Hyooman is an alternative/indie rock band from Minneapolis, Minnesota that has submitted the song “Half Brain” and its accompanying video for review. The band got together in October 2020 and features Leng Moua (guitar/lead vocals/songwriter), Elise Bremer (keys/vocals), Tamara Alswager (guitar/vocals), Dillon Marchis (bass) and McCoy Seitz (drums/vocals). They are currently working on a full-length album, but like another band I recently reviewed in Divide and Conquer (The Civil Union) much of their recording equipment was stolen from the studio. This has to stop!
As to the video, I feel silly talking about it since the best thing you can do is scroll down and watch for yourself, because it’s GREAT. Not a big budget production by any means, but it takes the done-to-death trope of bands playing “tiny desk concerts” at home and adds a cool, seamless time warp sensibility. You’re watching the band play, and the camera does a slow pan around the living room; when it swings back around, the members are in totally different positions or missing altogether. A simple idea done well always beats a big idea that fails. Not to mention, the band has a cool visual look, with attractive and interesting faces providing great contrast with each other. As to the song, it’s an eminently catchy indie pop ditty, even more amazing when you consider it was recorded live in one weekend (with the video taking only five shots in one day!). I especially enjoy the contrasting (yet cohesive) male and female vocals. The band states: “The first section of the song is about not understanding a person's self-destructive tendencies and their hypocrisy. The second section is about not understanding visual art. Both situations are joined by the refrain, ‘it's okay I wouldn't understand it anyway’ which can be taken as sarcastic or sincere.” This great-sounding single was recorded and mixed at Casino Time Recording Studio in Northeast Minneapolis and was mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, Oregon. Of course this is just one song and video, so who knows what might be coming next. But I really love what Hyooman pulled off here, and I’m sure you will, too!
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Tony Crouse is a Los Angeles based producer and songwriter who recently released Halfway To Eternity. The album contains ten songs and lasts around thirty-six minutes. Crouse explains: “I would describe it as ‘80s inspired "alternative power-pop" along the lines of XTC, Squeeze and Jellyfish.” The songs are relatively short and the instrumental parts support the vocals.
The album gets going with “Angel Girl” which definitely has a power-pop vibe going. It’s in 4/4, mostly composed of major and minor chords and a memorable vocal melody. On paper it’s a little deceiving. The song is fun and felt single worthy but actually reminded me more of ’90s alternative acts like Fountains of Wayne. “Birds of Paradise'' might be even catchier than the opener. I loved the ’80s electric piano on this tune. There’s some brass on “Peppermint Lounge” and more of that overall ’80s pop sound that the artist was describing. “Temptation” is the first song that sounds fundamentally different. There’s more of an aggressive, anxiety vibe here and some darker shades. NIN is a bit of a stretch but it’s close to some of Reznor’s material. “Halfway To Eternity” goes back into that ’80s vibe. I loved the groove on this song especially the way the drums carry the instruments. Crouse had some more success with the off kilter guitar on “Devil’s Advocate” while “Tongue Tied” felt like his bread and butter sound. “Hex!” is a fun one with a killer hook. There are serene but driving vibes on “Sympathy Paris” while the closer “Skies of Nowhere” is the most epic song in the batch.
The Little Creatures is based on the Sunshine Coast, Queensland, Australia and recently released Wasting Time which is their first album. They mention: “Wasting Time is a collection of songs about reflecting on where we are at, what we are doing, whether we are making the most of our time and doing the best we can in the time given. It's also about all the self doubt that accompanies that type of self reflection.”
The band is a bit of a hybrid, blues, shoegaze and rock. They get going with “Funk Mother” which is more or less a traditional blues jam. It did feel a little odd for an opener when compared to their other songs. The next song however “Wasting Time” is a gorgeous and melodic song with strong roots in ’90s alternative and shoegaze. I thought the vocals sounded great as well. “Taking The Sun” is hypnotic and also a melancholy tune that washes over you with clean, reverb laced guitars and a steady rhythm section. The next song is “We Want You Back” which is a more garage infused song with a surf rock type of riff. Next up is “Everything (instrumental)” while “The New Order '' actually sounds like New Order. “It’s What You’ve Got To Do” is a bit of ballad and a highlight that’s covered in hall reverb. “Do What You Know” is another solid tune while the closer “Jam” is mostly an eight-minute jam with some attitude in the vocals. The album felt a little scattered in terms of style and genre. I really enjoyed the more shoegaze infused tracks but they pull off what they attempt. Overall, this is a solid release with some great songs. Take a listen.
