“Muse came back,” Texas-based Wes Cunningham says, and with that he’s created the “handmade, genuine, joyful” EP lighten up.
It may be handmade, but Cunningham--formerly signed to a big label--clearly knows his way around a studio. The opener “lighten up” starts as an acoustic-guitar/vocal duet; an evanescent piano lick hints at things to come as the track builds, adding vocal stacks and a full band to support a lovely pop tune. All five of the EP’s tracks show his skills as a recording artist with varied instrumentation using all available aural space. There’s a focus on strong vocal melodies throughout the EP. These are the types of songs that could be recorded by other artists, and their quality would still shine. In his own breakfast with a clown interpretations, Cunningham shows his skill as an arranger. Each cut has its own push-and-pull dynamics, making for interesting listens, and the backing tracks are constructed thoughtfully. Be sure to check out how the rhythm motif in “now we’re making music again” is passed among the instruments, for instance. Lyrically, Cunningham has a subtle sense of humor. “arkansas!” purposefully starts like a low-rent travelogue (“Have you ever been? / It’s a beautiful place / To enjoy a hike / Or to rent a bike.” He then plants the tongue more fully in cheek with an examination of some of the place’s residents. Similarly, “breakfast with a clown” could be an old Willie Nelson tune with its acoustic-guitar base and languorous delivery. breakfast with a clown is filled with winners. Strong melodies are interwoven through bits of pop, country and rock styles into a tasty treat. Welcome back, Wes Cunningham, and we hope your muse sticks around!
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Japan Van Damme started between 2013-14 when longtime friends Lorren Schweppe (guitar) and Erik Shaw (guitar) reconnected after a few years apart. Each had been cutting their teeth with Shaw playing in various outfits around Minneapolis, while Schweppe was a ‘hired gun’ playing in New York City. While both were between projects, it was the perfect time to finally consolidate and showcase their songwriting and progressive guitar playing styles. Two cases of Hamm's and a backyard boxing match later, “the bond was blood and the brotherhood was born” as they say. Years later, veteran musician Jess Skadburg (drums) joined, while Andrew Roman (bass) strutted into the mix with rich enthusiasm and experience, catapulting the group into a new level. Japan Van Damme has a dynamic, original sound that stands on its own. While incorporating various influences of classic, alternative, blues, pop and southern rock, the group has been compared to Big Star on the Bob Cesca podcast show calling them “the reincarnation of the former group.” Their latest full-length album Normal Style, was recorded, mixed,and mastered at Winterland Studios in New Hope, Minnesota with engineer and good friend Josh Levi.
To kick things off, “Thirty Day Notice” has got the spirit of post-punk rock in a fresh alternative way. This song has got a live and well produced sound. “New York City Eats Its Young” seems spot on to me with the stories I’ve heard. This one features some great power chords and a rock pop melody with just a touch of twang. Kind of reminds me a bit of the rock-twang that The Replacements did several years ago, or should I say, decades ago. Damn, I feel old. “Take Energy Park Drive” has a gritty guitar lick and a mean bass line. This one’s pretty catchy. Next is “There She Goes” and it feels like it would be a good contender for the radio or to put out as a single. Some fantastic singing, too. “Cobaine” has got one hell of an infectious guitar riff and shows the band’s hard rock side. I kind of liken this one to a mix of Alice in Chains, KISS and perhaps a few others in there as well. “Seven Day Weekend” has got a more classic, softer side – I can hear some of the Big Star influence for sure. “Two Weeks Prior” begins with a cool start, sort of jazzy, sort of classic rock from the ‘70s, but then it gets heavier and louder. “Still in Spades” features spacious guitar riffs and a few awesome lead guitar solos. I liked how the drums weaved in and out between verse and chorus. This one had a bluesy edge to it and packs a lot of attitude. However, as the shortest song on the album, it felt like it should have been longer. It seemed like it was over before it begun. Moving on with a southern fried rock sound is “Blackout Boys” – a song about beer and “hitting on someone else.” I think this one would be a favorite for the regulars at the local watering hole. “Still Lucky” finally throws a wrench in the operation. This is clearly the love ballad of the album. I thought the band’s change in tempo and arrangements were quite unique, making for a dynamic tune. And the piano is just what this song needed – nice touch! “Now She’s Gone” showcases a little southern rock with the classic, while “The Ballad of Billy Badass” taps into some country-rock vibes. Lyrically, it sounds like the quintessential country song, just made for sitting under a starry sky with your mate and a six-pack. The last tune is “Dead Man’s Son.” This one begins with a quieter sound and then builds up during the chorus parts. Overall, a modern alternative sound fastened on the shoulders of bands like Big Star and Wilco. All in all, there were a number of highlights. This is a cohesive album from start to finish. Take a listen.
