It’s interesting how some genres are tailored towards a specific age range. That seems to be most apparent with pop punk. I’m not saying this doesn't exist out there but I have yet to hear any pop punk song which is tailored towards people like me who are in their fourth decade of life. Pop punk tends to deal with coming of age topics like heartbreak, reflective nights and moving forward and For Those Who Cared by Quit Yourself is no exception.
The album starts with “You” which feels like classic pop punk to my ears. I would say the lyrics on this song encompass a lot of topics I tend to hear associated with the genre. The music was great. There were some memorable guitar riffs, melodies and harmonies. I was impressed. “Empty Cup” starts with an ambient cloud which gives a more reflective feeling and this is followed by a heartfelt performance on guitar and vocals. After I listened to “End the War,” I was like this guy is the real deal. It’s just a great song that has energy but is also reflective and heartfelt. “Keenan” is another great song. It’s a stripped back song and contains some really fantastic overlapping vocal melodies. “Words You Don't Feel” might have the strongest groove on the album and there seems to be some electronic percussion that melds with organic drums and reverb laced guitars. My interpretation of “No Vacancies” was that he was singing about someone who had their heart broken too many times and refuses to let anyone else in. The next song “Alisa” seems to be the opposite. It seems to be about embracing love and its possibilities. Last up is the very reflective “The Machine” which was a great way to close. I thought this was a very cohesive album. It wasn’t only the style but the dynamics that changed from song to song. This feels like top notch pop punk. Take a listen.
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Over The River is located near Omaha, NE and formed in 2018. According to their Bandcamp page, “Exploring the depths of Americana, blues, rock and country they have formed their own genre, coined "midwest rock.” I’m from the midwest and sort of funny enough as I was listening to what many refer to as southern rock which sort of sounds like Lynyrd Skynrd. It was also the country and blues influence. Their album Trash Cat Fever which is an obvious play on a Ted Nugent song is an eclectic blend of styles.
Their EP starts off with “Mangy Blues” which is the arguable highlight. They almost hit a Tom Waits vibe who is one of my favorite artists. It’s catchy, very bluesy and the vocal performance is stellar. The whole band tears it up here. I think this is a song that would translate very well live. The band mellows out a bit but also gets more reflective on “She Ain't Lyin.” It's got an alt-country flavor and thought the vocals were again well done but the delivery feels very different. I’m not sure how many lead singers they have but it seems at least two. “Hold Tight” might be the most single worthy song. The song has a sing-along type quality. It’s sort of playful at least in terms of the vibe. I kept picturing a group of people bouncing along to this song while holding hands. The band really goes into ballad mode, with the dramatic and reflective “Woman like You” which is a love song. I thought they did a good job with this style as well. They switch to fun mode on “Dance with Me” which made me think of getting drunk in my twenties again. The hook on this song is immediately memorable to a point where I felt like I heard it before in various degrees. They get borderline bluegrass on “Down” despite not having a mandolin. There were some cool variations on this song however and would argue it might be the most original sounding. While we are labeling music I will call this “midwest bluegrass rock.” That one was free, the next one will cost you. I really enjoyed this release. The band shows a lot of different flavors with these songs and I liked all of them. Recommended.
Jacob Adams (vocals/drums/percussion), Markus Sykes (guitar/vocals) and Steve Brunnett (guitar/keyboards/vocals) are Sky Cannon. The band formed in early 2019 and released their debut EP Origins in April 2020.