33soteric (pronounced es·o·ter·ic /esəˈterik/) is a Canadian solo act created in 2020 after a decade and a half of honing his craft in electronic music. His recent release is entitled The New World’s Internet 801 Orchestra. The album contains thirteen songs and lasts around forty-five minutes.
The music is hyper infused experimental electronic music that is avant garde. I was reminded of artists like Oneohtrix Point Never and Fennesz. The music can also be quite catchy. Some of the songs felt more hip-hop inspired like “Solve Et Coagula.” This song in particular is hypnotic and mixed in a unique and unconventional way. I loved the backwards effect and hypnotic, repetitive mantra. “God With a Mask” is a pretty incredible song in terms of the production alone. The song moves quickly almost as if my ears couldn't keep track of everything. It’s a different experience with and without headphones. The incalculably intense and vertigo-inducing “Cyber Punk At the Opera House” was a highlight but I also liked the psychedelic mutating drone of “New Data Mosh Pit.” The metallic white noise shards on Jupiter and Saturn” are unapologetic. I also liked the closer “The Final Understanding” which contains rare glimpses of beauty beyond the chaos. It ascends and descends as the song nears its end. It felt like a proper way to close the album. This album is one where words fall a little short. There’s so much density to the music and it often comes at you at a rapid pace. It’s a digital maze of patterns and complexity. Recommended.
Last year Madeline Usher released Phantoms which we reviewed here at Divide and Conquer. She is back with a new EP entitled Be My Lucifer. The artist explains: “"Be My Lucifer" can be described as "gritty & glittery" with influences from Veruca Salt, The Breeders and Concrete Blonde. My sound has changed completely since my last release, going from "melancholic synth pop" to what I've dubbed "moody, vampire girl rock.”
The first song is entitled “Motion Picture'' and contains slightly distorted guitar chords, drums and not much else besides vocals. Her vocals are the focal point and the prominent element in the mix. The songs are well written and I thought the chorus was catchy and powerful. “12:59” is a little more somber, dark and pensive. There’s a heaviness to her voice on this song but she also belts it on certain notes. The guitars were well done as well. There are clean, sharp leads and also a drone like guitar. “In Case You Seek Me” was the highlight to my ears. The instrumental aspects were dynamic. My favorite moment was a little before the one-minute mark when the distorted guitars came in. The vocals were again top notch and arguably the most catchy of all the three songs. It can be difficult for an artist to reinvent their sound but with this release it sounded like she was at home. I think the artist used to play similar music in bands she was in so it probably made the transition easier. The EP goes by fast and lasts around ten minutes. I think she could make a LP of this style and further evolve the sound established here. Let’s see if she sticks with this style or changes it up again.
Project Magnificent is a band from New York that started back in 2002 as a home recording project. Over time the band found members and just recently released I Live Where I Breathe. The album has more of a ’90s alternative and rock vibe to my ears. I was reminded of bands like Hum, Pavement and other guitar led bands.
The album starts with “Reality Dodger” which is one of the highlights. It’s a fairly straightforward song revolving around 4/4 time, major and minor chords and familiar rock structure. The bass work was great as were the vocal melodies. “Class Riot” has a mix of a ’90s and a ’70s classic rock song. The song sounds a bit like a rock anthem which was easy to nod your head to and even sing in the shower. “Beautiful Machine” is next and again straightforward, just well done in terms of delivery. There is some killer lead guitar and another standout bass line. The shoegaze inspired “Carcoat” is a single worthy song. It’s really catchy and that reverb on the guitars and vocals really hits the mark and matches the song. I also loved “Fishpins & Jackalwire” which is also really infectious. The clean guitars and vocals provide some memorable melodies but the song still drives. “Racking My Brain” is more experimental but also feels more like an interlude. They get back into rock mode with “Hide Close By” and hit it out of the park with the lush “I Live Where I Breathe.” They close with the dynamic and yet atmospheric “All Green Lights” which contains a dream-like quality towards the end. The album was a fun ride. I thought the production, delivery and songwriting was top notch. Take a listen.
Justin Lisa is a songwriter and multi-instrumentalist born and raised in New Jersey. He started playing drums in the band Hot Curl but recently decided to release a solo EP entitled Sunset Drift. He explains “Sunset Drift is the perfect soundtrack for a day at the beach or a stroll down the avenue.” The music felt like straightforward garage rock and The Strokes is a band that came to mind a number of times while listening.