Eulogy Eulogy is a Canadian independent orchestra led by Devon Savas which has just released To Be True, an EP thematically created in memory of Savas’ late father. Their liner notes state: “Eulogy Eulogy extracts from an immense variety of influence a la post-rock, experimental jazz, dark folk, ambient textures, noise timbres and alternative shades, earnestly bridging a line between accessibility and ambiguity.” There are too many players to list, but among the instruments is your basic guitar-bass-piano-drums combo, bolstered by saxophones, trumpet and trombone, along with various players listed as “Drones” performing both vocally and on guitars.
To Be True was recorded, mixed and mastered at Gordon Wragg Recording Studios in Toronto. The tracks were engineered and mixed by Wayne Cochrane and mastered by Reuben Ghose. There are even field recordings captured on an iPhone 11. “Prelude” starts with gently picked acoustic and electric guitars playing a simple and pretty melody, then adds bass, percussion, and ultimately the horns step by step. At just two minutes, it’s a great way to familiarize us with the sound of the orchestra and to let the players stretch their legs, so to speak. The title track “To Be True” begins in a similar fashion with a tentative chord scheme begun on the guitars and bass as radio fragments float across the background. I love the moment when the band kicks in at hardcore volume with the whole group playing the “To Be True” theme together at high gear. “Dwindle” concludes the set with an epic ten-minute construction, and hearing it for the first time took me on quite a journey. The found sounds here are said to include “a variety of train stations” and they are sampled and repurposed in fascinating ways. Musically the track begins with another intriguing and melancholy piano theme, gently finding its way among whining echoes of feedback. The jazzy upright bass provides a solid frame for the composition, which slowly increases tempo as it continues. At the halfway point there’s an intense flowering of electronic drones, bringing us into space rock territory, bordering on industrial. It’s stark, frightening, and beautiful all at once. The finale is a Big Band Extravaganza with the piano theme and a lot of the sound effects all competing for a curtain call. This project made for fascinating listening, using familiar elements in ways I haven’t heard before. Recommended for those who prefer jazz that flirts with danger.
The Kubes is a rock n’ roll trio formed in Fort Worth, TX, in 2018. The band features Travis Flippo (guitar/vocals), Spencer Fortner (bass/vocals) and Landry “Noodles” Smith (drums). Picking up where rock groups from the ‘60s left off, the band is kicking off with their debut album With The Kubes, bringing into the scene their take of psychedelic rock with a dash of blues and bustle. Their sound is big and boisterous, making loud and glaring gestures that sound similar to arena rock anthems from another era. Saturating their sound with tons of reverb and distortion, for the majority of these tracks, these rockers record each section individually to get a clean overdubbed sound while five of their other tracks feature the members rocking out together for a live sound. Nevertheless, I thought the band did a good job of creating a cohesive sound, as the album tackles the classic rock genres with marked enthusiasm. On this album, the band is able to revisit some classic riffs while still keeping true to what The Kubes are all about.
