Jefferson Hyll is a singer-songwriter with three previous albums under his belt. No stranger to the Pitch Perfect site, we know that his real name is Phillip E. Mitchell. He calls his music “ambient, alternative Americana” and even he realizes you’d have to go through some tricky contortions to achieve that! His fourth and latest release is called Spirits.

Hyll was the winner of the UK Songwriting Contest in 2021 (open category) with seven other songs placing in the finals. He also received a special mention in the International Songwriting Contest. His 2023 album Dark was rated “Top Album” by this very site. Hyll’s music is said contain echoes of Browne, Springsteen, Simon, Petty and many others. His 12 songs here explore grief, depression, newfound love and unanswerable philosophical questions. Recording, mixing and mastering took place at Hyll’s home studio in the mountains of Western North Carolina, with some guest appearances from artists in Baytown, Texas and Tulsa, Oklahoma.

“Radial Days” (great title) starts us off with an uplifting band sound not far from Bruce, with a celebratory chorus similar to Tom Petty. Hyll has an immediately attractive voice, not exactly like anyone else but maybe in Jackson Browne’s neighborhood. Cade Roberts is credited with “additional guitar textures” (somebody is playing some wild electric melodies!) and background vocals are credited to Arden Ridgely, who appears to transform into a church choir before the end. Not finished yet, Hyll’s fade out recalls 60’s folk rock with its chants of “sha la la la la la.”

“Beautiful Place to Live” is a beautiful track that musically resembles Jackson Browne, with strings, acoustic piano, multiple overdubbed vocal harmonies and a guest guitar solo by Joel Davis. The mix is interesting, with some elements on the extremes of the stereo field. I love Hyll’s quick lyrical references to Rothko, Springsteen, Raphael, Mephistopheles and The Village Green. “God Plays Rock and Roll” is a fun title with a staccato melodic opening and an expansive arrangement for multiple guitars. The guest soloist this time is Cade Roberts. “Spirits” is the title track and again goes full-out almost from the start. For anyone else it might feel like bombast but Hyll’s voice is so expressive that he brings it all together, similar to Warren Zevon at his best (and some of those other Asylum Records artists too).

“The Last Song, Untitled” is a tricky song (it’s obviously not the last, and clearly has a title) and literally starts with what the movie industry calls a “sync pop” (what you hear when the movie leader hits “2”). Love the premise here, which is about the song you’d sing at the end of the world (literally your last song) and all the elements it might contain. I suspect Hyll’s song would be packed to the gills, as he’s done that here! Cade Roberts takes a joyous fuzz solo and Arden Ridgely again provides background vocals and harmonies. “One Voice, Anonymous” at least starts with a little air between the string samples and acoustic piano, leading into a song that’s a distant cousin to Browne’s “The Pretender.” I like to think this song calls out to lone indie musicians who feel anonymous, but of course “one voice” could stand for any single human who needs to be seen. “One voice, anonymous / you can make and keep your promises / you can be your only audience.” Great ending with Hyll’s voice playing by itself.

“Heroes” is not a cover of the Bowie classic, and in fact a more accurate title would be “All My Heroes Are Gone.” It works as both a tribute to whomever those heroes were, and a kind of mystical evocation of their spirits. Expect yet another track packed to overflowing with guitars, piano, strings and Hyll’s spot-on harmonies. By the end I’m ready to sign up, but for what exactly I can’t say! “Mr. Harrison (for Jim Harrison)” features a mellotron sound, really giving this track a late ‘60s feel. I don’t know who Mr. Harrison is (was?) but I have a feeling he’s another of Hyll’s heroes who’s now a spirit. “Tell me a story I won’t forget / Fill me with longing and regret / Talk of the horrible plight of the Native Americans, Mr. Harrison / I would ask where you are, but you’re here in my head.” I’m seriously getting choked up! “All This Light” concludes the album with piano and vocal only, an intimate and fitting coda paying tribute to “Works of art that breathe into the night / All this light” with the strong suggestion that loved ones themselves are works of art.

I haven’t mentioned every song but rest assured they are equally assured and enjoyable. Though Hyll was new to me I’m definitely now a fan. Check him out!