The band is in the very early stages of their development and with this release they sound like a young band playing into their influences from song to song. Their music is a hundred percent rock and sort of covers a number of sub genres underneath that development. They stick to mostly major and minor chords, 4/4 beats and a lot of rock 101 type of moves which I think a lot of people will appreciate. The band starts off with “Punk” which sounds more like ’90s punk in the spirit or Green Day with a mix of classic rock. It’s a really straightforward song with distorted chords, a drum beat and a steady beat. That being said the hooks were memorable and the band had chemistry. Up next is “Brotherless Children.’' They seem to be getting more of their influence here from ’80s metal in the spirit of Black Sabbath but also some rock ballads from the era as well. Up next is “Runaways'' which is again a very retro sounding rock song even when it comes to the lyrics. The organ was a nice addition. “So Long, Goodbye!” is another solid song and a little more ramped up. It made me think of music you might hear in a montage for a movie. I’ve been producing bands for over twenty years and this certainly sounds like a band that recently formed. They embrace the DIY home recordings and stick to moves from the catalogue of rock. On that note I think this is a good start. The songwriting was solid and the band has all the technical aspects covered. I typically notice that bands start to find their signature sound somewhere between two and five years in if ever. For that first year most bands are wearing their influences on their sleeves. It takes time to create a singular and signature sound which does not come overnight. Overall, this was a solid first offering from a band that’s showing potential. I hope this is just the start for them and I look forward to hearing more.
Erin McQueen aka Folly is a musician located in the San Francisco Bay area and recently released All is Fair. She explains, “This album was a project in documenting love lost - the stages of grief that ensue, and the way perception can change with time.” That might be the topic that is sung most in music but the creative process is cathartic for the artist. It’s obviously also a very relatable subject to most people.
She also mentions “my sound is primarily rooted in ’70s folk - I grew up listening to Judy Collins, Simon and Garfunkel, and Peter, Paul, and Mary.” I picked up on this. Her voice however reminded me of Nika Roza Danilova aka Zola Jesus. There are a lot of good singers out there but there aren’t many great singers. McQueen is in the latter category. Her affectation and inflection is often dramatic without much levity. I think you have to be a really good singer to pull this off because if you aren’t it can sound saccharine. Suffice it to say her vocals are the main attraction on this release and are superb. The album starts with the beautifully sparse “Euphoria.” It revolves around piano and some atmosphere. I think most people will feel moved by the vocal performance. Up next is “Lover's Lament” where we get drums and warm synths. It’s again sparse but absolutely moving and powerful. “Digital Affair” might be the highlight. It’s the most dynamic song yet with cosmic crescendos and glowing harmonies. It was reminiscent of ambient and classical artists like Ben Lukas Boysen and Jon Hopkins. “Submarine” is soulful, ambient and combines slightly distorted guitar, electric piano and drums. She really digs into melancholy and beauty at the same time on “Pompeii” and finds a little bit of levity with the dusty winds of “Blue and Green.” You really hear the ’70s folk influence on the last track “Between You and I” which puts acoustic guitar as the main accompaniment. Simply put, this is one of my favorite releases this year. It’s an honest and heartfelt account of lost love which has been done countless time before but rarely this well. Highly recommended.
Showalter is a solo, indie rock project by multi-instrumentalist Joseph Conde, based out of Charlotte, North Carolina. Born from two former projects What a Lion and Big Animals, Showalter brings together the songwriting and folk/blues aspects of What a Lion and combines them with the electronic production of Big Animals. This leads to an art-rock, almost psychedelic rock sound. The point of Showalter’s production style is intentionally minimalistic and raw. Songs from the EP There’s Something in the Water are emotional and reflect different periods of Conde’s life when great changes were taking place. For the recording, he used an outboard compression and some simple studio effects.
Thematically, the EP “is about a lot of things, but mostly about the feelings and emotions felt during times of involuntary change” – and evolution, you might say. The title suggests that this forced evolution, while painful or awkward, is necessary for the continuation and growth of the self. Feelings of death, loss, redemption and damnation, among others, is reflected in its own narrative, whether truthful or not – through the songs, this makes no difference. Each track each has its own sound and as Conde explains, “he tried to let each speak through in its recording and editing process – this album consists of what I had available at home as opposed to what we use in our production studio, so it's not perfect.” But for him, that’s ok. The four-song set starts off with “Turn Swallow Road” a deep, somber number with a double layered vocal track that sounds menacing. It has a quality like those deep south blues songs that send chills through your bones – with a perfect song title to boot – or perhaps the more recent Johnny Cash songs (Rick Rubin years) where other artists would join him in the studio. “Let Me Go” has even more chilling sounding vocals and a distorted, droning guitar. Conde adds more instrumentation here with drums, bass, keys and an extra lead guitar track, and does a fantastic job mixing them all together. The lyrics suggest being present in a dark, dark place that “not even devils know.” If there is such a place, I don’t want to know about it. Next up is “Don’t Ever Stop” which starts off with jangly, bright guitar riffs and a cleaner, less filtered vocal. Lyrically, it’s Conde’s most sparse, while leaving more room for instrumentation. I felt there was a lot of deep meaning to his words, so much so that I couldn’t even begin to guess what this one is about. Overall, a deeply soulful tune in my opinion. “Lastly, there’s “Evergrain” a structurally different song, as it mixes styles of alternative, psychedelic and experimentational sounds. The underlining bass line keeps things rolling with it’s repeating notes. Conde’s shortest, but I think it could be a song where longer stretches of climatic moments and crescendos are possible. In the end, Showalter’s debut gives the listener a brief introduction into the artist’s mind and influences into various genres. I hope to hear more in the near future.
