Grove Park is a project of the artist when he was in high school in 2014. He learned to play songs and then started to write his own material. That reminds me a lot of myself although I went to high school back in the mid ’90s. At any rate the work would come to fruition with a full length called Littleroot.
The song mainly consists of vocals, acoustic guitar and overall emo like quality. I would like songs to sound very coming of age which is appropriate for how old they are. The EP begins with “Backyardigan” and you get strummed chords and vocals at first. There’s multiple vocalists on this song. The male lead is a lot more prevalent in the mix with the female vocals beings underneath. As the song progresses some percussion instruments as well as piano. The vocals cascade with one another which is often the case with these songs. “Littleroot” is next and arguably the most single worthy song in the batch. There are common themes I always hear with pop-punk and emo but this was a little ambiguous with lines like “I’m out in the tall grass cutting trees and picking fights, with a kid who’s got a knack for training bugs and normal types.” “Hey Utah!” contains a number of different vocalists. The song is one of the most realized in the batch and the harmonies were impressive. There’s almost an over abundance of vocals at this point but still very impressive. “Loading…” sounded like a completely different artist. Some jazzy piano and beat. It was a confusing turn in style and it didn’t seem necessary. The pop punk and emo continues with “If we weren't so cold?” Similar to the other songs the vocals are really well done. There are some synths here and there which worked well in the song. “Long time still no see (Atlantic cousin)” continues with the nostalgia you find in this genre with lines like “Where did the time go, Atlantic cousin of mine? When did we grow up, Atlantic cousins of mine? I really miss you, Atlantic cousin of mine! I hope you’re feeling well. I really think we should start talking again someday.” “the untitled song of a 16 year old boy” is an emotive piano ballad that sounds like the dramatic thoughts of a teenager. The title is spot on. “Green” features some really nice guitar work and singing while “Louise” builds on the strength of the band. I thought the closer “Outro to a good life” was a highlight. The lyrics are really well done and self aware. There are great melodies as well. The songs go down the line in terms of emo and pop punk but they do it really well. It mixes the coming of age quality with well written songs. My only criticism is that I wanted a little more fidelity so hope to hear that on their next release. Overall, this is a very solid release.
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Poison Ivy is a band that formed in the late ’70s. They apparently took a break when founder member, lead vocalist, guitarist and songwriter, Kev Thompson became the go to guy for many hit bands of the day including - Vanity Fare, First Class, Love Affair and many more.
They got back together in the ’90s and had more success. Poison Ivy were voted Club Entertainers of the Year on two separate occasions and invited to play for the Royal Family at a prestigious Royal Premier. Recently they released a new single called “All The Same Inside.” The song fades in with swirling guitars, pads and a rolling snare. They lock in together before the thirty-second mark. The band sounds tight and the music feels bright, motivational and joyous. I thought the vocals soared. The hall reverb sounds just about perfect which adds to the soaring quality. Their sound was reminiscent of early Primal Scream. The lyrics match the feeling of the music. “Open your heart / open your mind / let it be the same inside.” The chorus comes quick and is explosive when he sings “We’re all the same inside.” They however don’t linger on the chorus. The band quickly gets back to the verse and continues to rock. Right before the two-minute mark there’s an instrumental break with a fairly straightforward guitar solo. They revisit the chorus once more and the song goes into this lush and meditative outro. The snare starts to roll again and the band ends with a mid level type of energy. This song has all the qualities you typically want from a single. It’s catchy, there’s no fat and the song sounds professionally produced and engineered. The song to me had a combination of ’70s and ’90s aesthetics. Those two eras in my opinion produced some of the best sounding music so I don’t have any issues with their crossing of genres. In fact I know there are a lot of people out there like me who prefer live sounding rock bands that have an honest and heartfelt sound which brings people together. Take a listen.
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 The Silent North Midnight Fires 3.7 Goth Goth Inscrutable? 3.7 Scott Erdy Puttin Me On EP 3.7 Solaris Solaris 3.6 Total What We Had 3.8
Bernie Joe Ray of Vancouver, BC is a musician and songwriter who has just released an acoustic folk EP titled One Finger.
