Amalia Juliane is a multi-instrumentalist, vocalist, songwriter and improviser based and raised in Brooklyn, NYC. She has played around NY at venues like Nublu, Rockwood Music Hall, The Bitter End and Arlene's Grocery and has studied with people like Fay Victor, Wendy Eisenberg and Margaret Glaspy. This Is Not My Mind is her recent release.
In her own words the album “is about how intense human experiences can feel in your body, and how they can make you feel detached from your own mind.” There are seven songs and the album lasts a little under a half hour. The first song is entitled “So Far” and starts with a lone acoustic guitar. It doesn't take long for other elements to surface, like drums, bass and her vocals. I loved where the song went in terms of timing and scales. There’s an upward ascension of a bridge and radio frequencies. It’s an off-kilter song that is still catchy and technically impressive. I always love a good banjo and “I Don’t Feel” puts that instrument forward. It’s not a standard bluegrass song however. The timing of the songs deviates from 4/4 and there are changes with the BPM. There’s an infectious hook as well before the three-minute mark. I was really enjoying the musicality of the songs at this point. “Not My Mind” seems to be the theme of the album. This is a slow burn of a song. The drags on the snare sounded perfect and the more melancholy vibe worked. There are a good amount of transitions with the most notable one coming around the two-minute mark where it starts to feel like catharsis or epiphany. “Space” combines strummed guitar with beautiful white noise and then goes into an orchestral swell which has one of the most intense moments on the album. “You’re in Your Hell” starts off lush with guitars. I liked the lyrics but something about her saying “you’re in your hell and I’m in mine” had an absurdity to it that felt tongue-in-cheek and funny in an absurd way. The song explodes with a fuzzy bass and there's a good amount of rocking. “Drown” is a fuzzy song and I think this song had my favorite vocal performance. She has an intensity here I liked. Last up is a more intimate song called “Turnaround.” About twenty years ago I was attending college with a focus on music composition. Juliane is where I was back then and truth be told this is just the beginning for her. I predict good things to come for this artist because I thought this was a good album from beginning to end. She has a lot of ideas, some of which are complex but can also make it accessible to the masses. I think that’s a great start and I look forward to hearing where she goes from here.
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Will Riley (guitar), Tad Zawacki (bass), Larry Swain (drums) and Dylan Kebow (vocals) are ParaLLeL. The band formed in 2020 and then released their self-titled album ParaLLel a little earlier this year.
The band mentions this about the album “A varied journey through different styles of modern hard rock, heavy metal, grunge and alternative rock all through a retro-rock lens. Influences ranging from Van Halen to Iron Maiden to Smashing Pumpkins to Queensryche.” The band gets going with the intense “Walk Away” and they demonstrate their technical skills right off the bat. They are precise and in the pocket. This song has a lot of energy and also has more of an ’80s and early ’90s rock and metal type of quality. Some of the vocal moves also reminded me of David Lee Roth. “Face to Face” had more of a ’90s alternative and a '70s classic rock energy. It’s still very high energy and even funky at points. There’s a wicked guitar solo, soaring vocals and just a lot of musicality to the song. “Ride” starts off as a more or lush ballad but the song quickly veers into a very intense song. It’s still sort of a ballad but definitely a rock ballad. I liked the vocals on the verse. Kebow sounds comfortable here but he can belt it out when needed which he does here. The change in affectation makes it sound like he changes into a different person. “Scapegoat” is pretty much a straight rock song with a lot of attitude that is dynamic and kinetic. I did find a song that had some resemblance to Smashing Pumpkins and that is “Parallel” although Kebow does not sound like Billy Corgan. “Betrayed” could be a B-side from Iron Maiden while “Making Way” could be the single on the album. They have more success with “At Ease” and “Hold On” but they save one the highlights for the last song called “Journey.” First and foremost the band can play their asses off. In terms of musicality the band crushes and it felt like music that’s meant to experienced live. I thought this was a solid album and I think people who miss rock with danger and attitude will appreciate this the most. Take a listen.
