Back in April of 2022 we reviewed Day By Day by Chaboya. The artist is back with Rutabaga Dreams which is a seven-song album. I encourage you to read the full description of the album on Bandcamp because it’s slightly humorous and slightly profound. The line “No one can say for sure what the rutabaga dreams of - is it concordant harmony or vengeful devastation? Perhaps the rutabaga dreams of a soft lover's embrace. I’m sure that we’ve all wondered about these things.” was fantastic. Now let’s get to the music.
The album opens with “Shell Boat” which is an acoustic and organic song. It’s got a timeless country/folk flavor. It comes close to sounding similar to M. Ward. The delivery and production is on point. It’s raw but natural and I thought everything sounded loose and even playful. “In Love in the 90s” was a good one as well and I thought the percussive elements were well implemented here. It’s got a revival sort of energy and I thought the vocals sounded really good. I was getting a late ’60s vibe here. “Moonlight Surf” is a change in direction. As the title mentions this has more or a surf flavor and this song is more electric. It’s a cool song that’s fun and I was also getting some ’70s funk flavor on top of the surf rock. The juxtaposition creates an inviting combination. “Transfigure” gets into more funk in an LCD Soundsystem type of way. The album seemed to get funkier with every passing song but that changed with “All the Time in the World.” It is a somber folk song that has a timeless quality to it. “On the Breeze” is beautifully melancholy and sober. The vocals are barely above a whisper but work. “Celestial Brassica” is an atmospheric synth based song that’s cinematic and epic in its own way. It’s the most ambitious song in the batch and instrumental. There are some great songs and ideas here all around. There's a lot of genre hopping which makes it hard to form a signature sound but regardless it displays a lot of talent. Recommended.
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Snailosaur, consisting of brothers Paul and Dean, is a Brooklyn-based musical duo. They have previously graced the stages of renowned local venues in New York City, including Arlene's Grocery, Bowery Electric and Chelsea Music Hall. They recently released a three-song EP entitled snailosaur.
I grew up on a heavy dose of indie rock from the ’90s. Yo la Tengo, Pavement, Belle and Sebastian and other like-minded bands. Their music is unequivocally within this spectrum of that aesthetic. In fact the vocalist sounds somewhere between J Mascis and Stephen Malkmus. “Fake Cobblestone Alleys” is the opener and the group finds a solid groove that quickly builds more and more. I was getting some serious Dinosuar Jr. vibes on this song. They do a great job creating a lot of energy. The drumming was really fantastic but the whole band sounds tight. They swing the tempo a couple of times. There’s a syncopated section in the middle with a guitar solo which is the peak of the song. Next up is “Rescue of Your Reach” which is another very good song. I actually felt a little more of a Pavement vibe here. It’s playful and there’s a Stephen Malkmus type of delivery with the baritone of J Mascis. The song is fuzzy, dynamic and quite catchy. “Bill Murray Song” is the last song. This song felt the most melancholy in a good way. It was a little more emotionally resonant and through the guitars here created a some inventive atmosphere. I also thought the slight shoegaze effect was done. Snailosaur wear their influences on their sleeve but they create well written music that keeps that flame alive from the mid ’90s. The band in my opinion goes three for three with these songs. They have the format down but also switch it up just enough so it feels fresh and exciting. Recommended.
Colorado “psych rockers” Heated Bones hasjust released their second album titled Hot Lightning. Calling themselves “a concept band with storytelling and wild theatrics,” Heated Bones’ previous incarnation was called The Guestlist and toured with bands like Fantastic Negrito, Black Pistol Fire and The Nude Party before getting sidelined by Covid. With their new name and lineup they released the self-titled Heated Bones last year, then jumped right onto this current project.
