Town Meeting has made a name for themselves for the last couple of years. In 2016 they burst on the music scene. The Boston-based band has already opened for such legends as Bob Dylan, Jason Isbell, Brandi Carlisle, Old Crow Medicine Show, Willie Nelson and Sturgill Simpson. They recently released a single entitled “Silence Speak.”
The band has a kinetic and hopeful energy to my ears. Their music seamlessly blends a lot of genres like Americana, rock and folk. Suffice it to say I felt they are in a similar camp to bands like Mumford & Sons. The song starts with a clean acoustic guitar and vocals. You can hear a bass rumbling in, which starts to get the movement going. The vocalist has a dynamic performance and I was immediately attracted to the tones and textures of his voice. A little after a minute in the band starts to hit their stride and I loved some of the nuances such as the work the drummer was doing on the ride cymbal. By the time the group gets to the chorus they are fully blooming and then they go into a brief breakdown. The guitarist picks his spot with notes as the drummer goes to work on the toms. It’s also time for the vocalist to shine as with every passing measure there is an intensity to the vocals. Eventually the vocals drop and you are left with the most epic crescendo in the song. Once the crescendo peaks there is a brief section where the vocals and guitars create an intimate send off. It's a powerful and very dynamic. Although this is a review of just the single I encourage you to check out their new album entitled Make Things Better and even their back catalogue. After I listened to their newest single I decided to hear how they evolved and there is a lot of music that deserves attention.
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Bill Wilson is a guitar player from Petoskey, Michigan and has been playing guitar for over forty years and for the last twenty years has worked on fingerstyle acoustic music. He mentions this about Crooked Tree, “This album was inspired by the natural beauty of the northwest corner of Michigan's lower peninsula.”
The songs are instrumental and very sparse. It’s all about the guitar work. Wilson is a fantastic guitar player in a couple different dimensions. I’m also a guitar player and have been doing so for about twenty-five years. Personally, I never understood guitar players who seemed to be all in on technical skill and in exchange give up some of the aesthetics. It’s true that the space between the notes is just as important as to what is being played. Wilson melds the best of both worlds with this release. There is undeniable technical ability but also he is is passionate about the emotion he wants to impart. There are fourteen songs on this album and it is an album that you don’t have to switch up any of the songs. They are seamless partly due to such a minimal amount of instrumentation. That being said there are clear emotions and patterns of energy contained in each song. One of the best examples is the juxtaposition of “Doodlebug” and “Summer Mornings With You.” “Doodlebug” has a lot of movement and feels fun and festive. Once that is over you are introduced to “Summer Mornings with You” and with that there are more reflective emotions with shades of autumn colors. The whole album is like that. There are different shades of emotion and sometimes it is subtle. It’s analogous to the difference of our experience of happiness, There is that feeling you might get when going for a hike in nature and then there is the feeling you get when you have a night out with a loving partner. Both might make you happy but there are slight differences in the patterns of energy if you pay attention. The same is true here. If you pay attention to the nuance of these songs you will notice the degrees of difference. It’s also important to mention how important recording quality is for this type of music where if a thumb brushes against a string it can make a world of difference. The recording was exceptional and truly lets you experience the wide array of sound. This was such an enjoyable album. Your ears will thank you. I suggest grabbing some tea and just relaxing before you listen. Recommended.
Originally from York, Pennsylvania, and now living in San Francisco, singer/songwriter Eric Long is following up from his debut A Long Way From Home with a full band record entitled Looking Up. Departing from the sparse bedroom recordings of the previous album, here on Long’s latest he eases into a full band vibe with deep harmonic overtones. Looking Up features The Short Tempers with David Pascoe on fiddle and mandolin, Rhyne Erde on drums, Thom Beneducci on upright bass, Dave Zirbel on pedal-steel and Tom Belling on resophonic and electric guitar.