Become A Fan

Living in Shadows’ latest effort, Neon Burning, is a prog rock odyssey brimming with vocal hooks and masterful instrumentation that immediately grabs the ear. From the outset, “Cast Away” channels the groove-centric spirit of Yes, but it's the ethereal, haunting vocals that carve out a distinct sonic identity.

The musicianship across the album is nothing short of spectacular. The bass lines, in particular, stand out, weaving intricate patterns that anchor the band's expansive soundscapes. Fans of the opening track will find themselves right at home with the rest of the album, which continues to deliver groove-heavy tracks laced with innovative twists.

“Who Are You” marries infectious grooves with almost new-age vocal layers, creating a sound that’s both familiar and refreshingly cool. The album also offers a couple of exhilarating jam sessions and a meticulously crafted guitar solo, enhancing its prog credentials.

“Silently Dancing” shifts gears, trading overt prog complexity for an unexpected Latin swing. Its breathy vocals, tremolo effects, and softer textures introduce a welcome change of pace. “Wide Open Sky” might just be the standout track, its syncopated groove punctuated with rhythmic precision that could stem from either a keyboard or a pedal effect, giving it an intriguing sonic texture.

“Leaving Light” veers into more haunting territory, with synths that evoke a sense of otherworldly arrival which made me think of aliens. Meanwhile, “Satellites” revisits classic prog motifs but infuses them with enough fresh elements to keep things novel.

The ten-minute epic “Page by Page” showcases the band's virtuosity, highlighted by a particularly enthralling piano line. The album concludes with the title track, “Neon Burning,” which exudes a lush and intimate ambiance, an unexpected but fitting finale to the record.

If you like prog rock you will love this. If you love prog rock, you will have this album on repeat.

livinginshadows.com

Philly Heart and Soul is that rare breed of big band that plays parties and dances as well as recording fresh, lively songs for Spotify. I reviewed their last three singles for Pitch Perfect, and today I’m playing their newest track titled "Alone In The Dark." Philly Heart & Soul features 10 members who can play over 100 songs at the drop of a hat.

Co-founded by Sam Primavera (lead guitar) and Johnny Morrone (vocals), the group can handle many genres including Top 40, classic covers, R&B, funk, rock and blues. The other members include Phyllis Love and Allie D (vocals), Derrick Love (bass), Rick Meale (keys) and Dom Dubano (drums). The horn section features Dwanye Williams (sax), Mark Edmonds (trumpet) and Frank Taggart (trombone).

To get you in the mood, think about BB King’s “The Thrill Is Gone” with that same sweet guitar tone but beefed up considerably by other guitars, keys and expansive percussion. With the smoky lead vocal by one of the female singers (I’m guessing Allie D, but it could be Phyllis Love) this track veers away from the blues into more of a smooth jazz excursion, with sophisticated melodic changes, luscious backing vocals, terminally cool bass and the percussion section of your dreams.

​The song structure feels like an endless Escher-like circle that brings you around several times without landing in exactly the same place. Extra credit for the synth-like fuzz guitar proclamations. Another great track by what must be one of the best party bands you can find. Listen, enjoy and maybe even hire them for your next event!

phillyheartandsoul.com

Turncoat Syndicate is a Norfolk, Virginia alternative rock band with a very cool name. Their first full-length album The Life You Wanted was released in 2018, and was honored as the VEER Magazine album of the year. Their newest EP is titled Lost Weekend Pt. 1.

The band members are Dan Forlines (vocals), Will Clarke (guitar), Pat Maurer (bass) and Mat Talley (drums). They describe their music as “straightforward alternative rock inspired by 90’s grunge.”

“Past Mistakes” begins our set with a deep, thumping kick drum beat and a single note repeated on the bass strings, like a giant out for a stroll. Over this backing they introduce a simple, chiming guitar motif. The vocals of Dan Forlines definitely come from the 90’s school as exemplified by Eddie Vedder. Almost beyond awareness, the guitars seem to flourish into orchestral instruments (unless those are actually string samples!), with the stereo image multiplying and enveloping the listener. The chorus of “past mistakes, better days” is simple in concept but quite effective, building power with each iteration.