Question: what if Bob Dylan and the Band made a second Basement Tapes album, one that is swampy with a nod to modern blues? The result may sound like what Chicago based musician Dan Holohan laid down in his 2019 self-titled debut Dan Holohan. The full-length album echoes many influences: Chuck Berry, Spoon and John Prine, yet sound like none of them. Recorded entirely live in studio; these are well-crafted songs, but the live dynamic makes them really satisfying to the listener. Formerly the front man for the Chicago jam band, Galaxy of Poets, Holohan decided to record his first collection of original Americana-type songs that he was exploring. The players accompanying him are all Chicago working musicians, who also happen to be faculty members turned friends, through the Old Town School in Chicago. Those players are John Abbey, Steve Dawson, Tommi Zender, Alton Smith and Chris Greene. Holohan jokes that his album sounds like “Dr. John meets Cracker at a Grateful Dead concert.”
The opener “Thibodaux” pronounced “tib-a-doh” is a groovy, blues-ish number with some old school organ playing and a great live sound overall. “Gingerman” has a warm inviting sound with reminiscing lyrics and bright harmonies. At this point, Holohan’s vocal style reminds me of Jakob Dylan’s. “Miss Winter” brings to the table a low down, smoky beat, a wah effect on the guitar and a classy piano solo. Loved the sound of the drums too – so live and pure, as well as the background vocals. Next up is “Big Fish” a jammy groove, tinged with a twangy country-folk guitar. From what I remember about the Grateful Dead’s sound, this to me sounds like as close to the real thing as you can get. “Mercy” offers a bit of the gospel roots style with Holohan’s own brand of Americana. Some cool guitar effects on this one and the organ plays more of role, too. “Strangest Places” features a fun, swinging beat – a good toe tapping, dancing number. Something about this one reminded me of the Blues Brothers. Perhaps it was the lyrics, which were humorous and coming from another Chicago based “band” albeit fronted by two legendary comedians, the comparison is fitting. Oh yeah and the saxophone, how could I forget? Great addition! “Paradise, CA” adds an interesting twist to the album. Parts of it reminded me of some of the soft rock songs from the ‘70s, but I couldn’t make a direct comparison. It just has the feel good, soft rock summer feeling to it, hence the song’s title. “Cemetery Limousine” offers the listener another low down, bluesy number with humorous lyrics – complete with “bad intentions and a pocket full of shells.” This one has the style of recent Dylan songs. And for all those slide guitar fans out there – this one has it. “Sands of Summertime” has got a fantastic beginning with vocal harmonies. Lyrically, the words were written like a traditional blues song but stylistically, this number feels more like modern-day Americana roots. As if the Carter Family had written contemporary music for the 21st century and went on tour with Robbie Robertson or something. “Revolution” is by far Holohan’s fastest song, filled with bright energy on guitar and a driving bass rhythm. A smoking hot organ solo can be heard on this one, as well as some extra percussion and harmonica. The last number “How Can I Go On” sounds like it was meant to close an album – a perfect feeling and beautiful, echoing guitar melodies throughout. The vocal harmonies were the icing on the cake! In a word, Dan Holohan’s debut is consistent from start to finish – the production, made possible by King Size Sound Lab in Chicago, was superb and the “faculty” band now friends, sounded like they’ve been playing together for years.
