Martini Russa is an international duo and rock band that brings a contemporary twist to the timeless genre of classic rock. Comprising members from various countries—Brazil, Russia, the USA (via Spain, UK, and Australia)—they embody a power couple whose musical prowess knows no boundaries. Anastasia, originally from Moscow, relocated to Phoenix, Arizona with her mother when she turned fifteen. After completing high school, she delved into her passion for music, studying jazz history, piano performance, and psychology at the University of Arizona. Her musical journey began at the young age of sixteen, and she has since released albums with her bands Ghetto Princess (Tuscon, AZ, 2003), the Theory (Tucson, AZ, 2009), and One Wing Left (Oxford, UK, 2015), showcasing her original compositions. Martini, hailing from Porto Alegre, Brazil, embarked on his guitar-playing journey at the age of fourteen. He honed his skills at EM&T, the School of Music and Technology in Sao Paulo. Seeking adventure and a fresh start, he moved to Barcelona, Spain, at 18 to explore flamenco guitar while always holding a deep-rooted love for rock music. However, destiny intervened when he met Anastasia. Opting to join her in Oxford instead of pursuing a path to Thailand, Martini committed his life entirely to music. Their paths converged in Barcelona, Spain, where they wasted no time in crafting original music alongside their repertoire of classic rock and blues covers. From that point on, they have traversed the globe, creating and performing their art together.
The band unveiled their latest track titled "Chess," showcasing a delightful fusion of bluesy undertones and timeless rock vibes. The listener is warmly embraced by skillful guitar picking and impeccable percussion, while the guitar adds a touch of distortion, enhancing the band's signature energy that gradually intensifies. The vocals are brimming with different shades of emotion, which serves as a testament to the band's versatility. With an interesting blend of musical elements I was getting more immersed into the song. Within this song, I found appreciation for its nuances, particularly the captivating moments where the guitar solo takes flight. The solo is given ample room to serenade, allowing the instrument to express itself with grace. The lyrical content also resonated with me, as it combines poetic elements with relatable themes. Among the verses, a line that stood out was "Multiply distance by time, flashbacks as you haunt my mind, you burn as bright as the bridges that light up my way." These words convey poignant emotions and vivid imagery within the composition. The song concludes on a poignant note as Anastasia sings the heartfelt line, "It makes me feel alive." This resonant ending leaves a lasting impact. Overall, it's a great song that has sparked my interest in exploring more of their music. I hope this track serves as a glimpse into their future potential, and I eagerly await their upcoming releases.
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Oklahoma City, OK, five-piece Starscheme is Justin Hogan (lead vocals/guitar/keyboards), Kyle Caldwell (lead vocals/guitar/keyboards), Chris Sanders (lead vocals/drums), Gabriel Barham (vocals/bass/synth) and Nathan Steinman (vocals/guitar/keyboards/percussion). Their debut, midwave, is a result of going through the long COVID-19 lockdown of 2020. With each member having played in a wide variety of bands prior to the pandemic, the elasticity of a band like Starscheme should not go by unnoticed on the self-produced midwave. It was engineered, mixed and mastered by Trent Bell, with additional engineering done by both Sanders and Barham.