Ray has played in many Canadian bands, and from 2014 to 2016 he fronted a “high energy punk rock guitar and drum duo” called Invisible Ray. For this collection, Ray “entered the studio with the idea of creating a sort of brief journal or soundtrack of city life, and to make songs as simply as I possibly could. I tend to identify as punk rock, but while there is electric guitar work present, it is used for color, shape and emphasis; the record features ‘mellow’ vocals, acoustic guitar and percussion more than drums.” The genres Ray touches on include folk, rock n’ roll, blues, country, punk and garage styles. Ray plays acoustic guitar and sings, with the other instruments handled by Dallas Good, who also produced. Engineering was by Guillermo Subauste at Pacha Sound Toronto Ontario. You can get it by download but also on a special one-sided vinyl pressing. “Sally The Kid” right away feels like a Cohen Brothers movie song. Lush, full-sounding acoustic guitar plays atop single echoed drum hits and a pad of melancholy organ. In the middle section Ray takes a cool acoustic solo. I don’t get to call up this artist often but the feel and delivery reminded me of Warren Zevon, as well as the musical stylings of actor Jeff Bridges. There’s lyrics printed, but only a couple lines. That’s a shame because they’re really good lyrics! “Don’t Call My Name” starts very much like the first song, with a similar chord scheme and melody. The lyrical device is to list things the singer doesn’t want you to do, followed by the reason why. His vocal has a bit of Eddie Vedder intensity. “Don’t call my name / I don’t like it, it sounds strange / and don’t walk my way / I don’t like to see your face / so don’t walk my way.” Instead of relying so heavily on organ, Ray this time employs a spitting-hot electric guitar that growls along in the background. In the “B” section Ray pulls a neat trick where he rapidly alternates major and minor chords. “One Finger” features Leo-Kottke style picking, with the kind of daisy-chain lyrics where one line leads inexorably into the next, almost like a song for kids. Some sweet whistling and humming making the track feel even more intimate. The organ here is content to stick to one or two notes and is far in the background. It’s a gentle and relaxing tune. “When I Waited” is the closest we come to a “full band” track with Ray and Dallas Good joined by Guillermo Subauste on drum kit, and he’s quite adept on skins. As such this track has a touch of country or Americana, and the guitar sounds like a soundtrack from a spaghetti western. I liked the simpler tracks but clearly Ray has a lot to say in a band setting and I hope he finds more opportunities to do so. A quite amiable collection overall and worth a listen or three!
Hailing from Denver, CO, Mark Henry Ham has been in the music business for years now. He has performed for multiple bands and small acoustic groups and incorporates his expertise on vocals, guitar, harmonica and some piano. With his latest offering Casper, Ham is taking what he knows about rock, pop, country, folk and soft rock genres and adding his unique flair to these wide range of songs.
Casper gets started with “Oh Simone,” where right from the beginning, the band comes in with their warm rock vibes that draws inspiration from the country, pop rock and acoustic umbrellas. The way Ham wheedles his voice makes for great showmanship. He flexes and unflexes his vocal range, making these tracks feel very compelling. I also loved how good the piano sounded here. The band’s revving feel-good energies comes in once more at the start of “Dreamin About You.” With a very pop-oriented vibe, Ham’s vocals come in with some distortion effects. This made for a dynamic sound right from the start. On the title track “Casper,” the band changes things up for a warm acoustic appeal. There are sounds of the steel lap guitar and piano and acoustic guitar. Here, Ham’s vocals have a country and Americana twang. I enjoyed this more nostalgic and sentimental approach to music-making from the band. Epic drums and guitars arrive on “Life Is Like A Movie.” Next, Ham’s rich vocals add a moving vibe to the overall sounds. I was reminded of a guy singing while strumming his guitar on a family-friendly show. This uplifting song was packed to the tee with family friendly moments. The saloon-style piano was also a great addition. With some lush background vocals, this adds a somber and ominous vibe to the beginning of “Green Light.” Ham’s vocals come in backed by the harmonica. The bustling and hustling blues enter with a delicious smoky feel. The band changes things up again with the piano-led ballad “In The Quiet Of The Night.” Ham’s vocals come across sounding very clear. I was loving the peaceful sounds coming from this soothing track. On “Long Way Home,” the band’s familiar country rock twang returns with this driven and rambunctious song. Female vocals and Ham’s vocals weave together for a compelling duet. The energy was altogether palpable. “Be By My Side” proves to be a soaring ballad from the artist. The instrumentals backing Ham felt ethereal and airy. I liked how emotionally flavored Ham's vocals were here. It gave this track a very epic and sprawling feel. The band chooses to close the album with the melodic and pensive “I Wish I Could See Your Smile Once Again.” The lush strings also added a captivating vibe to this touching finale. At the focal point of these tracks is Ham’s trailblazing vocals. He is able to manipulate his voice to fit the setting of each track, making no track the same. He takes command from the start and listeners can feel his stage presence from the beginning as he reels you in with great showmanship. Not only that, but the band also comes in, handling all their parts perfectly. The music is at times warm and reflective but definitely a blast from start to finish. Be sure you have a listen today!
King Analog is the artist name for an anonymous lead guitarist from Stamford, Connecticut who has just released his self-titled album King Analog.