Stella Splendens is a quartet hailing from Gainesville, FL. The group consists of Leela Corman (vocals), Cory Young (guitars), Conor Mitchell (bass) and Lexi Braun (drums).
Corman describes the group’s music as “noisy romantic space-rock.” The members come from different musical backgrounds She herself is well versed in various sub-genres of rock. That’s quite a stew, all pressed into a five-track, twenty-seven-minute EP entitled Chromatophore. But first, what’s a chromatophore? According to Google, chromatophores are “pigment-containing and light-reflecting cells.” That’s a pretty deep reference, but an appropriate name for this collection. The songs reflect life, offering color and interest while allowing us to reflect on our own selves. How does Stella Splendens do this? Right off the bat, with “No Flag,” the bass riff grabs us, and locks in with the pounding drums. It felt a bit like old Black Sabbath - and then the track is drenched with Young’s guitars and Corman’s plaintive, long-note vocalizations. As the track progresses, the wash of sound, underpinned by the locked-in bass and drums, builds and eventually circles back to the original theme. “Pegasus” continues the style with a melodic bass line featured prominently in the wash of warbling, pitch-modulated guitars. Corman’s vocal melody is delightful; the confident delivery reminds me a bit of Debbie Harry or Chrissie Hynde. My favorite track comes next - “The Better Job You Could Have Done.” The bass riff, set against a jazzy drum pattern, is engaging. Young coaxes some very cool guitar sounds - or rather, sounds from the guitars. The track morphs into an operatic, layered, riff-y finish, reminiscent almost of Queen. “Video” and “Rope” close out the set. The vocal screams on “Video” work well. “Rope” sounds almost poppy at first, but don’t worry - Stella Splendens add in the dissonance and keep us on our toes. It’s a solid close to a very enjoyable EP. Chromatophore gets better with repeated listenings. There’s a lot to discover and enjoy. Give it a spin and let it seep into your own pigment.
Glen Saldanha is a singer/songwriter from India. Having relocated to Toronto, Canada in 2018, he finally got the opportunity to record his first commercial EP entitled Excuse Me EP in a corner of his one-bedroom apartment.
The artist mentions, “My album to me (at least), a breaking down of emotions. I love to think of it that way. Each song focuses on one particular emotion. Happy. Sad. Confused. Guilt. I find human emotion the powerful and intricate thing. The album is also, in parts, an extension of me. So my soul lives in every song I make.” Listening to the record, this is certainly true. Excuse Me EP showcases an array of emotions and the range is varied and broad. With honest lyrics, at the center of these tracks are Saldanha’s vocals that are sung with a theatrical air. The characterizations are larger than life and really evoke some startling portrayals. The music underlining the sounds are also eclectic. With a varied musical background and tastes, from pop, punk, grunge, alternative, classic, progressive rock, metal, melodic death metal to indie rock, the EP is an extension of his influences. He also tries to go the extra mile, by offering a dash of his own distinctive flavoring into the music. Excuse Me EP opens with “Excuse Me Love,” where the background of oohs is layered. Saldanha sings with gusto. His voice is ridiculously evocative. Electric guitar riffs sound off on this track. The sound of bass lines, drums and percussions also coalesces. His vocals go from enthused and radio-active to a coo in a matter of moments. He really shows off his range as an artist with his versatile vocalizations. “All On My Own” starts off to deft strumming on the acoustic guitar. The guitar alone supports Saldanha’s vocals. This is a simply rendered track that is brimming with emotion. The searing emotional quality makes up for the simplicity. Rhythm-heavy bass lines add a pulsating wave on the start of “Built To Last.” Next, a wall of guitars adds a revving sound. The bass line and guitars are driven. The vocals are fast and amped. This track covers the alternative, indie rock and pop genres. “Momentary,” the album closer, is this mellow song that features the acoustic guitar with the oscillating sounds of keys. This is a soaring anthem amplified by tight musicianship and resonating vocals. While these were bedroom pop recordings, I felt that they did not elicit the lo-fi feel of most home recordings. In fact, these recordings were very polished and professional. His sound while eclectic, does offer up a cohesive and seamless approach. Art has a way of reflecting the artist’s soul. And Excuse Me EP does this, showing Saldanha’s many sides. The album is a continuation of Saldanha as it is in parts joyful, sorrowful, wistful, guilty and impassioned. All a good mixture. Be sure you have a listen today!
