ What About Me” which features some gorgeous vocal harmonies. It’s not easy to find male and female vocals that sound this good together. The pedal steel creates a reflective mood to the song that could bring a tear to your eye. Things start to feel more hopeful on “Fly” but this is also a slow burn. It revolves around the female vocals and male vocals but they are separate for most of the song. “Blinded” is anthem rock. It brings up the energy and is a fun song while still feeling meaningful. “F.R.O.G” is again reflective and perhaps more melancholy than anything else at least in terms of the mood I was feeling. That being said it seems to be more about solace when you listen to the lyrics. The end of “Drive - Thru World” might be my favorite song. I especially enjoyed the atmospheric ending. Hajnasiewicz closes with the nostalgic, pensive and warm “Some Sunday Afternoon.” This is a great album. It’s cohesive, seamless and emotionally resonant. Recommended.
Joel Zarders aka St Eriks Street is based in Omaha, Nebraska and recently released The Outprocessing. The concept for the album was one of the more unique ones I have heard in recent memory and worth repeating. He explains, “it is named after a task in the military that involves leaving the base you are stationed at or leaving the military altogether. I am an Air Force veteran and ‘outprocessed’ in the winter of 2018.
The music is instrumental and for the most part revolves around synths, guitar and electronic elements. I thought there were some similarities to the band Boards of Canada in that the music was often pensive, atmospheric and beat heavy. The album starts with “Spaced Out” which is a killer track. This song reminded me of one of my favorite instrumental hip-hop artists - Prefuse 73. There is a good amount of reverb and instead of revolving around one particular melody there are multiple melodies to wrap your ear around. “Farnam Blues (Revised)” is more ominous sounding in a number of ways but also oddly serene at the same time. I enjoyed the juxtaposition and also the way the different elements melded together on this track. We get into slightly different territory on “Dodge Noir, Pt. 1.” There is more focus on the detail of the sounds and also more space that allows the song to breathe. I liked how the percussive elements trickled in. “Dodge Noir, Pt. 2” however is more haunting and is led by a sub bass that is surrounding airy pads. Next up is highlight “Maxing Out on Love” which is where there is a burst of joy and optimism. There are more high frequencies and it feels like a celebration in comparison to the previous tracks. We get back into the details with “Sending a Signal'' while “Lady of Lourdes’” has a unique focus on what sounds like synth strings. Last up is “Hanscom Groove'' which is oddly playful but off-kilter. The emotion was gray which was cool and reminded me of Amon Tobin. My only critique was this release had a very in the box type of feel to it. I wanted a little more organic quality at times. This is a good album and it flowed really well. I know this is his first album under this moniker but hopefully it’s not his last. Take a listen.
I have to admit I haven’t listened to a compilation album in a long time. It was refreshing listening to Quarantine Compilation by Shred City Presents. Everyone has been affected differently by the virus and it was interesting to hear how artists decided to express themselves.
The story for this release starts with Josh Inman. “On March 15th, just as the outbreak was reaching New York, Inman (self-styled "Mayor of Shred City") wrote a tongue-in-cheek post in his social media asking simply "Who wants to start the "Quarantine Comp" of bedroom tapes?" adding "This should be documented somehow." Little did he know how eagerly his fellow musicians, mostly friends from the Brooklyn DIY indie rock scene, would join the cause. Acting with haste, Inman started making arrangements, creating artwork and collecting emails of prospective artists. The album contains eighteen artists and a number of different styles. I did enjoy all the songs but there are a couple songs that stuck out to me. The opener is entitled “Sandstone” and is by Debbie Dopamine. It’s a sparse song revolving around guitar and vocals. I really enjoyed the double tracked vocals which were tender but powerful. “Even This Will Pass” was a delightful song. It was beautifully optimistic and reminded me of The Beatles. I thought the playful vibe amongst the dire situation was a juxtaposition that worked wonderfully. “Unsolved Miseries” by Onesie was a rocking song and sounded like some of my favorite artists like Broken Social Scene and Yo La Tengo. The bass heavy “Quarantine-Age Werewolf” is full of levity and a fun romp as well. It sounded like a perfect song if they ever did a reboot of the movie Rocky Horror Picture Show. The pensive and infectious “Social Distancing” by Monster Furniture contained hypnotic guitar patterns while “Dead Senator Warpath’ by Birds of Western Beef (Featuring Molly Buckley) is a beautiful and haunting song. “Under a Lavender Sky'' is an atmospheric electronic sounding track that felt cosmic and otherworldly. The anti-folk vibe of “Reckoning” by Birds of Western Beef (Featuring Patrick Curry) was haunting yet hopeful. I do want to stress I appreciated all the artists but simply didn't have enough ink to go into detail about every song. This is a fantastic compilation of talented artists who came together to create a unified sound and sentiment. Recommended.