Clocking in at a total runtime of over 53 minutes, midwave dives headfirst into indie rock and alternative music with psychedelic embellishments. Although I think they sound a lot like if Peter Gabriel sang over thicker guitars, the band says they get compared to Arctic Monkeys, Pink Floyd, Radiohead and Soundgarden. Still, the huskiness of Gabriel’s tone is there on a song such as “Shining Shore.” It sounds a lot like Pink Floyd, and impressively enough, is stretched out to five minutes despite its terse lyrics. On “Minimoon,” one of two killer songs on this record, Starscheme veers into “Take a Walk” by Passion Pit territory. Arpeggiators waver with low end as the guitar glides over a syncopated beat during the chorus. I find it interesting that this unexpectedly cosmic treasure is the record’s catchiest. Whereas “Minimoon” makes me feel like dancing along, “Push Your Luck” puts me in the mood to lounge around a bit. The heavyweight drums stomping over bluesy, perhaps even Soundgarden-reminiscent guitar riffs at a slower pace sound ideal for a high-end casino, especially given that gambling-related title. A return to those flashes of electronica seen in “Minimoon” can be quickly found in “Fine Fear.” Right from the jump, its vintage synths lead into a more organic drum groove. You won’t find any shortage of hi-hat action here, that’s for sure. Finally, Starscheme sounds most like Soundgarden on track eleven, which is called “Light Speed Desperado,” the other killer song on this album. I say this because it’s the heaviest moment on midwave, featuring more distortion on the guitars as well as brawnier drums and even a doom metal outro (if only the outro were longer, though)! Overall, midwave by Starscheme is a fine first effort from a band that’s not afraid to explore adventurous new avenues of sound. I would say that for their next release, they should consider focusing on certain aspects of their music-- namely indie pop, psychedelia and doom metal-- and not so much the other parts. I still think this record is worth a listen, though, and so I highly recommend it.
Not too long ago, UK singer/songwriter Adam Camm stunned us all with his debut EP, Echo Chamber. Now, he’s about to surprise us yet again with Mirror, Mirror, his first full-length. Camm, who plays all instruments, blends old-school psychedelia with indie and Brit-pop sensibilities. To achieve his sound, he uses a mixture of analog and digital methods.
“Mirror, Mirror was mixed and co-produced by Steve Cornell and mastered by Ben Pike of Rare Tone Mastering.” It has been compared to artists ranging from Syd Barrett (Pink Floyd), The Beatles and The Rolling Stones to Tom Verlaine (Television) and The Brian Jonestown Massacre. Given these comparisons, I got very excited about listening to this album. Our first taste of retro-psychedelic rock happens with “Feel the Fuzz.” I feel like that sticky hook, “Feel the fuzz feeding off the buzz,” will really get peoples’ attention along with all the overdriven guitar distortion. Camm’s vocals drenched in layers of modulation are not unlike something I’ve heard in a Primal Scream song before, whereas the repeating organ riff reaches The Doors-levels of catchiness. The funky Prince-like guitar riff found in “Feel It” is another highlight. The song talks about pressure with vulnerable lines such as “More and more’s getting put on me.” “Wonder in the Morning After” is slightly longer than the average track on this LP, and I can definitely tell that Camm is leaning into his British Invasion trad rock side a lot with this. Camm outdoes himself yet again with the half-theatrical, half-psychedelic title track “Mirror, Mirror.” I don’t think I’ve ever heard tambourine this irresistible since “Ticket to Ride.” The fuzzy guitars and vintage bass tones contrast quite a bit with the keyboards, but the abrupt transition between sections is worth hearing. The album takes a slight post-punk detour with “Skeletons in the Shelves,” which is darker and minor-key. Perhaps this is where the Television influence is most noticeable. Skipping forward a bit, we get the upbeat guitar jingle-jangle of “Guardian Angel.” I detected quite a large Stones influence from this superb track, most prominently from the vocals. “Please Sincerely Mr. Jones” sounds very much like Sgt. Pepper’s Lonely Hearts Club Band. Camm’s kazoo part alone is enough to make this song great. The album closes with the lyrical tearjerker, “Abandoned.” Out of all ten songs on Mirror, Mirror, “Abandoned” feels the most naked, at least lyrically. Its composition is much warmer than the words might suggest, though it’s still trippy and psychedelic, like floating down a lazy river. Adam Camm’s latest album is very well-executed. I especially admire how timeless all of it feels despite being so deeply entrenched in the sounds of the ‘60s and ‘70s. This will really resonate with listeners, so I strongly recommend it, and I can’t wait to hear what Camm does with his unique sound next.