Mindylu Watkins is from Peoria, Illinois, and holds a BM in Vocal Performance from the University of Colorado, Boulder. She moved to San Francisco after college to pursue her singing career and was successful with the bands and musicians she worked with in the Bay Area. Following 9/11, Watkins realized she was too far away from home and ventured back to her hometown. When she returned to Peoria, she went back to school at Bradley University to get her BME and has been teaching music for the past 17 years. She currently has a private studio of music students, where she teaches guitar, vocals, piano and ukulele, focusing on performance. Writing her own music has always been a passion. Fortunately, Watkins’ friend, Dave Schools, gave her name to John Keane. Yes, THAT John Keane (who worked with R.E.M. way back in the day right up through the band’s later years, post Bill Berry – sorry, longtime fan here who probably knows way too much about them). Keane has an extension list of engineering, mixing and playing instrument credits to his name, working with some of the biggest names in music, such as Indigo Girls, Billy Bragg, Widespread Panic, Rickie Lee Jones, Cowboy Junkies, Vic Chestnut, among many others. Keane, by the way, performs and sings on some of the songs here, too.
Tuesday’s Child was recorded, mixed and mastered in Athens, Georgia at John Keane Studios, by the man himself, John Keane. For Watkins, she states that she has a hard time describing herself or her music. Every song has a different sound from her point of view, with harmonies being heavily present. A lot of songs were written based on challenges given to her by Mr. Dave Schools. Write a funny song, write a lullaby, write a love song......etc. Many of the songs are about the grieving process and a lifetime of losing loved ones. The recording process was broken up into three different recording sessions. She says that working with John Keane was truly an honor and a blessing and she’s excited to start recording album #2. After years of dreaming about releasing her debut album, it’s finally come to fruition, and you’ll find it right here on Divide and Conquer. The opening track “Nine-Volt Battery” has got a nice beat to it – strong, and clear. Musical styles felt to me like a mix of alt-country rock, singer-songwriter echoes from the ‘70s and jangle pop. Watkins’ voice reminds me a bit of Linda Ronstadt’s. Next up is “Uncrazy” and this one has some nice acoustic work – honest, with a traditional, dusty folk-rock feel. The backbeat / bass guitar sound, with its “tum-tum-tum” rhythm, reminds me of some Johnny Cash tune during his ‘90s recordings. Watkins’ voice really shines in this number as well! “Beautiful Child of God” written by Jerry Wayne Joseph is a sweet and tender tune, which features, I think, a mandolin. This song is about a relationship between God, and a child’s guardian angels “up there in heaven” also features some pedal steel guitar and a gentle, waltzing beat. Style-wise, this one felt to me like a no-nonsense, country song. The album’s title track “Tuesday’s Child” has some extra percussion added to it and an electric lead guitar. Stylistically, this tune had a lighter feel but rocked out hard. Optimistic in its message, something about it reminded me of Joni Mitchell’s work. Perhaps it was the song’s melody, its short duration and heartfelt message. On “Goodnight, August” Watkins’ work turns more soulful and introspective. She thinks back to her time as a child when August meant the end of summer with September following. But in this tune, she sings about how that month “took my daddy away” as she forces herself “to just move on.” She also offers some words of caution too – “Spend your time with those you love the most; someday your lover won’t be there” and “Listen to the music / When you feel compromised / Take a picture; it may be the last blue sky you see.” “Chasing Lyric” is an upbeat rocking song, that features lyrics about finding your own truth and something sacred within yourself. Ultimately, it’s both a collective and timeless song about freedom. The next tune “Interstate Soul” feature some great sounds coming from the lead guitar and mandolin, with the acoustic keeping a steady rhythm. The beat is light, and the song’s style is refreshing. Lyrically, Watkins’ sings about her experiences on the road, San Francisco “still having her heart” and staying up all night. I liked this one a lot for its melancholic nature and beautiful