“Angels & Devils” begins with a similar orchestral effect to the backing track in “Past Mistakes.”  Up top we hear a trebly guitar riff that in another context would sound like surf or spy music. As the melodies kick in, the song begins to feel even more like a mysterious movie soundtrack with cool reversed sound waves and the occasional vibe chime. The chorus triples the barrage with a fuzz-heavy wall of sound. The idea that we all have both angels and devils within us is not exactly new but works quite well here. “Do you ever fantasize / Things that you should never try?” Guilty, your Honor! The tempo basically quadruples just before the big, stomping finale. 

“Outside World” is a crisp guitar-centered outing with assertive stadium-like vocals and deep thumping tubs. Just when you think it can’t get any heavier, the chorus roars in on a solid wall of sound with slabs of crunch guitar, keys and stacked vocals. It’s an unstoppable force that will have you on your knees or running for cover. 

This was a new band to me and the skill and diversity of their playing was impressive. Check ‘em out! 

Become A Fan

Charley Young is an artist with multifaceted talents, seamlessly balancing her time between acting and music as evidenced on her website. Her latest musical offerings, distinctly pop in nature, cater to a youthful audience with a penchant for catchy, mainstream sounds.

“Sugar” is a prime example, centered around polished contemporary production and a hook that’s as familiar as it is infectious, seemingly crafted to capture the widest audience possible. Its straightforward approach to pop is effective, delivering exactly what one might expect from the genre.

“Werk,” on the other hand, ventures slightly off the beaten path with its intriguing use of effects and mixing. The track is an entirely electronic affair, featuring grooves built from spliced vocal samples. While it doesn’t stray into the avant-garde territories of Bjork or Aphex Twin, it maintains a steady 4/4 beat, notable for its lack of lead vocals, which adds a unique touch to its composition.

“Je te veux” brings us back to the quintessential pop realm, with its glossy production tailor-made for the dance floor. The track shines with its nightclub-ready vibe and continues to showcase Young’s prowess in production. Ultimately, Charley Young’s music is a testament to the power of production in modern pop.

​You won’t find searing guitar solos or raw human drumming here, but that’s a reflection of the genre’s evolution. The songs are polished, enjoyable, and if you’re in the mood for sleek, well-crafted pop tunes, they’re certainly worth a listen.

Anthony Blue returns with a fresh single titled "Ramona," a track that opens with a chorus-drenched guitar before layering in drums and an additional guitar, creating a textured, dynamic soundscape.

The song melds various styles, drawing on a punk ethos with unmistakable nods to '90s punk. Lyrically, "Ramona" spins a straightforward tale about an irresistible seductress. The track is undeniably catchy, with standout lead guitar work that elevates the whole piece. Blue's vocals deliver lines like, "Everybody wants to know your name/ Everybody wants to join your game," with a compelling energy that captures the essence of the song's narrative.

The song is well produced and Mr. Anthony Blue has deliver an overall strong vocal performance by adding the appropriate amount of emotion into the song. Lyrically, I thought the song was easy to follow along with and told an intriguing and somewhat classic narrative

While "Ramona" doesn't break new ground, its solid songwriting and sharp execution make it a worthwhile listen. Sometime you don't need more than a couple well strummed major and minor chords to create a memorable melody.

Dive into this track and experience its infectious charm.

L.E.G.'s "One Good Reason" is a testament to the enduring allure of the rock ballad. The track unfurls with a set of resonant guitar chords, soon joined by a rhythm section that deftly balances potency and grace.

The bass line, notably smooth and likely crafted on a fretless, weaves a silken thread through the arrangement, grounding the song with an understated elegance. The vocals, imbued with a soulful ease, offer a comforting embrace. There's a warmth in the delivery that feels both intimate and expansive, inviting listeners into the lyrical narrative.

The writing itself is sharp, with lines like “Between you and me/It was always plain to see that my feelings were open season. So give me one good reason why I should care for you” capturing the essence of vulnerability and introspection. As the track reaches the two-minute mark, it crescendos into a more intense chorus.