SuperRockDogs is an alternative/indie rock band from Mississauga, Ontario, that is releasing their demo self-titled EP SuperRockDogs. From what I gather, the members are still in college and there’s definitely a youthful energy to these tracks. At the same time, I was also getting some very melancholy vibes in the mix and this seemed to add an overall shoegaze feel to the punk, garage rock and indie rock vibes. Their bio says that they just play whatever they think sounds nice and cool and I like the way they start out with a riff and just go with it. There was an overall jam vibe to the sounds, which I thought was great.
SuperRockDogs begins with “MK Ultra,” where the instrumentals come in smoothly as the band jams out to great effect. Once the vocals came in, I was getting some punk, grunge and garage rock in the mix. I loved how together the band feels here. On “Hard Luck!” the band’s sound is more upbeat and rambunctious. The male lead singer sings with gusto. The sounds of keys also added some great energy here. The execution and delivery of this track was definitely on-point. Up next is “Machine Guns,” where some drum machine beats arrive alongside some chord progressions on the electric guitar. There was some dissonance to the sounds that gave an oddly quirky vibe to the sounds, but I think it worked here. Next, the male lead vocal’s soft voice enters the sounds. There were tons of reverb to his vocals here, which gave this song a slightly shoegaze and garage rock sound. On “Winnipeg,” some sizzling beats enter the vibes. Next, some guitar riffs slowly ease in for an electric feel. The vocals are very softly executed in the background. It was really hard to make out the lyrics. I couldn’t help but wish for more fidelity on this track, but overall, this sounded very nice. On “Red Lights,” there was a sauntering vibe to this song as some beats, keys and more arrived for a searing sound. Slowly, the meandering music builds in sound into something captivating. Next, the distorted vocals enter for a moving vibe. Some guitars enter for a wall of sound. The shimmering vibes were very appealing. The band jams out and I was loving how together they sounded. Next, the male lead vocals sound very dreamy as the instrumentals come in in support. This proved to be a great way for the band to send us off. Though the band is just starting out with this group of demo tracks, these didn’t sound like demos to me. Though a little raw around certain parts, I thought these were pretty polished. The band also offers up some great energy here, which I enjoyed. If you’re looking for some cool indie/punk rock to listen to, then look no further. SuperRockDogs has got it all here!
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Pat Kennedy primarily focuses on creating electric guitar instrumental music, skillfully blending audio and visual elements. Most of his compositions are accompanied by narrative videos, enhancing the overall experience. After a period of returning to composing and recording guitar-based instrumentals, Kennedy has released three CDs. The initial offering, Second Rising, was followed by the CD/EP titled New Horizons. I spent some time with his recent release I Want To Be.
The album opens with “Ancestral Colors” which is a guitar based instrumental song. It’s warm, inviting and slightly psychedelic. I was getting Pink Floyd vibes with the sort of arching cosmic quality to the music. Up next is “Epiphany” which is a dreamy and lush song. It starts with ethereal elements. I thought the drums were very effective in creating the dynamics. Everything felt very comforting for this song. It will put you in a relaxed state. “If I Could Only Find The Words” felt very cinematic like it could be used in a scene in a movie where they are traveling across vast fields. One of the more funky songs “Round and Round” was the first song I felt like people would dance to. The very ’80s inspired “Feel The Power” felt like it could be used in the TV series Stranger Things. I felt like I was traveling down a wormhole. As the album progressed I thought there were a number of highlights. I thoroughly enjoyed “Is It Me?” which didn’t feel as emotionally heavy as some of the other songs. The centerpiece of the album is unequivocally “Earth, Air, Fire & Water” which is a serene and every changing soundscape. The closer “Flow” has a similar energy with more melancholy to me although the drums add some extra gusto. This was a fluid and seamless album. As far as instrumental albums go, this one has a lot to offer. Take a listen.
Joel, renowned as St Eriks Street in the artistic realm, is a Swedish music producer and composer who crafts captivating melodies that defy genre boundaries. His musical creations bear the unmistakable imprint of his esteemed inspirations, including Vangelis, Hans Zimmer, Boards of Canada, Daft Punk, Tycho and LCD Soundsystem. The artist recently released Feast of Energy.