With influences ranging from Mississippi John Hurt and Taj Mahal to progressive musicians like Charlie Parr and Jack White, at its core, Long’s music is fundamentally folk music that hones a sound steeped in some of America’s earliest musical roots. His music does have a classic appeal, spinning golden sonic landscapes with his raspy timbre backed by a full band vibe with the fiddle, mandolin, drums, upright bass, pedal-steel and electric guitar jamming in the backdrop. Looking Up opens with “Everyday,” where deft strumming on the acoustic guitar paves the way on this folksy and Americana track. The energy on this song is raucous. The sounds of the guitar and mandolin goes on to sound off on this track. Long’s vocals are raspy and enthused. The music is warm with a stirring pulse. The bouncy rhythms will get you shuffling your feet and bobbing your head in time to the music. Following is “Carolina,” which is a sauntering number, making it a definite slow burn. The sounds on this track are soft and quiet. This track covers the Americana and country-blues landscape. The acoustic guitar adds an arresting cadence to the start of “You Only Love Me When You’re High.” This is a stripped-down number with the acoustic guitar and Long’s vocals. On the closer “Hypocrite,” a sauntering drumming beat gives off an electric performance in the start of this track. Next, the sound of electric guitar riffs sounds off.. This is a slow growing ballad. Long rolls out all the stops with this slow burning number filled with a simmering and sultry vibe. The album overall sounds like the band is having a great ole time playing together. Long shows he is an artist willing to work with what’s familiar as well as innovating on a sound that is on its own wavelength. With vocal harmonies with a full-on sound packed with a soulful punch, these tracks covers the American catalogue from folk rock and country blues, to easy riding country and bluegrass. Fans of the aforementioned genres will find themselves having a good ole time with these honeyed spun tracks.
Molly Dangerous is a five-piece band composed of long time friends who have been in the music scene for a good amount of time. That being sad they officially formed in 2020 and already released an eight song self-titled album Molly Dangerous. Suffice it to say the band got to work fast.
The band certainly has chemistry and I found this to be an enjoyable batch of rock songs. Their music is relatively straightforward but really well done and as I was listening to the songs it felt like it would translate in a live setting. I thought the music has shades of bands like Joy Division, Interpol and a number of glam rock bands but perhaps with a little more levity in some ways. The band gets going with the title track and it felt like an opener. They grab your attention right off the bat and this is a romp that is fun and with the perfect amount of attitude. The vocalist sounds great but the whole band seems to be in top form here. “Comin' For Your Gunz” brought me back to my teenage years in the ’90s. This felt like prime rock that if you were alive back then was very popular. The hook is memorable and an overall catchy song. Some of those post-punk qualities come out on “Things We Left Behind.” I’m a sucker for the driving rhythm section and this song delivers. The darker tones and textures on this song were great but I also liked how they picked their spots. They have more success with “I Need Your Lust” while “Monsters” has a more noticeable synth element. The baritone on the song made me think of Matt Berninger from The National. “YDM'' might be the highlight. It drives in a glam rock era David Bowie type of way. They don’t miss a beat and keep the energy up with “Outta Kontrol” and close strong with “Scaredy Cat.” As an engineer myself I think I just wanted a tad more fidelity in terms of the recording quality at times. I would have shaved back some of the high end frequencies. Overall, this is a great rock album. I’m surprised they were able to get these songs off the ground so quickly because they sound full formed and repeat worthy. Recommended.
The solo project of Andrew Zizik is Homeless Jones. He states on his Bandcamp page that Baby Steps was recorded at home during the quarantine. The music fits into what would be called bedroom indie pop. It’s an album that is full of songs that are just flat out fun and infectious. This music reminded of a couple different artists and to my ears sounded like a mix of Animal Collective and Tame Impala.
The album is full to the brim with music. There are thirteen tracks total and I was pleasantly surprised that every song felt up to par in terms of hooks but there are some incentive transitions and use of color. For example, things can get dark and then can suddenly feel like there is levity. The subdued bedroom funk is apparent on “Polyrhythm Girl” which is a prime example of the similarities to Tame Impala between the psychedelic flavor and even the vocals. “I Like Your Vibe” is absolutely hypnotic and such a dynamic song. You will end up moving to the beat even if you’re sitting down. There are some different flavors. Take for instance “Driving Backwards” which is a killer track and I loved the dragging hi-hop beat on this song. This is an example of Zizik’s complete mastery over the subtle tonal shifts of emotion. As the album continues I can't say anything fell short. That being said I thought there were some highlights. The off-kilter love song “Surrealist Plea” takes so many twists and turns and all of them unveiling new tools in his arsenal. “Special Kind” is super lush and a unique spin on a ballad in some ways while the heavy hitting “The Depths” pushes his production skills into new directions. “Highroglyph” is a reggae influenced song and one of the high moments on the album. Baby Steps is an example of bedroom indie pop at its best. It’s not only the production however. Don’t be fooled that this is the only factor. Behind the inventive production is exceptional songwriting that would hold up strummed on an acoustic guitar. Take a listen.