With The Kubes starts out with “Revelation,” where big demanding drums create a dramatic pulse to this track as rumbling bass also adds in a demented sound. Gradually, as the vocals come in, the waves of psychedelic and bluesy rock n’ roll comes forward. This seemed like a song that implements big sounding guitars to make way for a noisy and ill-contained concoction. As an epic guitar solo sweeps through this recording, the other instruments also keep up the ante with their sections. At times the music reminded me of The Vines and The Black Keys. Some reverb-drenched guitars cover the sound on the start of “Oregon Trail Blues.” Eventually, some drums and percussions also create some noisy riffs. The sound is busy and chaotic. I loved the brushes into bluesy territory here. Once the vocals come in, it is loud and abrasive, making for some nit-and-grit blues rock n’ roll fun. Some rumbling bass brings in a real cool sound on “Abandon Ship.” The vocals make for a very carnivalesque vibe. Some keys highlight a more poppy sound here which made for a groovier pulse. Sounds of a plane flying overhead sounds out on “Bush Administration.” Some very “doped-up” vocals make for a low-key sound. Samples of Bush before the mic are overdubbed behind the instrumentals, adding to the atmosphere of this track. An acoustic guitar melody kicks off “The Moon Also Rises.” The music here is more in the folksy and country-bent vein. This acoustic song felt more honeyed-spun with heartfelt lyrics and a warm embracing vibe. This seemed a departure from the band’s previous sound. I enjoyed the mandolin performance. Back to their blues sound, the vocals shout out for a spoken word vibe on “A Passage to Nowhere.” Understated instrumentals make up the backdrop. Reverberating guitars create a wall of sound. This track seemed like a slow burn as the reverb and distortion is taken up a notch. What sounds like the organ went on to heighten the bluesy sounds. On “Boogie Sugar,” some blues-driven harmonica and guitars made for an energetic sound. I enjoyed all the grooves and riffs. This seemed like a happening blues party you can get down and boogie to. On “Desert Of The Real,” arena-style guitars and a drumming beat makes for a big and demented appeal. A cross between metal and progressive, some rumbling bass comes in next. The guitar riffs are gigantic. This track features a good amount of the band jamming out. More reverberating guitars make up the sound on “Dust My Broom.” Gradually, a bouncier beat heads into some bluesy territory as the band finishes this album with this jaunty closer. Recorded jointly in both Fort Worth and Austin, TX, this record, which sounds like a home recording, shows the band’s attempts in getting this mainly DIY effort off the ground. Though a tad lo-fi, I thought this lo-fi sound worked in their favor pointing to a rawness that went on to inform the band’s live sound. A good amount of reverb and distortion addresses this album, giving it a majorly big and larger-than-life sound. I thought the band was able to capture a lot of that spirit and carefree rock n’ roll attitude a lot of rock groups during the ‘60s and ‘70s had. There is a certain rush you get when listening to these tracks that you can’t get anywhere else unless you look back to a lot of groups doing the same things 50 or 60 years ago. And a lot of the vintage and timelessness seemed to have rubbed off on what The Kubes are doing now. I could see that the band had a lot of fun making this blues and rock album, which I thought proved to be a good debut to what The Kubes are all about. I look forward to seeing where this takes the band to next.
Tired Youth is an indie rock duo based in Springfield, MO. They’ve been writing songs since their early teens and have been recording the album on and off for the past couple of years, but time under lockdown had provided them the time they needed to finish it. The finished product is their debut album Separate Ways, a ten-track collection of songs that progress from when they first started recording the album when they were teenagers and writing songs about their relationships and love. Gradually, over time as these relationships fizzled, the songs began to document these fissures since this was what they were going through at the time. With a sound that feels very pop punk-inspired with dashes of folk and indie in the mixture, Tired Youth brings the energy from emo and punk bands from the ‘90s and ‘00s and gives you a combination of these tried and true sounds mixed in with their undeniably youthful but raw energy.