Tyler Mann is a seventeen year-old musician from South Dakota who has been releasing music independently for close to two years. Divide & Conquer reviewed his first release Music From The Metro a couple of years back and he recently released From Space!
The EP opens with “Pretentious Song Title No. 4” which seems exactly as he explained. He is on the keyboards and hitting single notes. It’s an atmospheric sound that is serene and calming. I would say it felt like background music you could have on while you are doing a different activity. It doesn't last very long but does have a slight rise in tension during certain sections. Next up is “To The Earth Sung From Space'' which has a similar quality to it. It could be a guitar drenched in reverb of a setting on the keyboard. At any rate it’s another ambient piece and is about the subtlety and nuance of the music. There is a slight shift in tone and overall there is an alien like quality to the music. At times it can also feel a bit haunting. Things start to feel more cosmic on “The End of Death/The Beginning of Life'' which feels more like you are lost in a vacuum of space. It warps back and forth. I would say it also can give you a sense of vertigo. Last up is “The End of Life/The Beginning of Death'' which is the most dissonant and on this song you get some harsh noises and it sounds a bit like a rocket taking off. One on the things he doe very well is create a cohesive experience from beginning to end. It's an EP that works better when you listen from the beginning and go all the way to the end. I’ve been a big fan of ambient music for a long time. Artists like Fennesz, Tim Hecker and Keith Rowe have been in my playlist for the last twenty years. If Mann isn’t aware of them I think it might behoove him to hear where music like this can go. Overall, this is a solid display of skill in this domain. I think this was a big step forward since his last release. I’m looking forward to hearing him evolve as he still has plenty of time to perfect his craft.
Halfway Home is the debut album from Christchurch, New Zealand trio Blackholestars. The group was formed by Richard Grist, who sings and plays guitar on the record. Greg Mannering (bass) and David Deakins (drums) round out the group.
Grist demoed the songs in his home studio and presented them to the band. The band says that the songs “needed to be catchy,” and indeed they are. Right from the first track “Maryanne,” Blackholestars grab us with their pop/rock--maybe a little punk--approach. Three chords (OK, four), straight-ahead, add a shout-along chorus. Everything you need, nothing you don’t, under two-and-a-half minutes, onto the next. Listeners who enjoy XTC, The Clash, Jet, Iggy Pop, etc., will find this fitting right into with their playlists. The band recorded Halfway Home live in the studio, which is a perfect choice for this genre. The method lets the songs live and breathe, allowing tempos to subtly push and pull as needed. This doesn’t mean that the record is sloppy, or under-produced--quite the opposite. The band can play, and the overdubbed extra parts fill out the sound nicely. There are backing vocals throughout the album (provided by Mannering and Deakins), as well as a bit of cello (played by Lucinda Whitely), piano (Kirsty Brownlie) and keyboards (Ian McAllister). The music is complemented well by the lyrics. These eight songs address the confusion (and joy) around love and relationships. The lyrics work well individually, or as part of a longer story arc. You can find empathy here for a breakup, for a new relationship or for an “it’s complicated” status update. Of the faster tracks, I particularly enjoyed “I Surrender” which feels a little like a reprise of the opening track (“Maryanne”). The guitar layers (check out the wah-wah parts on the second verse) and organ wash worked well, as do the keyboard bits during the middle breakdown. On the slower side, the minor-key “It’s Gonna Be Hard” moves the bit accents around a bit, offering a nice change-of-pace. “Lovers” is especially well-constructed with a pretty vocal melody echoed in the guitar solos. Grist throws in a little bit of guitar heroics, but just a wink and a nod: enough to let us know he’s quite technically capable, but also tasteful enough to keep the fireworks under wraps. Halfway Home is a fun, musical album. Work it into your playlists!