Though I have no band credits to go by, I can see from their Instagram page that the Heated Bones are a four-piece band featuring electric guitar and vocals, bass and vocals, keyboards and drums. They compare themselves to King Gizzard and the Arctic Monkeys. Their website features an amusing video of the lead guitarist dancing around outside with a tea cozy on his head. The group’s Bandcamp blurb reads: “(We are) a genre-bending band that keeps your tootsies warm. A buncha nerds cooking the soup. BROTH ROCK.” That description felt like a total non sequitur until I played the album through, and I admit it does make a bit of sense. A Heated Bones track is generally built on simple two or three-chord progressions, with little direct separation between verse and chorus. The guitars are (at least) double-tracked and build up a kind of sonic stew when joined with the retro keyboard sounds. The vocals are mixed with a lot of reverb for a Radiohead kind of vibe. When played through, the songs all join seamlessly into a prog rock broth very much as promised. “Amalgamite” starts with a main keyboard riff that’s very close to Devo’s “Whip It” while the overall feel is similar to The Cars or Thomas Dolby. The lead singer/guitarist has a very nasal, English-sounding voice for a Colorado boy, but the petite choir he creates along with the bass player’s backing vocals is quite nice. Vocally you can imagine Sparks with more sincerity. This track is basically just two chords that build power with sheer repetition and judicious variations, mostly on guitar. The end of the song seamlessly crosses over into “Spring Dream” which is a much different pot of noodles. It’s a lush, spacey dream pop tune with small dollops of dissonance to keep things interesting. As opposed to the opening track, this one feels modern and radio friendly and may be my favorite track on the album. “Dazzle” changes things up yet again with an upbeat, jazz-rock ditty with lots of surprising chord changes a la Steely Dan. The ringing, warbling tones of the electric guitars once more lift the arrangement into the stratosphere, with the keyboards providing appropriately spacey backing. Toward the end the vocals pack some of the power and stridency of David Bowie. “Time” is a heavy, driving psychedelic rock tune with heavy riffs, pounding kick drums and (again) Sparks-style vocals. At this point I’ve totally bought into the band’s description of their music as “Broth Rock” as it does sound exactly like a boiling pot of rock tropes with new and unusual seasonings. It seems incredible that there’s just four guys making all this noise. The title track “Hot Lightning” fades in with rain sounds and Apocalypse Now-like helicopter blades. The song itself is built on a meandering but fun guitar riff that cycles back onto itself, rocking heavier on the choruses before morphing into a third entity that reminded me of classic guitar prog like Steve Hillage. This is Head Music that will have you tripping first thing in the morning with nothing stronger than coffee. Cool location sounds including dogs and more rain takes us into the final track “Berry” which is another psychedelic time capsule with roots as far back as The Zombies or Love. Though I wasn’t sure what I was getting into, the Heated Bones quickly won me over, and you’ll have no regrets trusting them with the time to hear their awesome sophomore release!
The Vision Is Dead is the new album from Canadian one-man band Jayden Wark, who describes himself as a singer, songwriter, multi-instrumentalist, recording engineer and producer. Though he resists genre categorization (going so far as to change his sound with each new release), he says he’s closest to alternative rock but also claims inspiration from space, electronic and punk rock, doo-wop, jazz and theatre music. He’s also an amazing cartoon animator, with his over-the-top visual sensibilities also spilling over into his music.