Scorched Waves is a band consisting of high school students Tiernan Brinkman (vocals), Tyler Armstrong (guitar/vocals), Jaren Wojcik (keyboard/percussion/vocals), Alice Vuorinen (bass) and Damian Kessler (drums/guitar/vocals). They range from about fourteen to seventeen years old. Apparently Scorched Waves is their first release, and it was recorded in the basement of Tyler's guitar teacher’s house in his home studio.
The band certainly sounds young. On that note they also sound good and seem to be experimenting with different styles at this point. The band gets going with “Desolate” which is a fun rock song with some elements of post punk but it is also quite anthemic. There are some great vocal harmonies on this song and a solid lead vocal performance as well. They get a little punk rock on “Miss Monroe” while “Autumn Love” is a bit of a folk ballad that turns in a rock anthem. “Autumn Love” might be the highlight on the album. They have more success on “I Won't Miss You” which contains more instrumentation like a mandolin. This felt like another highlight and a slightly more advanced direction I think the band should follow. They go into rock mode with “Under The Bus” and get a little emotional and melancholy with the closer “What Does It Matter.” The band stated “Every song has a different mood and almost a different style.” I was producing before these members were born. That’s a fun thing to do but you can’t form a signature or singular sound that way. That's really the point bands want to get to where they have a singular sound. Think about bands as far ranging as Aphex Twin to The White Stripes. They have a sound and you can kind of conjure it in your mind if you are familiar with their material. This band has talent and it seems like they are having fun making music which is a great start. If they want to take it to the next level they may want to consider working with a producer to help sculpt their sound or just think more about how all their songs can form an identity for the band. Overall, I thought this was a solid release from young musicians who are just getting started. I look forward to hearing more.
At just 18 years old, Loveland, Colorado native Macy Warner is already a prolific musical artist. Local label Plot Line Records discovered her at 15 when she played at a coffee shop. She has released two albums with them, as well as a collaborative album with Jet Trawick. Warner’s latest project, Wilt & Temper, takes her usual lo-fi indie-folk sound and amplifies it with layered instrumentation and a refined mix.
Its DIY production enhances Wilt & Temper’s minimalist aesthetic. The style is reminiscent of early Devendra Banhart, with brooding songs soaked in natural reverb and a faint hiss that adds to the lo-fi nature. Also, the songs were recorded in one take, making the album feel intimate. The opening track “Empathy,” captures Wilt & Temper’s darkness. The track features the sound of rainfall as Warner sings many lines that start with the phrase “I don’t.” It’s a song about wanting to change for the better, and it’s unclear if that change will happen. “Supernova” is another sorrowful song about a separated couple fighting over custody of their child. This song features a chilling chorus at its finale with Warner singing, “Jamie / Why don’t you stay / Why don’t you ever say what you really mean.” Her vocal performance makes it a powerful ending. Two songs on the track list have layered instrumentation that enhances the mix without overtaking Warner’s vocals. “Supernova” features a second guitar that fills in the low end and adds to the song’s dramatic tone. The closer “Meta Girl” has layered electric guitar and percussion that give it a unique energy. It makes for an uplifting ending to the album. Wilt & Temper has placed Macy Warner in an exciting position. The album builds off of her previous singer/songwriter sound by increasing the production. Now, Warner can go anywhere she wants on her next project. One with a full band seems like the natural next step, but no one would be disappointed with another stripped-back album. Whatever the direction, I am looking forward to hearing it.
LPFM, a Los Angeles-based indie duo, consists of Chris Paul Overall and John Wilson III. Overall wrote the melodies and lyrics; he also sings and plays guitar. Wilson wrote most of the music, and contributes drums and keyboards to the record. Guest musicians Justin Burrow (guitars), Dallas Kruse (organ) and Nic Rodriguez (bass) round out the lineup on LPFM’s debut EP Voices.