The first song “One More Chance” is a solid tune and probably the highlight in the batch. There are some clean guitars, an impressive drum beat and a slick bass line. There weren’t any surprises to my ears but the song was well written and fun. The similarities to Julian Casablancas on the chorus felt undeniable. “Another Way” is a little more lo-fi. The recording quality was a little muddy on this track but for garage rock made it work better than on other genres. It’s not much of a surprise the drumming was my favorite aspect of the song which at points really felt like the focal point more than anything else because of different beats and exceptional use of toms. There are some catchy vocal melodies as well and some solid guitar fills as well. The last song “The Lost Years” was a good one as well. It’s a song that revolves around jangly, major and minor chords, a steady drum beat and a memorable vocal hook. The recording quality is slightly improved especially on the vocals. I have to admit this was another song where I couldn't help but picture Julian Casablancas singing. This type of garage rock has been very popular over the last ten years to fifteen years. I would say The Strokes is a band that probably has the most single influence over artists reviewed on this site. Mac Demarco is a close second. I would say Lisa pulls off that sound well and I was impressed that it was a complete solo effort. The three songs felt cohesive and went by fast. I have a feeling Lisa could pull off an entire album's worth of these songs but have to admit I wonder how he would sound with a full band. My only critique was I wanted something in the songs that felt a little more distinct so I might recognize his songs if I heard them elsewhere like in a Starbucks, at friends house, etc. I wanted just a little more of a signature sound. Overall, this is a very short but solid debut EP that marks Lisa as a talented songwriter and instrumentalist. I look forward to where he goes from here.
Quarterman is the solo project of singer/songwriter Richard James Quarterman. In the past, he has played with Wanderlust, a band that has lent support slots for Marillion and Bloc Party. Though the band folded not soon after, the desire to go on more musical adventures was ignited and it wasn’t long before Quarterman started building his catalog of solo acoustic songs as well as working as an English teacher to pay the rent on the side. Quarterman also contributed as a lead singer and songwriter to the band Man The Lifeboats, which formed in 2016. Man The Lifeboats spin raucous folk numbers that will be sure to get you into the spirit, coming to a festival stage or a music venue near you soon. In fact, Quarterman says in his bio that the songs on his debut album Carondelet came about from Man The Lifeboat rejections. The songs featured on this release are quieter, older, more in the introspective vein and less in the vernacular of an upbeat raucous live folk band. It definitely feels like Quarterman is taking his time on this solo release, as none of these songs feel rushed. You get the sense as you listen to this album that Quarterman is telling you a story here with all the time in the world to tell it. Filled with simple acoustic ballads brimming with an earthy sense of folk and Americana, these tracks take you from the moorlands of Yorkshire and the streets of London Town, stopping in everywhere in between.
Carondelet makes for an introspective intro with “(That Old Chinese Takeaway Called) Happiness,” where some country-bent and twangy guitars start off the sound here. This felt like an acoustic track with a home-brewed sound to it. Once the warm vocals come in, the vibes start to feel more golden. This sounded like in the ballad vein with a sense that the instrumentals are slowly simmering on the backdrop. Taking its time to build, there was nothing rushed about this song. I loved the classic folk feel to this track which reminded me of Bob Dylan. In fact, a lot of his affection sounded similar to Dylan. Some shimmering melodic guitars start off “Outsiders.” As some percussions settles in, the harmonica sets off a fiery and bluesy vibe. Quarterman’s mellow vocals create more laid-back vibes on this song. I enjoyed the relaxed delivery of this acoustic track. It had a casual air to it that I loved. I thought all the instrumentals sounded great here. There was something celebratory to the music that reminded me of a spiritual folk revival. More acoustic guitar renderings pave the way on the start of “Bonnie.” The sparse finger-picking accompanying the vocals made for a simple but emotional resonance sound. I loved the simplicity of this song. It really went on to highlight the great musicianship on the guitar and Quarterman’s arresting vocals. The vocal harmonies in the background also really made the sound. The sounds of the sea in the backdrop gives more credibility to this sea-fearing track on “O Fisherman.” Gradually, a piano melody makes its way here. This felt like another song in the ballad vein. With haunting vocal harmonies in the backdrop, as some synthetic strings settle in the track, it gives this song a lush vibe. The track had a quiet but smothering feel to it that made it very dynamic. More intricate acoustic guitar chord progressions make up the sound on “Kings Cross Baby.” The finger-picking on the guitar creates a very alluring sense to the vibes. I was enticed right from the start. The performance felt very intimate and personal like the singer was just several feet away from you performing this song. More acoustic guitar strumming reels in the sound here on “The Caledonian.” The melody slowly builds, easing into a country ballad vibe. The tune felt