Wark describes this album as “a very electronic and spacey soundscape which is contrasted by loud and distorted guitars.” For me, Wark is a classic example of a hyper-creative solo recording artist. In the popular realm he’s similar to They Might Be Giants or Ween (especially with his regular-guy vocals) but also harkens back to classic underground artists like R. Stevie Moore. I’d personally describe his music with a phrase coined by my old friend Brent who featured underground artists on his radio show: “Funny Rock, God Knows.” It’s hyperactive, hypercomplex music that refuses to play in the background. Thematically, The Vision Is Dead turns out to be an apt title, as much of Wark’s subject matter circles around the fear of death or the total confusion of being alive in the first place. Wark didn’t let me in on his recording secrets, but I’m assuming it’s mostly him on all instruments, production and mixing, and the sound quality is way above average for these types of projects. A fan on Wark’s Bandcamp page stated: “Coming up with a cohesive review is a challenge, because this album just makes my brain bounce around and scream.” I feel the same way, but I don’t have the luxury of screaming my way out of this one! “What’s In His Head” begins with the first four lines of the track sung a cappella, and it reminds me of those old radio show banners where the singers perform a short ditty about the D.J. and the station. But this quickly gives way to a fuzz-drenched, prog rock riff before blasting into the song proper. The backbeat rocks and swings, the electric guitars are played as easily as most people breathe, and Wark’s vocals nail complex harmonies at breakneck speed. For an indie artist with a home taper attitude, Wark’s arrangements are amazingly sophisticated. There’s also banks of keyboards and synths that fill out the track beautifully, and the drums (real or digital, I can’t tell) also kick butt. “Dance Your Life Away” fades in with a horror show soundtrack worthy of Cucurbitophobia, then settles into a synth rock vibe a la The Cars or Devo. But that’s only a short diversion as we’re quickly back to the driving rock and lush harmonies of the opening track. Without putting too fine a point on it, most of Wark’s lyrics seem to deal with the inescapable fact of our mortality. That’s not something I like to dwell on, but the vocals are so well-performed that I basically let them wash over me without pondering too closely. “At Home” again starts with frightening sounds while adding a pounding heartbeat. This track begins mostly with vocals and Rickenbacker bass, and even when everything else kicks in, the arrangement has the feel of a funk workout while still reflecting Wark’s style. At this point I must admit I’m jealous of Wark’s ability to write chord sequences that switch effortlessly between major and minor keys while never sounding dissonant or sour. In fact most artists have less ideas in a whole album than in this one song! By the time we reach the end, the funk opening has been totally forgotten and it feels like the conclusion of a rock opera by a major musical act. “Slip Away (Maybe…)” gets set up with short patterns of percolating synths, over which Wark adds his piano chords and dramatic, music hall-style vocals. This is a song where the stylistic mashup comes at you hot and heavy: synth pop, show tune and old-timey rock n’ roll trade places at dizzying speeds. In fact the wildly dramatic performance here conjures up Oingo Boingo in their heyday. “Mr. Dusky” starts with a strummed acoustic guitar that undergoes a smooth metamorphosis from tinny to sweet, an effect that totally caught me off-guard. Though he certainly hasn’t been “quiet” to this point, Wark performs this track almost like a street busker, with just his voice and guitar along with some piano and glockenspiel-like ornamentation. I imagine Wark’s demos must sound something like the arrangement here: sort of “Jayden Wark Unplugged.” The next track “Everything We Know” is subtitled “Expiry Comes For Us All, Doesn't It Mr. Dusky? Now Please, You Need To Stop Staring At That Clock. We've Already Proved That Your Concept Of This ‘Supernal Standstill’ Was False.” That unwieldy title not only mentions Mr. Dusky from the previous track, but also name-checks Wark’s first album Supernal Standstill. Pretty bold to reference yourself after only a couple albums! This is an epic rock track running at six-plus minutes and has an accompanying animated video (also by Mr. Wark) that graphically illustrates all the scary themes you sensed Wark was singing about all along. While stylistically similar to what’s come before, there’s a section toward the end where Wark’s vocal overdubs approach Beach Boys majesty. “Photos Are Too Beautiful To Lose” is a great title for even longer, almost eight-minute rock track with more of Wark’s otherworldly vocal harmonies and killer guitar melodies. Hearing this track reminds me what it was like to first hear Queen’s incredible studio creations before they got played to death, maybe because of the quick blasts of Brian May-like classical and lead guitar (not to mention the stacked vocals!). It’s a freaking monster! Toward the end the music and arrangements take on a Yes-like shimmer. The title track “The Vision Is Dead” concludes the album (except for a bonus track) with another foreboding overture, featuring dark synths, ominous piano and Wark’s mysterioso vocals. It’s a final creepy testament to Wark’s unsettling vision (“You’ll drift to the sun, your eyes will be gone… will you be alive when the vision is dead?”) but it sounds so amazing that I can’t wait to hear it without contemplating what it means! The bonus “Country Boy In The Sky” is as close as Wark gets to a “throwaway” track, which is to say, not close at all! But he actually allows himself to get goofy with country riffs and humorous vocals, and I sort of wish he’d done this before the end of the album! And like Monty Python, the whole thing ends with an explosion. If it isn’t clear by now how much I liked this album, then you really haven’t been paying attention. But Wark’s music is there and you need to hear it. Beyond recommended!