What does LPFM stand for? They didn’t tell us. Low Pass Frequency Modulation? Love Pays For Much? Maybe it’s Let’s Play F***ing Music. If that’s what they meant, it’s an apt band name. Voices is a treat. Overall and Wilson meld a lot of influences into these five tracks (“spanning more that 50 years,” they say), but most importantly, they haven’t forgotten that they are songs first. Everywhere, there’s melody, melody, melody, and wonderful space, space, space. There are cool, inventive sounds, especially for the guitar solos, and the guitar solos have actual melodies too! It is so refreshing to have a group that cares about every note that they’ve put on a record. Hooray! Now to some highlights. “Are You Listening,” an upbeat, poppy number, is a fine beginning. Yes, I’m paying attention: the group adds texture gradually (including some backing-vocal easter eggs and lovely organ sounds). There’s a great a cappella finish that will remind you of the Beach Boys, especially as it leads right into “California Bound,” another fun mid-tempo pop tune. The title track is the top pick. It’s a sonic journey, starting with an a cappella introduction that Brian Wilson would be proud of. The first verse offers a ‘90s brood-rock feel, but then LPFM works in some classic surf-rock organ tones and the music morphs into more of a straight-ahead late-‘60s psychedelic rocker. The guitar solo offers a modern-day feel; all of this is held together with a lovely vocal melody. LPFM caps the track off with an a cappella coda that had me looking for my copy of Pet Sounds. Wow! Voices is well-produced and mixed throughout. It sounds terrific! All five songs are well-constructed and well-executed: this EP is well worth your listening time and music-budget dollars. Overall and Wilson, keep it up. LPFM? LFG!
Kudos is the second EP from Denton, TX’s The Hildys. They’re a four-piece indie rock band, with members playing multiple instruments. Mariah Johnson handles vocals, guitar and bass; Avery Lyda contributes vocals, piano and guitar. Brothers Jeremiah McGhee (guitar/bass/vocals) and Jameson McGhee (drums) round out the group.
The Hildys cite the Smashing Pumpkins as an influence, and you can hear it right away on the opening track “Greer Garson”. The verse offers high-register bass and crunchy suspended-chord guitar work which leads into a distorted-power-chord driven, poppy chorus. The Hildys add their own twist with a shout along, call-and-response section, inviting us to “pick up the pieces” and “bury the hatchet.” The group uses both male and female vocals, and they’re at their best when they layer the vocals together. “To The Surface” uses this technique effectively to offer a nice counterbalance to the droning, distorted guitar. “Water Won’t Flow” is the highlight of the album. The band set a nice 12/8 feel, against some George Harrison-like picking. The layered male/female vocals make it interesting and give The Hildys their sound. The song development is good too: there’s a bit of dissonance in the pre-chorus, which leads to a well-produced, heavy chorus. They finish the track (and EP) by slamming a bunch of drop-D open chords and send us off into a fun, distorted haze. Taking it all together, Kudos is almost two mini-EPs in one. “Greer Garson” and “Water Won’t Flow” bookend the set. They’re more developed, more layered songs that include guest studio performers. The middle two tracks (“To The Surface” and “Bugs”) are similar: punky, fuzz-guitar tunes. They’re fine, but in the context of the other tracks, they feel a bit underdeveloped. The Hildys have something distinctive with their vocal approach. I hope they continue to develop it, and I look forward to their future releases.
Nearest Neighbors is an indie rock project created and fronted by Shawn Minnig. He apparently has had an on-and-off again relationship with music. He took a decade off and returned to it while trying to unwind from his school studies. He recently released a self-titled three-song EP Nearest Neighbors.
He explains, “The album is rooted in power-pop and is largely influenced by artists like early Weezer, Manchester Orchestra, Jimmy Eat World, The Rentals and Ozma.” That pretty much nails it. The Weezer influence was very on the nose at times down to the distortion and I was also reminded of Fountains of Wayne. Musically, the songs are straightforward and if you were around during the mid to late ’90s this is what a lot of music sounded like that was being played on MTV. He opens with “Sad, Sad Song'' and yeah that’s a good name for the song. It starts with a simple guitar pattern and a lamenting vocal performance. He pulled off the vocal inflection and I liked his delivery right away. The song changes once the distortion, power chords and drums come into the mix. As the song progresses you get an instrumental section, then back to the chorus. I thought it was a powerful song and by the end thought he was a really talented singer. “Frankenstein” is next. The verse sounds like a combination of “Free Fallin'” by Tom Petty and classic power pop from the ’90s. It’s a dynamic song and similar to the previous song but finds some epic peaks. “New Philosophy” starts with no warning and comes out of the gates rocking. It’s a catchy and infectious song. The three songs went together very well and had a very good idea of his sound. This felt like an homage to power pop. Minnig stays within the lane of the genre and I wasn’t greeted with any surprises good or bad while listening. That being said this is exceptional power pop that can stand head to head with some of the best the genre has to office. As an engineer myself I have to also give him kudos for solid DIY recording. This style of music was very popular for a sliver of musical history. I’m glad Minnig is keeping the flame alive. |
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