Here, the vocalist ramps up the emotional intensity, delivering a performance that is both impassioned and stirring. This dynamic shift adds depth and dimension to the song, showcasing L.E.G.'s ability to navigate complex emotional landscapes.

​In sum, "One Good Reason" stands out as a compelling piece of songwriting and vocal artistry. It's a track that manages to be both familiar and fresh, cementing L.E.G.'s place in the modern rock pantheon.

Louisiana’s John Guidroz is a talented singer-songwriter who’s just released his third album titled Another Shot, a terrific collection of Americana pop songs with a neat retro-style cover.

Guidroz started playing acoustic shows way back in 2004, building a reputation as a solid live performer. By 2012 he was writing songs which were featured on his first solo album titled “Yesterday’s News” followed by a second album titled “Misfit Me.” Both albums included songs reminiscent of artists like Pete Yorn, David Gray and John Mayer. His newest collection contains seven tracks in which Guidroz mixes and matches Americana, country, folk, and pop. 

Producer Matt Moss helped bring Guidroz’s first two album to completion and returns to the mixing chair, with all recording taking place at EMF Productions in Lake Charles, Louisiana. It’s a short album (just 25 minutes) but certainly doesn’t feel undercooked!

We start off with one of the best songs in the set, the title track “Another Shot.” The lyrics are structured around a conversation the “John” character is having with a police officer who’s just pulled him over. “Officer I’m totally sober… Officer I swear I’m 33, but I don’t look as old as I should.” The lyrics continue in this humorous vein, until you realize that the title “Another Shot” refers not to skipping out on a ticket but to John getting his girl back. Musically the track starts with chiming acoustic guitar and vocal, then is shortly joined by the full band. I’d call this folk-country, with expansive keys, tasty lead guitar and lovely vocal harmonies. 

“Running” includes a count-in that makes pretty clear (if it wasn’t already) that this album was recorded with a live band in the studio. The title is appropriate as the tempo is quite brisk, pretty much at running speed. Guidroz’s clever wordplay starts right at the top (“Your mascara was running / Meanwhile I’m running out of excuses…”). The arrangement is a clean, tight assemblage of acoustic instruments including guitars, piano and drum kit. If his name doesn’t give you heartburn, musically this track reminds me of Bob Seger, though with vocal harmonies and lyrical ideas that are totally original. Toward the end there’s a string sound that’s very close to the old classic mellotron or chamberlin.

The title of “Laura” is a hint that Guidroz isn’t finished singing about relationships (“Hell has no fury like a woman scorned / You’re in a category all you’re own”). This one has an interesting tempo with emphasis on the off-beat, and is filled out with classic rock organ, guitars and stacks of harmonies, recalling solo Paul McCartney (“The Back Seat Of My Car”). “Feature” has a similar laid-back feel with a more jazzy Steely Dan-like arrangement, especially in the the electric guitar and organ… and yes, it’s another love song! (“You’re the definition of perfection / They don’t know how I see you / You’re the feature, not the preview.” Why didn’t I think of that?)

“Jukebox” marks the first major change, being an unabashed country outing. Guidroz’s voice is so different I fully expected to see a guest singer listed! The lyrics again don’t disappoint (“If you’re gonna play a song on the jukebox, make sure it’s worth a damn!”). The guitars twang and slide in true country style and the players deserve a free round at the saloon!  “Sing with Me” features a sax right up front and throughout, giving this track a late 70’s pop vibe, especially in the funky middle horn section. The song works both passively AND as a hook for audience participation.  The final track “Unanswered Crimes” has a great title that evokes Truman Capote’s “Answered Prayers.” Musically it’s a carefully performed acoustic ballad with a lovely building arrangement, with each instrument adding just what’s needed: your ears are constantly surprised and rewarded. Even the bass gets to shine!

As I stated up top, this is a short album but doesn’t feel that way. Guidroz is an excellent writer, singer and player and I recommend this collection wholeheartedly! 

johnguidroz.com

Barry James McCarthy’s Western Bloc returns with Creatures, an album that explores a labyrinth of styles with finesse and flair. The eclectic nature of this record demands a deep dive into its multifaceted offerings.