Separate Ways gets going with the title track “Separate Ways,” where sparse finger-picking on the acoustic guitar makes up the sound here as some vocals with a hushed expectancy makes for a very lullaby-like feel. The feeling is very intimate and heartfelt. “Love” immediately segues from the previous track where the sounds of the ukulele and piano made for a slow burning sound. This was an up-close-and-personal performance that showed more of the band’s intimate side. Some dissonance on the piano keys made for an off-kilter vibe. I thought the discord was a strange way to transition to the different parts of the song, but I began to feel it worked in certain instances. Some sparse guitar riffs sound out on “Jerk.” Slowly a drumming joins in, as more guitars round out the sound. Some horns add some more ‘umph.’ The vocals are shouted out in a very punk-inspired fashion but are nearly buried in the mix. Perhaps more fidelity in this arena could help balance out the sounds. More guitars make up the sound on “I Care.” The vocals sounded loud and clear here, which I appreciated. This was a marked difference from the previous song. There was a bluesy flourish to this track that sounded great. I loved the simple but raw energy. Right off the bat, the music comes right in on “It’s You.” The energy of this song feels contagious. The track was an adrenaline rush right from the get-go with great grooves and riffs. The acoustic guitar continues its melody on “Needed You.” Next, some emotional vocals reel in the sounds. As the singer bares all, I was reminded of the Plain White T’s. There was just something to their minimalistic acoustic ballad style that recalled the Illinois-based alternative rock band. On “Sleep,” a combination of guitars and bass makes for a subdued sound. As the vocals enter, this seemed to be more in the ballad form. The emotive power of this song just builds and builds as a drumming beat follows. I loved the energy and full-powered delivery here. This was a definite highlight. The intro track returns here for a reprise with “Separate Ways (Reprise),” where the ukulele finger-picking sounds off with subdued, whispery vocals that brings back that hushed lullaby sound. The sound of the ukulele continues on “The End.” The vocals come through and you can definitely hear the heartbreak in the singer’s vocals. The band finishes the album with a breakup song, clinching this closer with a slower burning energy. To my ears, the band had a great energy that I couldn’t get away from. With that being said, the band sounded young, like they were just getting started, recreating the sounds they grew up listening to as teenagers. There was also something very coming-of-age to these songs that made them feel earnest. As you listen to the record, you can sense the band’s progression and trace their evolution as the band pretty much grew up making these songs. Though a long time coming, Tired Youth’s debut album is finally here and we can’t be happier to see it arrive. Fans of the ‘90s and ‘00s pop punk scene and folk and indie rock will find something to appreciate. I look forward to seeing where they go from here.
Inside-Out is the premiere EP by English multi-instrumentalist Nicky Jaques. Formerly known for writing and performing in bands fusing “world, Latin, jazz, afro-beat, hip-hop, soul and electronic influences,” she currently plays in a Herefordshire eight-piece group called the Sundown Jazz Society. She first started singing with a performing duo in 2013 and toured internationally with a five-piece band as a backing vocalist, keys and sax player. Jaques decided after all the time spent in groups, she needed to step out of her comfort zone to write and record her own song-based productions. Among her influences are Nina Simone, Cat Stevens, Ella Fitzgerald, Bjork, Bon Iver, Eva Cassidy and Grizzly Bear.
For backing musicians on Inside-Out, Jaques brought in various players through a project called “Livewire” which helps young people produce their own music. Jaques sings and plays piano and synth, assisted by Josh Lamdin (electric guitar), Stevie Callendar (bass) and Tom Collins (drums). Jaques explains: “One of the reasons I wanted to record a solo project was to develop confidence as a vocalist. I also wanted to explore writing songs in a different way and to take the reins creatively to see what I could come up with independently.” Her songs are influenced by folk, jazz, classical and left-field experimentation. Recording at home was a challenge “…to see what I could do with my voice by embracing the production side of things, and having the time and freedom to let ideas grow organically. I feel really empowered creatively now that I have embraced the process of home recording.” The tracks were mixed by Nick Powell and mastered by Katie Tavini. Deliberately paced, “Wake Up” opens the EP with Jaques’ reserved but quite pretty singing voice surrounded by ghostly overdubbed backing vocals. Jaques says her inspirations come from being outdoors in nature, and she tried to make her music “bright and fresh” to match that feeling. It’s a subtle thing but it does almost sound like there’s a light wind gently blowing throughout this song, and enough “air” in the arrangements to feel somewhat outdoors. The focus stays on the vocals and the other instruments are fully supportive without being intrusive. I especially like the final minute where Jaques ramps up the volume and emotion of her singing. “Stand The Ground” feels more like jazz with a vocal that owes a debt to Nina Simone and other jazz greats. Again, Jaques’ solid lead is gently overdubbed and ornamented with backing trills and scatting, and the instrumental arrangement closely follows the “Wake Up” template. “Let’s Move” is a song written from the viewpoint of immigrants constantly on the move and unsure of their fate. This song has an especially melodic chorus with the verses a bit more straight-ahead. “Silence” ends the set with dark and deliberate piano chords and some of the most intimate and affecting Jaques vocals. The chorus spins the song in a different direction with an intriguing off-beat rhythm and complex melodies. The background voices here are multiplied into a full chorus. Though Jaques has a lovely voice, it often feels slightly removed in the mix; there are times I would have loved her vocals to take up more sonic space and totally fill my ears. But that’s my only real note and it didn’t affect my enjoyment of this fine EP.