jaunty and I could appreciate the simplicity of this track. Rendered on just vocals and guitar, this felt like a tune that could be belted out together in a crowded English pub somewhere in the countryside. The title track “Carondelet” opens up with a ukulele giving this song a very island vibe. This felt like a different direction that the album takes with this track. The tropical vibes feel very refreshing. The percussions really gives this song a lively flavor. This seemed to be a delightful acoustic track filled with warm and intimate vibes. This song was a definite highlight. On “I Left My Heart In A Part Of The Seven Sisters,” the sound of wind instruments gives this song a delicate vibe. The wind instrument alone at first accompanies the vocals. Slowly some synthetic strings enter. This seemed like a quiet track showing more of Quarterman’s soft and subtle side. More acoustic guitar makes an appearance on “(On The Overwhelming Sadness Of) Gravity.” This seemed more music in the quiet mode as the hushed vocals creates a soft and warm sonic landscape. The album finishes off with another ballad that will be sure to impress. Listening to this group of songs, you get the deep sense that Quarterman has a lot of profound things to say. Like folk singers similar to Bob Dylan and Natalie Merchant, he seems to have packed a lot of wisdom and knowledge into this nine-track collection. In this sense, listeners can learn a lot from Quarterman, whether it is finding lost love from a prediction from a fortune cookie [“(That Old Chinese Takeaway Called) Happiness”] or braving the seas as a fisherman (“O Fisherman”), Quarterman packs in the lore and storytelling of a man who’s seen a lot in his day. Deserving of multiple listens to get the home-grown sense down, this record seems to come straight from the heart. His intuitions as a singer/songwriter and musician is evident throughout this album, showing his musical instincts in how he delivers and performs these greatly slowly evolving and thought-provoking ballads. Feeling very classic and timeless, Quarterman brings you this batch of songs that will be sure to grow on you the more you listen to them. Be sure you give these a spin today!
The (currently) solo project of Chicago area musician Nathaniel Tann, Welcome Familiar is a shoegaze/nu gaze project that aims to combine the dreamy, heavy and crushing aesthetic of modern shoegazing bands with the melodic pop hooks of ‘90s alternative, grunge and emo. That is certainly something he achieved on his release No Stars.
I grew up as a teenager in the ’90s with a steady diet of alternative acts like Hum, Smashing Pumpkins, Weezer and other like minded bands. This release would have been in rotation with those types of bands. With that in mind there’s also some shoegaze vibes and at times bands like My Bloody Valentine and Ride came to mind. The album starts with “On My Way” and a number of riffs here sounded like prime Weezer except with more reverb. I liked the vocals which were catchy and really the focal melody of the song. The guitar sounds huge on this song in particular. “Waste” brings up the energy but I actually preferred the more shoegaze inspired “Always Time'' which felt like a highlight in the batch. The vibe gets much darker on “Don’t Leave Me Here Alone” especially on the verse which contains a grinding bass tone and guitar flourishes which create an atmospheric but driving sound. “Twelve” is a little more of a ballad and introspective while “Burnt (2021 Version)” is a bit of a slow burn that leads to some kinetic energy. “Dino Song'' could be considered another rock ballad but the more subtle “Rise” felt like a highlight due to the memorable vocal melodies. The last song “Everything Is Noise” ends with a banger. Suffice it to say if you’re a fan of ’90s alternative and shoegaze you should enjoy this. Take a listen.
Pure Intruders is Madeline Julia Smith, Brandon Suarez and Jonathan Noel. The band formed in 2020 under quarantine and created a four-song EP entitled No Hard Feelings. They explain that “2020 was no ordinary year, so we wanted to release a collection of songs that were toned down and contemplative.”
The songs are lush, atmospheric and serene. They combine those elements with engaging vocal melodies and top notch songwriting. The EP starts with a couple of strummed chords but it doesn't take long for a very chill sounding rhythm section to enter into the mix. I loved the vocals which are just a little above a whisper. The mix sounds good and the groove is very easy to enjoy. Up next is “Soy un Triste Payaso” which is very similar in vibe but this song has more dynamics. The orchestral elements were well done. As the song progresses the intensity increases with arpeggiated and lead synths. It’s a single worthy song. They have more success with “Dorothy” which builds on their foundation that they built with the previous songs. Everything sounds super slick and smooth. It’s borderline trance like and hypnotic at points. There are some really instrumental moments like a little after the the two-minute mark. Last up is “Sweet Nectar” which is a little more jazzy and contains some vibes that made me feel like I was chilling poolside. The acoustic guitar is fantastic. The band does an exceptionally good job creating a signature sound with these four songs. I loved the vocals throughout which are the focal point but the instrumental aspects hit the mark and I found my ears engaging with that as well. Overall, this is a fantastic four-song EP. The production songwriting and overall aesthetics came together to create a sound I think a lot of people will embrace and enjoy. Recommended. |
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