vocal harmonies. “Thoughts and Prayers” has the pedal steel as one its main instruments. Lyrically, this tune gets political – but you won’t find Watkins getting pushy with any group or individual here. She sings “I don’t care who you choose to love / I don’t care which God you pray to up above” and “It’s a sad situation / when the leaders of our nation can’t be trusted.” “Grace Again” gives the listener a fantastic mix of folk rock, jangle pop and soulful singer/songwriter spirit. Watkins offers herself helpful reminders of the past in this reflective tune – “Don’t take yourself so seriously / when will I start listening to his grace again?” and “Slow my mind / I think too much / Wasting my time with faith in blind, dumb luck.” I felt she really touched upon the classic style of singer/songwriters from the early ‘70s folkish rock movement. Last up is “Fly Away” and it features a unique playing style, instrument arrangement and sound, with great warm tones all around. The lyrics suggest someone needing to leave, to “break away from all the pain and heartache.” My guess is that this track is about suicide – “And I pray that the family you left behind / can find some healing and peace of mind” and “You had to get away, break away, fly away / from all the pain and heartache that never goes away.” Overall, a stellar debut with fantastic songwriting from this Illinois native.
Nigel Parry is an award winning singer/songwriter who has performed in several countries, on radio, and major folk festivals. He recently released Tales of Common Folk, Salt & Sweet Kisses.
This is very much a folk album with a lot of roots in the 70’s. Artists like Donovan came to mind on this song for a number of reasons. The acoustic and organic instrumentation but also the themes. There’s a lot of lyrics about kings, roads and in general I was getting imagery you would associate with the fantasy genre. Although Parry doesn't mention orcs, wizards or magic. The songs dance around earthly topics but the fantasy properties felt to me like they were in the stew. “Three Danish Galleys” revolves around harp, soft atmospheric elements and some percussion. The song moves slowly and at an almost meditative pace. I loved that and there was a lot of space for the vocals to breathe. In fact you can literally hear breaths on this song. “Flowers in Autumn” was one of my favorites on the album. The song holds on to you with warmth and sonically gives you a hug. The feeling of Autumn does come through and feels peaceful. The orchestral elements are quite beautiful as well. “King of Rome” felt like a play. There’s these masonic-like vocal passages, some are choral style while some of it is a single voice. It’s a unique song and I would say it seemed like the most experimental. “Rosemary's Rosy Doorway” is another beautiful one. The guitar picking is delicate and vocals provide a sense of solace. There’s this feeling as if you are arriving home on this song which is implied through the lyrics but also through the music. “Nine Pairs of Eyes” is also warm but is perhaps the most joyful sounding yet in my opinion. There’s what sounds like mandolin which sounds great juxtaposed against the other elements. The subtle orchestral swells add another dimension to the music as well. “The Notch” is another slow burn but again quite beautiful and did put me in a comforting and soothing headspace. “One Word War” is so cool. There’s some solo harmonica, vocal harmonies and not too much more. Similar to the other songs there’s a sense of stillness. In fact the near constant “Om” sound is something you often hear in meditation practice. There’s more movement on “The Day The Bank Closed Its Doors” which contains some full sounding vocal harmonies. The last song entitled “No More” is a wonderful send off which showcases Parry and Helen Dorothy trading lines. I would say fans of folk will love this. The album felt extremely pure to me. It’s also mixed just about perfectly which helps the emotion come through. Embrace and Rejoice. Recommended.
Welcome Everything is a great title for an album. It’s very zen and a philosophy I try to incorporate into my own life. The artist Chris Laguna behind the music says “Welcome Everything is about accepting whatever life has to throw at you and doing your best to churn out positives, whether that be personal growth, maximizing contentedness, or making peace with what can't be leveraged. This can only be accomplished "by opening up your mind.”