Feast of Energy is a collection of ten instrumental tracks, richly steeped in the electronica genre while gracefully incorporating elements of downtempo, ambient, and house. Throughout the album, immersive soundscapes emerge from a tapestry of found sounds and samples, complemented by occasional vocal snippets. These diverse elements harmoniously intertwine with melodic synth chord progressions and spontaneous solos, resulting in an auditory experience that is both captivating and improvisational.. The opening track of the album, "Labor Day," pulsates with a myriad of intricate components, blending together seamlessly. It exudes an ethereal quality, yet serves as a captivating introduction to the musical journey that awaits. "What Calls Me" emerges as a standout on the album, evoking a slightly foreboding atmosphere reminiscent of the artist Burial. The subdued rhythm captivates, while the song effortlessly traverses multiple dimensions, constantly morphing its elements with each passing measure, resulting in a truly unique sonic experience. “Swimming Downstream” is a unique song where sub frequencies combine with a majestically sounding flute. I also loved the dissonance on this song from the string section. “Uphill Bike Ride” has an almost playful quality to it that I found very inviting while “Spend the Night” has some Eastern qualities to it that is combined with a sense of the future. “The Grey Whale” continues to showcase different sides to his talent with novel sounds and approach. “Simple Truths” and “September Sunset” were also well done compositions but “Dreams in Black and White” felt like one of the richest songs on the album. Last but not least is “Hazy Dawn” which sounds very much like the title. This was an exceptional release. Headphones in my opinion are required. Sit back, relax and immerse yourself.
Teresa Eggertsen Cooke, hailing from Park City, Utah, is a versatile artist who excels as a Singer, Songwriter, and Pianist. Since her high school days, she has graced the stage with her live performances. Her musical style encompasses a captivating fusion of Jazz, Americana, and Rock, resulting in an eclectic repertoire during her live shows. In the year 2016, Teresa unveiled her debut solo album titled "Fooled Again," which was a collaboration with the talented Janet Holroyd and the late, extraordinary Andy Jackson.
Between 2014 and 2017, she held the esteemed position of being an artist in residence at The Metropolitan Room in NYC, showcasing her talent. Additionally, Teresa has presented her enthralling performances at renowned venues such as the Triad Theater in NYC, The Gardenia Club, and the E Spot Lounge in Los Angeles. With her exceptional prowess in vocalization and piano playing, Teresa thrives in creating an immersive experience for her audience. She wholeheartedly embraces interaction with her listeners, ensuring a dynamic and engaging atmosphere. Within her discography lies the album "Fooled Again," comprising nine songs that harmoniously blend folk, rock, and various other genres. Opening with the track "Big Dreams," this song invokes a sense of nostalgia and motivation simultaneously. The instrumental arrangement is rich and multifaceted, with each element, from the piano to the violin, flawlessly intertwined. Notably, the banjo shines brightly, captivating listeners with its distinctive charm. “Circle” is a ballad of sorts that is very upbeat and again motivational in a way that makes you want to wave your hands in the air. It’s the type of song I could imagine being played in a big arena. I loved the title track entitled “Fooled Again” which is jazzy with some great bass and piano. It’s relaxed but jovial and felt like a perfect song for the early evening. “Here’s to the Morning” is up next and is a slower moving ballad that is thought provoking. Her vocals sound exceptional here. The dynamics are impressive and her voice soars. I also thought the orchestral strings were quite beautiful and melancholy. Following in the album's sequence is the poignant ballad, "Here's to the Morning," a contemplative composition that stirs deep reflection. Teresa's vocals shine brilliantly, showcasing her exceptional talent. The song's dynamics are striking, as her voice soars with heartfelt emotion. The inclusion of orchestral strings adds a touch of exquisite beauty and melancholic resonance, further enhancing the evocative atmosphere. It's a truly captivating and thought-provoking musical experience. The most somber moment on the album comes on “The Water Is Wide” which is stripped back to piano, strings and vocals. On “A Tisket a Tasket” the mood changes to something playful and fun while “Winds of Change” mixes melancholy and motivation. The bluesy “Yesterday’s Love” is soulful and has great lead and backup vocals. I also thoroughly enjoyed the sax on this song. The album closes with “The Last Day” which is reflective but epic. I thought this was a versatile and immersive album. The songwriting is top notch and thought the musicians were able to deliver emotionally resonant songs.