Residing in Syracuse, New York, Peter MacDonald, a singer/songwriter, has dedicated a significant portion of his life to music. MacDonald's musical journey commenced as a young violinist, until he was captivated by the allure of the guitar at the age of thirteen. Subsequently, MacDonald pursued a Bachelor of Arts degree in Music and ventured into the realm of performance, residing in several cities across the United States, such as Chicago, Nashville and his hometown of New York City. MacDonald recently released a five-song EP entitled Nothing.
The first song is entitled “Punching Bag” and to my ears had a classic rock sort of flavor with fuzzy guitars, bass, drums and vocals. The production is minimalist for today's standard but the raw flavor to it felt fresh and left plenty of room for the lead vocals. It’s also a catchy tune with infectious melodies. Overall a very solid song and a nice introduction to his style. The synths on “Far From Perfect'' give the song a different stylistic feel. I was getting some Joy Division vibes at least with the vocals on the verse. The verse is good but the hook on the chorus makes this song work. It does what a good chorus should do and elevates the dynamics of the song. I loved the guitar and vocal melodies. The song is also slightly funky which gives it a bit of dance worthy type of flavor. “Trap Star” returned closer to the opener but this song had more of a ’90s flavor. The band Weezer along with other like-minded bands from that era came to mind. This sounded like a song you might hear on rotation on MTV back in the day. MacDonald proves himself again in his ability to write distinct hooks. Upon first listen it’s defined and prevalent. MacDonald breaks out an acoustic for “Here I Am” giving it a distinctly different flavor than the other songs. It's a very well-crafted song that's heartfelt and very warm. MacDonald changes stylistic gears again and gives his most soulful performance on the bluesy “I Want To Get Out.” MacDonald does a solid job showcasing different styles. Although I would have liked his signature sound to feel a little more defined the songwriting is consistent. In particular he knows how to build a song and take it to a memorable hook. There’s a lot to appreciate on this release and I look forward to hearing more in the not too distant future.
Bob Jeter has been writing and recording music for many years. Born in Virginia, he is currently based in Atlanta, GA, where he releases music under his name Bob Jeter and also under the band name Jeter n the Jets. Jeter grew up falling in love with the great sounds of the ‘70s, with a special penchant for the blues. The artist has performed and toured throughout the USA as well as Europe. His most recent release Along for the Ride is an EP filled with great sounds. Jeter definitely gives his all into these rambunctious tunes as he coos and belts out the lyrics with absolute gusto. The revving instrumentals in the background also bring in some great energy and I thought every second of this record was packed full of some great flavors and vibes.
Along for the Ride opens up with “Gravy Train,” where some great rock vibes come into the start of this track. There was some blues to this gritty song which I thought was great. Jeter’s vocals come in full-throttle. He throws everything he has into the music for a happening vibe. I loved the energy here. From beginning to end, this was bursting at the seams with some great flavors and vibes. The sax and funky bass also sound great here. On the title track “Along For The Ride,” some more great sax flavors flow through this recording. Next, Jeter’s singing comes in for a simmering sound. The vibe here felt more slow burning than the last number. Some keys also reel you in for a sauntering vibe. This track reminded me of music from the ‘70s and ‘80s. More moving sounds come from Jeter and the band on “High Time.” The band’s performance and delivery here was on-point. Jeter also takes command for a revved performance. On “Wonder Of You,” some classic rock and blues come in for an energized sound. I loved the gritty vibe of this song as some bustling blues come into the mix. There were some great horns that’ll really draw you into the sound. Starting off with some great vibes from the harmonica is “Right To Right (For Love).” The bombastic sound coming from the instrumentals will draw you in even closer. Jeter’s vocals are packed full of energy and I was loving every second of it. The organ proved to be a great addition here. Some groovy tunes come in for a funk-filled fun-loving romp of a good ole time on “Birmingham.” I liked the smooth and sauntering tunes here. This proved to be a cool closer from the band. Right out of the gates, Jeter comes right at you with his enthusiasm for life. This excitement is so contagious, you’ll be feeling it right away in the introducing notes. There’s no doubt about it, Jeter definitely has something here. With a little bit of everything here for everyone, you get some The Eagles, with touches of Neil Young, Ed Sheeran and Bruce Springsteen in the mix. Don’t miss out. Be sure you explore this happening and revved EP. You’ll definitely be better for it!