The Fills is an alternative rock band based out of Norman, Oklahoma that formed in 2017. They mention, “Our influences range from ‘90s rock giants like Nirvana and the Smashing Pumpkins, to 2000s indie rock like The Strokes, The White Stripes and Bright Eyes with a sprinkle of ’80s new wave, and much more.” I was in college about twenty years ago and funny enough my band back then was influenced by the same exact bands. The band released Negatives which embraces a lot of the same bands from my era.
The EP starts with “Inverse” which is an atmospheric song and revolves around reverb laced guitars and a number of airy elements. It’s fairly hypnotic and I enjoyed a good amount of what was happening in the background as well as the catchy vocals. As the song progresses more prominent guitars are introduced. The band ramps things up with “My Machine” which drives a lot harder. It sounded like a mix of indie rock bands such as Arctic Monkeys and Bloc Party. All things considered it’s a straightforward song but also catchy. They have more success with “Less Like Heaven” which is the arguable highlight in the batch. It’s again a straightforward rock song with comparisons to The Strokes being a little more obvious. “Moonshine” has its moments as well. They close with “Time Is Your Worst Enemy” and he actually sounds like Julian Casablancas on this song and I thought this song was the other highlight. This is a complete DIY effort and the band did a solid job in terms of the production. I think working with an engineer or a least a mastering engineer would be the most obvious next steps. The band is off to a solid start but they are currently wearing their influences on their sleeves. My experience producing bands over the last couple of decades is that bands usually start to form a singular and signature sound in two to five years in if they are lucky. Overall, I thought this was a good EP and ironically it will probably resonate most with people in my generation. That being said I’m glad that the new kids on the scene are keeping the flame alive.
The Missing Frets meld elements of alternative, rock and African rockabilly. The concept of the band was inspired by songwriter/guitarist Shaun Lovell and back in 2013 he got to work with with bassist Bindu Lovell. The energetic drummer Johnny Martin joined the band in 2016 after the duo relocated from South Africa making Philly their home base. The band recently released Pipe Dreams which is a five-song EP.
The EP starts with “Bodhi Tree” which might be the highlight in the batch. I liked the vibe right off the bat which was calming, serene and just a little haunting. That being said the song picks up some energy and I found the chorus to be very catchy. The vocals sounded great and I thought the tones and textures were unique. Next up is “Hole in the Soul'' which is a little more straightforward in some ways but by this song I was digging their signature sound. It reminded me of the band Clap Your Hands Say Yeah mixed with Talking Heads. It is danceable but also very indie rock in a number of ways. They continue with “Red Ballon” and here we get into reggae mode with the sort of classic upward strumming from the guitarist and a walking bass line. This song felt very mellow and a good choice to have midway through the EP. They go more into rock mode with “Hate Street Dialogue” while the closer “Red Eye Flight” is a fun one and has a hopeful and optimistic vibe. The music was great but I didn’t get many surprises, good or bad. I think the main selling point for me was the unique aesthetics of the vocalist which really seemed to define their sound. The recordings were a tad on the lo-fi side but you could argue that was some of the charm. Overall, this was an enjoyable EP that was consistently impressive. Take a listen.
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