Sometime Winner is a five-piece band hailing from the dusty streets of Dunedin, New Zealand. The band recently released a four-song EP entitled Leave Them in the Sky.
They start off with “Dancing Here Alone” and at first with just the beat, bass, vocals and pads it gave me an ’80s goth vibe like The Cure or the more contemporary The xx. The song picks up in mood and with orchestral elements. I really loved how the song unfolded from the bass breakdown to the slick violin playing. There are some very impressive peaks which the song seems to do over and over again. “For the Last Time” has a similar quality. It starts off pensive and melancholy but as it progresses the mood gets lighter. The vocals are fantastic. It doesn't take too long for the song to speed and really start to feel quite joyous. “Out” felt a little more straightforward. The song is noticeably quieter than the other songs. This is where a professional mastering engineer can make a difference by maintaining a similar RMS level between all the songs. The band closes strong with “In Wander” and yet again has a similar structure in mood to the first two songs. “In Wander” starts off intimate with a sense of stillness but as the drums and other instrumentation comes in it picks up speed and transforms into a jovial song. The songwriting and delivery was exceptional on this album. They have a pretty unique sound with catchy melodies but also pull off technically impressive moves. The mixing was really good as well and as I mentioned a mastering engineer could help with levels in the future. Overall, I thought this was a great EP from a very talented band. Recommended.
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 Joy Becker From Within 3.8 Hot4Robot Hot4Robot 3.8 Burden of the Sun Embrace the Curse 3.7 ZALACAÍN GALIMATÍAS 3.7 Spencer Friedman On 3 3.6
After 20 years, Jeff Engholm has produced a new solo album entitled Little Big Things. Engholm explains: “Lyrically, the songs explore the pitfalls of entrepreneurialism, life lessons learned from his recently passed mother and “Flipped” topics like digging a hole to China. This is an album about riding life on worn tires.”
The album starts with an organ fueled ballad called “I Can’t Look at You.” It revolves around a dreamy collection of instrumentation with Engholm repeating the title like a mantra. “Out of Sight, Out of Mind” is somewhere between Rusted Root and The Beatles. It's a bright song that’s catchy with some impressive vocal gymnastics. “Somebody Soon” was a highlight and the style I appreciated most from the artist. There’s a ’70s folk vibe similar to Simon & Garfunkel. The guitar picking is exceptional and the lamenting , melancholy vocals sound really good. “Believe In Yourself” is almost a 180 change. It’s powerpop with surf and a ’50s pop sort of vibe. I thought there were a number of other highlights including “Bluefin Bay” and the title track “Little Big Things.” The artist was obviously influenced by bands mostly from the late ’60s and ’70s. Engholm often jumps between ’70s whimsical folk and classic rock. The sequential order of the songs felt more like a playlist from that era rather than a single artist. That being said he pulls off what he attempts. I thought the more lush and intimate tracks was where he thrived. Overall, this is a solid album and obviously one for fans of the aforementioned genres. Take a listen.
Conscious 9 is a solo project is based out of Winnipeg, Manitoba. The artist seems to just be getting his start with his release Down which is a four-song EP. I would say the music is bedroom indie pop with some elements of shoegaze,
The highlight is the very first song “Down.” It begins with a couple guitars, what sounds like a digital upright bass and programmed drums. The vocals are well done and mixed the best on this song in particular. It’s lush, catchy and memorable. There isn’t much of a hook but the song does get more intense. The next song “And On” is a slow burn and darker. It’s a little cinematic and contains a bit of Joy Division sort of soundscape. The lyrics were very hard to hear on this song but I enjoyed the groove and atmosphere of the music. “Nice to Be Here” is next and revolves around crunchy chords, a straightforward beat and hushed vocals. I liked the way the chorus was implemented. It has this circular type groove which feels hypnotic. The last track is “Nostalgia” and it felt like the other highlight to my ears. There are clean guitars, synths and really cool sounding sub synth bass. The chorus comes in bright and with guitars and a solid hook. My only critique comes from the recording quality. As an engineer for over twenty five years I will say for someone just starting off the mixes were solid. The vocals could have often used a little bit of compression to sound more full and balanced. I think with more time the artist will pick up on more skills in the studio but working with an engineer might be food for thought as well. The songs were cohesive and I felt the songwriting was solid throughout. This was a good start and I look forward to hearing where the artist goes from here. |
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April 2024
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