This is an album that is just about everywhere in terms of genre. It’s hard to find a signature sound when an artist makes these kinds of leaps throughout an album. On that note I had some preferences and thought there were a lot of high points. “Dream Transfer” is a good one. There’s some really technically impressive piano playing and vocal harmonies. The song did feel more theatrical than some of the others. It’s a very cool song and has its own thing going on. Great start. “Moody Foody” features classical guitar with a flamenco style. This is another high point. It’s Bossa Nova with frivolous lyrics about food. Very nice work here. Laguna continues to showcase his technical ability. He can play some serious guitar. “Mesmerization” was more of a miss to me. It’s largely electronic with spoken words. “Sugar And Optimism” is a chip-tune based song that embraces 8-bit sounds and vocoder infused vocals. It’s quite catchy and I enjoyed this one. “Accordion” deliveries an accordion and notable vocal melodies. “Tree Line” is a highlight and my personal favorite song on this album. Laguna utilizes what sounds like a Marimba and xylophone. The song is very soothing and also contains some of my favorite vocal work on the album. There’s some very cool transitions as well. As the album progressed I thought there were a number of other highlights. “Who's the Pot Roast” is acapella. It’s like a barbershop quartet with additional spoken words. “Take Them Out” goes back in theatrical mode but even more so. The closer “Driving Song” was another highlight was warm guitars and bright energy. My only critique is that I did want one factor in his algorithm to weave in a consistent element that would make me feel like there was a signature sound. This felt a little more like a compilation album because of that. Laguna is an exceptionally gifted musician anyway you slice. He’s almost too talented to be contained to a single genre. There’s a lot to appreciate with this release and I loved the message as well.
Satisfaction, inc. is a one-"man" gothic/industrial/electronic "band" from Kankakee, IL. The artist is a former bassist of Kankakee's premier early-2000's rap-rock band PLAN: BE, and former multi-instrumentalist of Carbondale, Illinois' death-punk band DREK SQUAD and electronic band BANGA PETRO. For his solo effort the artist released Dirt Sounds.
Breakup albums are nothing new but there’s a reason they are made. People can relate and also serves as a catharsis for the artist as well in my opinion. The album begins “Superfluous” and you get an atmospheric soundscape with lush pads and a steady beat. There are some samples in the song that sound like an old court hearing as well lead vocals. I thought the delivery for the vocals was inventive and had a unique approach to delivery. There are some changes in BPM and proved to be an intricate song with complexity. “The Sophistication” is a great song. The beat is steady and synths ping against the mix. I thought the layering was well done. It creates this soothing soundscape with the distorted vocals coming through the song. It also happens to be a catchy tune. “Two Million” felt like this lo-fi version of a band like Tool with a side of grunge. The guitar is prominent here but the artist is able to embrace the programmed drums. I thought the vocals were ominous and he leans into an affectation. There’s a good amount of emotion on display. The production on “Not Accurate” was psychedelic and fluid. There’s some organ and phaser on top of the song. The artist might be using a bit crusher as well. I loved the vocals on this song and it contains some of my favorite lines. “Times are tough all over, kid, so please pull up a chair. Another joke to please the crowd, and then we roll the snare.” The artist's essence was starting to emerge more and more to me as the album continued with “Princes of the Renaissance”, “Wider Implications” and “Mister Gratitude”. There were standouts I encourage you to listen to. “Operation: Project Codename” is a slow burn and one of the more subdued songs with noir-like feeling. Filters mutate the song on this smoky song which enhances the ephemeral like quality. The closer “Don't Get Up” put a lot of the artist's strengths on display. My main critique is sometimes I felt the dynamics could be improved. This was happening for a number of reasons but the album as a whole was fairly lo-fi. I felt like there was a lot of pent up energy on this album. Suffice it to say I hope it helps him and others when a bad breakup occurs. Take a listen.
A group of friends from high school and college came together in 2018 to form Glass Image. Since 2020 the band has been working on their upcoming album entitled Mixed Emotions. The band recorded and mixed the album DIY style but did have it sent off for mastering. I thought the album sounded fantastic from a production standpoint.