Vampire Rodeo is an entertaining and energetic musical group that celebrates the early influencers of rockabilly while performing lively renditions of songs by Chuck Berry, Johnny Cash, Creedence Clearwater Revival, Johnny Rivers and more. By including hits from the ‘70s and ‘80s by The Cramps, Los Lobos, The Stray Cats, Bonnie Raitt and others, they pay tribute to the bands of that era. They are revitalizing the genres of psychobilly and rockabilly for the modern age with their amusing and catchy original songs that are bound to become your new favorites.
The band recently released Nightmares and Nursery Rhymes and oh man I loved this album which combines some of my favorite styles and genres. The rockabilly is mixed with this almost dark gothic flavor. There’s also some hints of Tom Waits. The band is a blast. “They Are Coming To Get You Barbara” is the opener and is a song that could be in the Rocky Horror Picture Show. It’s a romp, playful and a blast. The song serves as more of an intro. On “My Lincoln” the band brings the goods. The Tom Waits-like vocal inflection works perfectly here. It’s a carnival ride of genres and some of the beauty is you can’t say it is only one. “Bats$!T Crazy” is a winner as well. The lo-fi qualities work as does the jazzy feel. It’s also quite humorous which is always fun. “We All Float Down Here” is a highlight. This song felt a little serious and has some deep '60s roots. The Doors came to mind when listening to the music but I wouldn’t say the vocals of Jim Morrison. “Chupacabra” is a blast. Some surf music combined with noir is where this song goes. I loved the guitar work on this song. One of my favorites on the album. The title track “Nightmares and Nursery Rhymes” was solid and reminded me of Jefferson Airplane. The jazzy “Riverdale Road'' continues to form the band's signature sound while “Whistling Past The Graveyard” sounds exactly like the title which was amazing. Last up is the almost punk rock “Starbucks” but with sax and approached in a different way. I fell in love with this band's aesthetic. They also have multiple vocalists which all bring something new. I hope you enjoy this as much as I did. Recommended.
The Shrimps is an Americana folk-rock band made up of two brothers who also write all the band’s songs. They’ve released three albums including the current Everything You Need To Know, which was released in 2021. Past reviewers have called The Shrimps “R.E.M. meets Simon and Garfunkel,” and “The Punk Everly Brothers” while noting their Beatle-esque songwriting and harmonies. Apparently the brothers think everything I need to know as a reviewer is simply the title of their album, as they sent no other info (not even their names!). So let’s get right into the music!