Jung Shadow is a solo electro-punk project based out of Ottawa, Canada. At the helm of Jung Shadow is singer/guitarist Kevin N. Hell. Hell has made a name for himself playing between the Ottawa, Montreal and Toronto areas, opening for bands like Big Business, Cross Dog Atsuko Chiba. He is releasing his latest album entitled No One Left to Disappoint.
The sounds on this album are a blend of ‘90s era hardcore, post punk and industrial. Filled with classic sounding drums machines, abrasive heavy guitars and saturated vocals, Hell’s latest project dots all the i’s and crosses all the t’s with its hardcore style vocals, ambient synths and driven guitars. Incorporating electronic music with his hardcore and metal roots, the record is at its core industrial with a touch of electric. Fans of NIN, Godflesh and Youth Code will find something in a similar vein to listen to. No One Left to Disappoint opens with “Ashes,” where the static-y sounds of feedback are loosened over the effects of the start of this track. A warbling electronic backbeat and drumming machine propels this song. The ambient sounds continue until fading out. Next, an electric vibe comes from the synths and electronic beats. The scream-o vocals offer up a chilling contrast to the ambient music. Following is “The Great American Folk Tale,” where demanding bass lines erupt toward the start of this song. The rhythms are heavy and pulsate with dark undertones. Electric guitar riffs flare in and out of this song. The screams are grittier here than the previous track. It is hard to discern the vocals as the velocity of the screams are adamant. The drumming beat is demented. On “I Am A Battery,” electronic nodes give off a robotic and mechanical vibe. The blips and beeps flare in and out of this song. A more aggressive industrial sound eventually struts in. Waves of synths add an atmospheric range. The screams are full-throttle, unabashed and full-on. Hell unleashes unfiltered rage-filled screams that underline each song on this album. The wailing continuously permeates these angsty tracks offset by synths and hard-hitting guitars. The electronic flourishes add another dimension to these hardcore/metal set of songs. I thought this addition was unique and really propelled the project with a happening retro sound. Hell really embellishes his hardcore and metal traditions with an electro flair. This was a solid start and I look forward to where the artist goes from here.
The Quantum Zone is a solo project by UK musician Robert A Kingdon. He explains on his Bandcamp page his release is “A concept album based upon a highly unlikely premise of a virus sweeping across the world and changing each of our lives forever. It couldn't happen, could it?”
Everything is very overt given the title of the songs such “New Dark Age”, “Resurrection” and “A Beginning.” He is dealing with some very broad themes of death and birth, chaos and order, and yin and yang. The songs can really be divided into two sections. There are the religious chants, bells and more which you hear on “End Of Days,” “Resurrection” and “A Beginning.” “End Of Days” is quite beautiful and is peaceful and mediative. There is some beautiful singing and I wanted this to continue more. It would have been interesting to explore where this could have gone if drums and other elements were added. The other one I really liked was “A Beginning” which felt like I was in an old European church. It again is short and felt like a vignette that got cut off a little too soon. I would have been interested in hearing this form and take shape and have it have more of a symbiotic relationship with the rock songs. The meat and potatoes of the album is the rock material which actually sounded like the artist I’m familiar with. Kingdon songs sound like they are songs from the late ’60s and ’70s. The influences from Pink Floyd and David Bowie is obvious to my ears but so were a number of garage bands from that era. The music is lo-fi and fairly straightforward consisting of 4/4 style drum beats and major and minor chords. I’m a fan of some of his previous albums and was drawn to his vocal style. That is no exception here. His biggest strength is the vocals. Although I would have liked the drums to sound a little more like they were recorded in a studio the spirit of the song comes through. “New Dark Age,” "Ashes And Dust" and “For You” felt like highlights but I also enjoyed “Retribution” and “A New World” as well. If you aren’t familiar with Kingdon this isn’t a bad place to start. I also recommend you check out his entire catalog. Take a listen. |
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