Mr. King has been playing guitar since he was very young, and writing musical compositions since his early teenage years. While living in New York City he played in numerous bands and at many different venues. On this album he plays all instruments (along with drum programming). His genre of choice is instrumental progressive rock and metal, “as if Hendrix and Mastodon had a baby.” Mixing and mastering was by Justin Weis at Traxworx Studios. Along with no “human” name, there’s also no photos except of an amplifier head, but that tells you a lot. That’s probably the amp King Analog uses, with every single dial set to 11. You pretty much know where things are gonna start with a song called “Escape Velocity” on a guitar album, and that’s full-throttle rock like a warhead launching. King Analog’s sound is a thick slab of overdriven axes, over which he weaves harmonic lead lines with tons of sustain. As the song pulls back for the song proper, you can hear a Chris Squire-like Rickenbacker bass move up front. This track is basically a series of grand electric guitar flourishes, one after the other, over a relatively simple prog-like pattern. There’s no “guitar solo” per se, as the sound is made up of many lead guitar lines interweaving and dancing. “Lowrider UFO” gets a lot weirder very quickly, sounding much like the exhaust jets of a flying saucer in distress: fast, driving and a hair dissonant. The digital drums here and throughout are pretty good; not too flashy or impossible-sounding for a live drummer. At about three minutes King Analog introduces a new, triumphant melodic theme that I really liked, overlaid with a kickass guitar solo. “Vorvexed” fades in with an off-kilter repeating riff that does suggest a vortex. After a minute this morphs into another huge two-chord pattern, then suddenly gets wild and prog-like. King Analog has a penchant for bittersweet melodic ideas, and as in the previous tracks, they throw this in when you least expect it. The second half of the track is a crazed interplay between imperial waves of fuzz and bottle-rocket lead bursts, leading to a surprisingly quiet and gentle conclusion. “Rain” is not a cover of the Beatles song (which was just a little disappointing) but it directly continues the more laid-back vibe the previous song concluded with. Structurally it resembles something by Steve Hackett, and in this more quiet atmosphere you really get a sense of what King Analog can bring to the table compositionally. The concluding track “Advent X” slows things down even further while upping the blasting compression quotient, so that it’s basically a syrupy river of hardcore sound with more of those unique King Analog melodies, at one point even sounding like police sirens surrounding the house. Overall this was not quite the guitar album I was expecting, and I mean that in a good way. There’s certainly killer solos but ultimately the point seems to be the sound and the music, which is how it should be. Recommended!
Izzy Skinner got her start early playing violin. She started learning violin in 2008 at the Little Yarra Steiner School and discovered her talent. That led her to make a functional electric violin. After this she was inspired by the use of pedals and contemporary playing. Skinner recently released Mr. Wizard which is an eight-song album.
Skinner talks about the theme on the album. She mentions “This album is really an emotional representation of the struggles to stay positive throughout the lockdowns.” As someone who has reviewed hundreds of albums in the last couple of years I would say this is a very common idea but why wouldn’t it be. The heart of this album is very much the violin playing. I was expecting some great playing just based off her resume and that’s what I got. There’s other elements as well on this release so let’s get into it. “Mr. Wizard” is the opener and has this southern gothic-like quality that I’m a huge fan of. This beginning is haunting with breathy vocals and a violin cries. There’s no rush to get anywhere as subtle bass notes emerge. The song does pick up some energy with drums and I thought the dynamics were well done. There’s a lot to appreciate on this song and it felt like a good introduction to her sound. “Distance” contains more energy and is not too far off from a band like Godspeed You! Black Emperor. The sweeping violin sounds incredible. There aren’t any vocals on this song but the instrumental aspects had my attention. “Mala Suerte” is defined as warmer and seems to be sung in Spanish. There’s a full band here and I loved how pretty the vocals sounded. The piano work is top notch and the bass is on point as well. “Mayim- Hayyîm” is very classical sounding with a more melancholy and cerebral emotional resonance. “Wicked Witch with the Sweet Life Blues” is the arguable highlight. The groove, the strings, the upright bass, the lead guitar. I absolutely loved this one and it might make you dance. “Maggot on the Brain” is interesting. The violin seems to be going through some type of filter which gives it a distant sounding quality. It’s really haunting. “Banjo Song” does contain banjo that combines with violin. It's a fantastic combination and used in a unique way. “The Lake” is swift and smooth with an ethereal quality that combines more banjo with violin as well as delay effects. My only critique is as an engineer I wanted a little more fidelity. Overall, this was a great release. If you enjoy violin and want to hear an interesting take on the instrument I suggest you give this a listen.
The Flying Spider Revival is a band from South Wales, UK. They have been playing for about twelve years, but only got serious four years ago when they released their debut album. The band recently released Paraffin Waltzer which is a ten-song album. The band mentions this about the album “Broadly, Americana, covering country, blues, soul and garage rock. We've been variously described as Tom Waits fronting Neil Young, the Handsome Family on bad coke and John Mellencamp. If there's a common thread, it's giving a voice to those who don't normally get one.”