Their music is melodic and combines elements of rock and folk. I thought there was a lot to appreciate so let’s get into it. “Time To Pass” is the opener and one of the highlights in my opinion. It starts with delicate guitar picking and soothing vocals. The tone is pensive and melancholy. It does build into something quite grand as it progresses. Once the band really starts to rock with more complex drum patterns and other instruments the song feels positive and even motivational. I kind of wish there were more intimate moments like at the beginning of this song. Great opener. “A Reason To Think…” was interesting. It builds on a spaghetti western type music which felt like it could be out of a Quentin Tarantino movie. There's a spoken word in the background of a dude who seems like he’s giving a speech to motivate soldiers into combat. It ends up being an intro of sorts into “Again”. I was getting 80’s and 90’s rock type of energy on this song. It sounds huge and like a song that could fill an arena. “Too Late” is a fun one. I loved the guitar work which has some similarities to Santana. There’s a little more of a blues element here as well. The Black Keys came to mind during the chorus. On “IDWK” they sort of hit their stride. The attitude here gives it some edge but also makes you feel like a badass. There’s great vocal work on this song. The vocal harmonies were very well done. “Find Your Way” felt like a ballad to me again but similar to the previous songs they go big and felt like “Fortress'' is a fast paced rock song that definitely brought up some more of that 80’s and 90’ rock energy. “Save Me” is a more straight 90’s alternative type of song. They get into one more ballad with “Transposition” and rock out again with “Goodbye”. The title track “Mixed Emotions” is a heartfelt and pensive closer but make no mistake about they go all in for an epic ending. This is a huge sounding album that’s meant to be played loud. The performances were top notch and I thought there was a lot of emotional resonance when listening to these songs. Recommended.
It wasn’t too long that we were introduced to The Reckoning Wheels. Last year the artist released Somewhere Along Those Lines and is now back with a three song EP entitled You. On the artist's website it mentions “These continue the romantic rock themes from Somewhere. Our Hearts is about that pull of a lover's hand on the dance floor, Indecision Street looks at the loss from never choosing, and Stop Breaking reveals the hope in someone no matter where they go."
The opener “Our Hearts” explodes out of the gate with piano, distorted guitar chords, bass and a beat. I felt a wave of americana wash over me. The verse comes around quickly and the music simmers down to let the vocals have some room. It’s nostalgic as piano notes sprinkle about and chords are slowly strummed. The vocals sound great. It doesn't take long for the chorus to pop. The drums hit a little harder, you get some additional organ as well some memorable vocal melodies. It felt like the second and third chorus had even more intensity to it. I loved the opener and it had a nice mix of melancholy and nostalgia that created a sense of solace. “Indecision Street” is a good name for this song. There’s an undeniable pensive energy to the song both in the music and lyrics. The artist sings about making decisions. I thought the way the instrumentation was introduced was very well done. The bass work here combined with the drummer finding a more kinetic beat makes the song start to feel like you might be able to make a decision. That being said the song sways back and forth between an intimacy and then a brighter atmosphere. There’s also a killer guitar solo you shouldn’t miss right before the three minute mark. “Stop Breaking” and the americana spirit is strong on this song. The aesthetics were somewhere between Bruce Springsteen and The War on Drugs. This was personally my favorite vocal performance. There’s a mix of emotions. I could hear the pain in his voice but also the perseverance. This song felt like a proper way to close the EP. I thought this EP was well crafted with well written songs and top notch production. Fans of rock that pulls at your heartstrings with human emotion should appreciate what The Reckoning Wheels brings the goods to the table. Take a listen.