My first musical reference upon hearing “Kidology” was “Tin Man” by America, as it has those chiming Americana-style guitars with that same wistful vibe. On this song The Shrimps’ lead vocals have more of a guttural feel like Dr. John, with the chorus harmonies soaring across almost every possible octave. The song slowly adds instruments including electric guitar, keyboards and big drums to create an expansive, steady wall of pop sound. “Enter the Dragon” flirts with funk with a heavy bass-and-drum riff holding down the bottom, danceable keyboard, handclaps and wild, near-yodeling vocals like Ween at their nuttiest. There’s even an occasional synth bloop and two fun solos on both keyboards and fuzz guitar. “Life” frames its upbeat arrangement with phasing wah-wah guitars and sharp, solid drumming. The vocals are more “sincere” and not too far from the emotional power of a Glenn Hansard. As we progress the mixing choices get more exciting, with variations on the strummed electrics, Beatles-like harmonies, gated drum hits and cool extraneous noises. There’s still a touch of funk left over from the previous track, making these guys distant cousins of the Red Hot Chili Peppers. “Always Be Happy” is another sincere, positive-vibe ballad (“Running around with the tall grass around you / The land and the sand and the sea / Say what you mean and you’ll always be happy”). The vocals are the most up-front yet, with a ’60s psychedelic arrangement (including Mellotron) that the Walrus Beatles or The Monkees would have loved. “Contender” jumps right in after “Always Be Happy” and we’re instantly back to Funky Town. The lead vocal is somewhat distorted or boosted through an amp while the guitars go back to Shaft-like riffing. It’s a fairly simple riff but very hard to resist, and the boys make the most of it. I daresay I was taken back to Radiohead’s “In Rainbows” which is a great place to be! The cleverly-titled “Julie Patchouli” sounds like The Allman Brothers tried recording a spy single a la “Secret Agent Man.” There’s killer snaky guitars, melodic bass and jumpy keyboards throughout. “Sunday Everywhere” finally lands us foursquare in Americana Land with its one-two beat, slide guitars, cajun accordion and down-home, John Prine-like vocals. “Wearing My Hat” is another fun song where the funk guitar is prominent, which makes me wonder why these guys don’t just identify themselves with that genre, but honestly you can also call this tune country with some Frank Zappa flourishes. “Souls” features a soulful rhythm guitar (natch), a great driving beat and a mostly solo vocal performance that never quits for the length of the song. There’s also a tricky, unexpected double-time middle section and an absolutely unexpected brass section…and I think they’re the real thing! The concluding “Sign” is also the longest track (close to five minutes) and feels like the final testament of a songwriter about to leave town. I love the neat lyrical device of “And I wish you well… wishing you were well.” The song feels both retro and somewhat ragged at the same time, which does make me wonder how serious these guys really are. On balance, and unlike Ween, I think they’re the real deal but can’t help but have fun letting their freak flag fly. To sum it up, these are fun songs that are tricky to pinpoint in any specific genre, and both the performances and recording quality are top notch. Check it out!
Dark Rain represents the powerful convergence of four elemental forces, poised to conquer the realms of rock and metal. Dudley Leavitt, the visionary founder, original vocalist and guitarist, weaves lyrical tales encompassing themes of life, love, country, and occasionally delving into the realm of the twisted and unpredictable. Fronted by the commanding vocals of GH, accompanied by Leavitt’s masterful lead guitar work and vocals, the band is further fortified by the rhythmic prowess of Brian Rathbun on guitar and the resonant bass lines of Bill True. Their remarkable talent has been recognized through victories in multiple battle of the bands competitions, leading to coveted opening slots for renowned acts like Fire House, Sponge, Zakk Wylde, White Lion and an array of other notable performers.
The recently released American Dream which is a fourteen-song album that is basically a double album. They make rock music down to its core. The music sounded very live and raw which was fine with me. It reminded me of the type of music you would want to hear on a Friday night. It hits hard, is dynamic and there’s a ton of memorable melodies. This album offers a satisfying listening experience from beginning to end. The title track, "The American Dream," features multiple vocalists who harmonize well together, delivering a rock-solid performance. The song carries a reminiscent vibe of AC/DC, showcasing a powerful energy. "Hypnotic" introduces a delightful female-led vocal, creating a captivating and mysterious atmosphere. The well-crafted grooves on this track contribute to its originality, making it a standout piece on the album. Overall, the album provides a pleasing and enjoyable musical journey. The band continues to have success with rocking songs like “The Hate Inside” and “Poison Inside” but I really enjoyed the ballad “The Bleeding” which was one of the highlights. “Shades of August” was one of the catchiest songs on the album. It felt like an anthem with some classic lead guitar. There were a number of other standouts on the album including “Nevermore,” “My Life” and “Playing With Fire.” Suffice it to say the band has a lot of quality songs on this album. Overall, Dark Rain isn’t reinventing the wheel but they are keeping the flame of rock alive. |
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