The band gets going with the song “Dimes & Dollars” which has a classic rock like quality to the song. I was imagining a band playing in a dive bar late at night. The vocalist has a gravelly voice with some character. This is rock music with some attitude. “Page Like Powell” is definitely more of a feel good time type song. I loved the opening riff and was impressed by the melodic guitar melodies and infectious vocal melodies. This felt like a song that sounds great in summer and you might want to drink a beer too while you listen. “I Hope This Letter Finds You Dead” is sort of a slow moving country song with some dark humor. There’s some well-delivered vocal harmonies and the slide guitar and harmonica were perfect for the tone of the song. “I Only Wanna Be With You” is a fun one. It’s this mix of Tom Waits and some high octane infused punk and spaghetti western. “Honky Tonk Dancefloor” lives up to its name and is a song that I was imagining people dancing to. The song-along type chorus was great. They take a breather with “O Susanna'' which brings some banjo action to the table. “The Gypsy’s Curse” is a straightforward but well-delivered song while “I Ain’t Drunk (I’m Just Drinking to Forget)” seems to have an Irish singer. The chorus is absolutely for drinking. They had more success with “This Old House” and also the “The Girl & the City” was a solid closer which was more of a rock ballad. The album is on the lo-fi side but it works out well. This is a fun band with a number of different sides to their music. Take a listen.
Pacific Radio is a Los Angeles based four-piece band. They formed in 2017 and the band has one full-length album out and a handful of singles. On top of that they have toured all over the US from Los Angeles to Seattle to New York. They most recently played the Bottlerock 2021 Festival in Napa, CA.
“The Way She Held Her Drink” is the latest single from the band. The band mentions “After releasing their 2020 single “It’s so Good To See My Baby” the band returned to the studio with the intent to emerge with a psychedelic flare that had been present in their live show but had yet to be recorded. The result was a song laced with elements of a throw back acid trip mixed with indie vibes that would blend in with Beck at a Steve Albini backyard BBQ.” The song starts with two measures of a drum beat before some clean and reverb-laced guitars enter into the mix. The guitars quickly fade and you are left with bass, drums and vocals. It was immediately catchy and I enjoyed what the band brought to the table in terms of palatable melodies. The vocal delivery is relaxed and inviting. It doesn't take long for the guitar to be reintroduced to the mix. The chorus pops and this reminded me of a chorus that mixed Americana in the spirit of Tom Petty with a ’90s type of aesthetic. It sounds great and it was very easy to appreciate in a sing-along type of way. There’s also a wicked and explosive section after the chorus which features some great guitar work. Lyrically, the song jumps to a number of different themes. It’s a bit poetic but just in general these are great lyrics about different people’s experiences. The song ends with a bang and some tepid applause they inserted into the song. This song has all the attributes of a single you want to hear. It’s a song that has zero fat, is infectious and gets stuck in your head after you hear it. The song inspired me to check out their other music and I encourage you to check that out as well. This is a perfect summer jam. Take a listen.
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Alexander Rischitelli is new to making music. In 2018 he picked up a guitar and then applied some of his self-taught knowledge to other instruments. While Rischitelli was in lockdown he wrote some lyrics, then later decided to put music behind them and released My Chest.
“Take 42” starts with what sounds like seagulls in the background and could have synths. There’s not much to it but it serves as a welcoming intro. “Sunny Day” starts with a couple of strummed minor and major chords, some fuzzy synths and more virtual instruments. It’s a solid song with sort of a Neutral Milk Hotel type quality. It is very lo-fi however and really hard to make out any of the lyrics. “Blue Rocket” has a sort of slightly bluesy quality and revolves around some percussion, guitar and vocals. It’s also a solid song. The vocal melodies are catchy and well delivered. “City Boy” has its moments as well and is more of a ballad. However the guitars are too loud in the mix and mask the vocals. “Cloud Juice” features some morphing phaser effects over strummed vocals and guitars. It was again hard to make out the vocals but the song in general has more of an introspective and emotive quality. “Girl in Black” might be the highlight in the batch. This song features some solid guitar work, sparse percussion and lots of emotion. The vocals were a little more clear on this song and I liked the vocals when I could hear them. “My Chest” is a sort of lush slow burn which felt more melancholy than the previous songs. The closer “Heart” is even more melancholy and more intimate at least at first. As an engineer I think Rischitelli should maybe work with a friend who might know a little more about recording or he could learn a little more. These songs were a solid start but the songs are very lo-fi. The emotion was often translated but the lyrics were practically impossible to make out. A lot of this has to do with making and cutting and boosting certain frequencies which would help with the mixes as a basic starting point. Rischitelli shows some potential with these songs. He still has a good amount of growth to go through in my opinion but everyone starts somewhere and this is a solid effort overall. |
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