Toronto-based Danielle Sum took much of the inspiration for her debut album, Still, Softness, from a series of faith-based tattoos. That this body art leans toward Christianity as opposed to skulls, dice or mudflap girls adds some thematic density to the work. And that’s all the more relevant when noting the record’s description as a “sonic weighted blanket.” Not only is our serotonin being coaxed toward a spike, but it’s happening amid ceaseless marimba. Because, as a classically trained percussionist, Sum favors the timbre of this idiophone when crafting her brand of indie folk; leaning heavily on its interplay with vocals, strings and a glockenspiel.
Over the course of 17 minutes, we’re treated to delicate, often spindly constellations of music. While the delivery is, at times, detached, the vibe is akin to comfortable tranquilization. Sum isn’t putting down a wearied horse so much as she’s massaging the listener through a series of ice-clear movements. If that sounds a bit too tundral, rest assured that the formula works. This is a reflective pool of notes, barely thawed yet tightly choreographed; a post-emotional communion with truest faith, inked or otherwise. Our first glimpse, “Through The Open Door,” boasts a near-a cappella intro over a single quivering note. That is, until the composition blooms into a homeopathic dirge. “A beautiful grace surrounds me / And I dive in ” Sum chants, presumably taking the hands of believers and other curious naturalists. By “Of Ravens and Lilies,” the palette expands – ever so slightly – into a gentle, music box arrangement. There exists a tender, almost vulnerable air in this lyrical entwining of parent and child; an innocent lullaby spooning the reality of ensuing senescence. So when Sum proclaims “Your life is fuller than you know,” the decree is steeped in such emotional heft that the weight of its simplicity is suffocating. “What The Sunflowers See” is an ambling melody. Held together by occasional twinkles, it is richened by a resonant, yet unobtrusive, string arrangement. And the vocal outro is, in the realist sense, pretty. In fact, Sum finds her voice toward the end of the album. Or, at very least, sweetens it to enhance the intimacy of this experience. We may not be holding hands, but we’re no longer watching from the treetops either. “Heart of Hearts” the final track, progresses in this very vein. And just like that, the ice starts to drip. Water, Spring, rebirth. Overall, Still, Softness brings instructional relaxation to an adequate futon. It beats a night in the haystacks, and shines in the peculiar way that aloofness – beautiful when distilled – can awaken the heart. Plus, what kind of maniac shuns the potential of a weighted blanket? Get comfortable.
Conor Breen (vocals/bass/vocals/guitar), Sam Warriner (vocals/guitar) and Rob Simmons (drums) are Children of the Year. You might recognize Conor Breen as he released a solo album Chaos On Carnegie which was reviewed at Divide & Conquer back in 2021. For their three-song release Monster the band recorded at DC Studios.
The whole EP is around eight minutes long and contains three songs. They get going with “Deadhead” and start with a couple strummed chords on an electric guitar and vocals. There’s a mix of rock, alternative and punk with a ’90s type of quality to the music. The song gets moving quickly and gets to the hook before the one-minute mark. It’s a song with zero fat on it. The playing is tight and in the pocket with defined sections. Suffice it to say the band sounds great as does the recording. The blaring guitar solo is also on point. “Billy Don't Give a Fuck” comes in out of the gates with a fast BPM. The song is high energy and more punk oriented. It's super fun with the perfect amount of aggression. The hypnotic vocal harmronies combined with the screaming “Billy Don’t Give a Fuck” hits the bullseye. I thought the song somewhere between The Ramones and Sex Pistols. “Monster” definitely has a more of an alternative vibe. Oasis did come to mind but slightly more punk oriented. I thought this was the most single worthy song of the three. The hook is a blast and it felt like a sing-along after the second chorus. It’s just a solid song. The band sounds great. I thought they had a lot of energy and the recordings made me want to see the band live. One of the things about these songs that I thought stuck out is they have a sort of punk philosophy as well. The songs are on the shorter end and really don’t have any extra fluff or fat on them. They get to the hooks quickly, the songs are dynamic and no unnecessary intros. My only criticism is that I wanted to hear a little more. On that note this is a promising start for the band. They bring the goods and I hope to hear some more from them soon.
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April 2024
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