Tom Faia & Kate Miller are incredibly talented artists, both in terms of their performative capabilities and their songwriting skills. On their new collaborative album, Risk It All For Love, they offer a vibrant, super upbeat — though occasionally bleak in an equally powerful way — collection of songs. That was my prediction from the opening moments of the intro, “Gonna Woo My Baby Tonight,” which is driven by funky, charismatic acoustic guitar in a bluesy, folksy style, bursts of harmonica and percussion with almost an upbeat, fast-paced swing tempo — it’s an electrifying start to the album. And I love the harmonized vocals. Faia and Miller both have beautiful voices. Faia’s gravelly tone is perfectly complemented by Miller’s silky, sweet, emotive singing.
The second track, the self-titled “Risk It All For Love,” is a slightly more heartbreaking song with a sombre chord progression, and yet it’s very much the same as the intro in its folksy essence. The punchy percussion, brilliant bursts of harmonica, and wonderfully harmonized vocals are all there. Faia and Miller return to a joyous, feel-good country banger on “The Frog Song” — a feel-good country song, driven by a catchy acoustic guitar riff and Faia’s most energetic, passionate vocal performance of the album. You can really feel that he’s feeling the music. Who would’ve thought that a song about being a frog could be so heartfelt? What a fun song. My favorite by far. But, as I said earlier in the review, these talented artists can do serious as well as silly music. One of the other highlights on the album is the penultimate “You Give Me Love.” It’s a slow-paced ballad with a glorious duet by Faia and Miller — it was lovely to hear Miller shining on her own, as she often provided backing harmonies on the album. But she proves that she can hold her own with a powerful performance on this track. All in all, this record was a lovely listen. I hope to hear more from these two in the future.
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With an assertively captivating blend of melodies and heartfelt lyrics, MESSMAKER offers a refreshing interpretation of indie rock. The dynamic duo, composed of the mastermind Michael McFarland and the versatile percussionist Freja McNeal, ignites stages with an arena-like energy during their performances. Drawing comparisons to esteemed acts like Panic At the Disco and Bastille, McFarland's songwriting is candid, emotive, and astute. When joined by McNeal, the Cleveland, Ohio-based duo infuses their material with an unrelenting vigor, showcasing a matured style and sound cultivated through years of traversing the realms of travel, relationships, heartbreaks, and self-reinvention. They display this on their release Dancing In The Moonlight.
The first is the title track called “Dancing In The Moonlight” and it felt like the highlight to my ears. It starts with a band. The song combines synths, guitar, bass and drums. It’s a bright and fun song. I loved the vocals. McFarland sounds loose and excited to be there. He sounds great and I thought the vocal melodies were memorable. The hook is money and is repeat worthy. There’s a very ’80s breakdown done in a contemporary way around the two-minute mark. It builds back up and gets to the hook. Overall, this was a great song. “Paying Attention” starts with a good amount of energy that settles into the verse with delayed percussion, fuzzy guitars and vocals. The hook hits hard. It’s a bit of a ballad taking from both pop punk and a tinge of ’80s metal. I liked the syncopation on the second verse. The guitar work in particular was really well done. Up next is “We Are The Architects” and it starts with the guitar melody that reminded me of something you would hear from The Edge. The vocals sound and when the chorus comes it pops. It’s a very free and cathartic sounding hook. The song soars in multiple ways and I could imagine people really embracing this sound in a live environment. These were great songs. The songwriting is there and when it’s combined with top notch production and delivery you have something special. Recommended.
Matt McGuire engages in the creative process of making music within the confines of his room. Utilizing his phone, he records his compositions, showcasing his musical abilities without having received any formal training. McGuire’s artistic style draws inspiration from the rock and grunge genres of the ‘90s. Additionally McGuire mentions the primary motivation lies not in seeking fame but in finding satisfaction through the prospect of others appreciating and listening to their lyrical expressions.
"Here We Go Again" is a raw composition that showcases a minimalistic approach, centering around the resonance of strummed minor and major chords entwined with heartfelt vocals. McGuire's rendition evokes a genuine sense of anguish, as if it emanates from the depths of personal experience. While unaware of the specifics of McGuire's life, there is an unmistakable sense that he has weathered numerous trials and tribulations. The creation of a song like "Here We Go Again" necessitates traversing the peaks and valleys of life, as it becomes a vessel for channeling profound emotions and personal struggles. "No Attention to Pay" is a piece that showcases intriguing guitar work, with the artist seemingly engaging in a simultaneous blend of picking and strumming techniques. The guitar's melodic interplay is undeniably captivating which when combined with the vocals is very immersive. In the absence of vocals, the listener encounters a soul-stirring experience through "Harmonica Instrumental 7." This instrumental piece is able to convey emotions solely through the artistry of the instruments. The combination of harmonica and guitar while stripped back provides memorable melodic patterns. One of the other songs I enjoyed was “Rain Cloud.” The song aligns with the melancholy he weaves throughout all these songs. McGuire is an artist that conveys emotion. It's not the most technical music I’ve heard but he makes up for it with the raw delivery.
Danny Marcus is a New Jersey artist whose music is a balance of folk and pop rock to give you the best of both worlds. His latest release is a six-song EP Pieces of Me, which pretty much covers a singer/songwriter vibe with Marcus mostly on guitar belting out these tunes. The simple and sparse sound at times worked out in favor of the emotionality emanating from these tracks. He imbues in his vocals tons of color and flavor into his singing, oftentimes evoking sentimental and nostalgic images from the listeners’ past.
Pieces of Me opens up with “17 Again,” where some great vibes come from the acoustic guitar. Next, Marcus’s vocals enter for a great sound. The pop vibes on this track sounded infectious. I greatly enjoyed the melodious and harmonious sounds and liked how bright and vibrant the tones were. Some beats and finger-picking on the guitar arrives for a searing sound on “Ain’t No Fan.” Next, some guitars enter and Marcus’s dynamic vocals add to the great sound and energy of this number. Some warm vibes come from the acoustic guitar on “Beautiful.” Next, I was getting folk and country vibes from Marcus’s vocals. It made for a genuine sound. On “California,” more melodious guitars come through. Both acoustic and electric guitars are interwoven. This felt like an uplifting ballad, where Marcus really belts out the vocals with feeling. There was a pensive mood to this track that I greatly enjoyed. On “Love You, Long For You,” some piano and guitar come together for a great sound. On this upbeat, pop song, Marcus sings with verve and energy. This felt like another feel-good track that everyone could enjoy. There was a ton of mood and feeling to this track. More electric and acoustic guitar are interwoven into the sounds on the title-track “Pieces Of Me.” Marcus’s melodious vocals light up the sounds. This proved to be a great listening experience as the upbeat sounds and feel-good vibes really made my day. This proved to be an amazing closer! Marcus brings a great folksy pop rock flavor to this group of songs. I liked how fresh and invigorating they felt. Marcus definitely brings a great energy to these tracks. The artist takes us on a journey with his sound and by the time the album’s over, you’ll never be the same again. This was a good start from the artist and I can’t wait to hear more from him soon! |
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