Opening with “Same Old Story,” the album sets a high bar, channeling the spirit of David Bowie and Scott Walker. McCarthy’s vocals resonate with Walker's signature inflection, weaving through dissonant sounds and palatable melodies. The bass line here is particularly notable, grounding the track amidst its melodic complexities.

“Friday Nights Saturday Nights” shifts gears into a dance-heavy realm, reminiscent of Chicago's house music scene in the '90s. It’s a nostalgic nod to an era defined by early morning euphoria, the kind of track that thrives in the twilight hours.

The title track “Creatures” delves into experimental rock territory, juxtaposing intricate guitar work with melodic vocal lines. The breakdown echoes The Doors, a fitting homage that enriches the song's dynamic structure. “The Future” stands out with its soaring vocals and steadfast beat, maintaining momentum as various elements ebb and flow.

Meanwhile, “So Much Doubt” dazzles with its wild piano leads, wah-wah guitars, and inventive transitions, blending psychedelic rock with electronic flourishes and a hefty dose of experimentation. “Composition One - Happiness” dives deeper into Scott Walker’s shadow, evoking the dark, subterranean soundscapes of "The Drift." It’s an atmospheric plunge that underscores McCarthy’s adeptness at navigating eerie, introspective terrain.

The album’s post-punk streak emerges on “Love,” a track that wouldn’t feel out of place on a Joy Division record. In contrast, “Day Between Stations” ventures into uncharted territories with its unpredictable twists. “Broken Glass Hymn” cranks up the intensity, rocking out harder than any other track, while “The Distant Star” wraps things up with one of the album’s most infectious melodies.

Creatures is a testament to Western Bloc’s ability to craft a cohesive yet diverse musical experience. McCarthy’s latest project is a compelling addition to his discography, proving once again his mastery in blending disparate styles into a unified artistic statement.

westernblocofficial.com

Playing jangly pop rock together since 2017, Kingdom of Mustang from Charlottesville, Virginia has just released its fifth album titled Glad Days. This seasoned quartet consists of Mark Roebuck (guitar/vocals), Tim Ryan (bass/guitar/keyboards/percussion/vocals), Michael Clarke (drums/percussion/vocals) and Rusty Speidel (guitar/vocals). The band has been heavily influenced by 70’s and 80’s power pop artists like Shoes, Big Star, the Byrds and The Records.

For this new album, the band decided to capture themselves live in the studio with minimal overdubs. Sweet, twangy guitar arrangements and stacked vocal harmonies abound. Recording, mixing and mastering was by bassist-keyboardist Tim Ryan at Studio 607  in Charlottesville using Reaper, and it sounds crisp and amazing. The band sent a full list of their music arsenal (lots of vintage guitars and gear!) but frankly I’m too anxious to get to these tracks!

“More Than They Deserve” is the kind of song that seems to start with the chorus, which is always an interesting changeup. As expected, the guitars are bright and in perfect sync with each other, the tempos are upbeat and danceable and the vocals are harmonious while being totally approachable. Though this is a great song with Instant Hit potential, it’s got such a clean, Beatles “Help” like jangle quality that I’d be happy just enjoying the mix. There’s little touches like some background “Oooh” vocals that might actually be a keyboard moment. I just can’t tell and I love that!

“Talk Talk Talk” jumps ahead a few years to align with the half-serious, half-humorous style of They Might Be Giants. The vocals even have a bit of Squeeze grandeur, though without the English accent. “Glad Days” has a similar title to R. Stevie Moore’s “Glad Music” and there’s even some similarity in the throwback music. Singer Mark Roebuck seems to be “quavering” his voice as he sings, adding another flavor to the song. “The End From The Middle” sounds even more like Squeeze as filtered through early Beatles. I admit I just double-checked the group’s Bandcamp page to make sure they weren’t from England!

“Say Hey To Blue” is a great idea for a song, because even though I’m not exactly sure what it means, it had me singing and clapping along with abandon. The shouts of “Hey hey hey” and the cowbell beat are the stuff of pure joy. “All You’ve Got To Do Is Love” sounds like a Beatles title, and does in fact evoke John Lennon in the lead vocals. The chorus uses those classic 60’s suspended chords like the old classic “Needles and Pins.” I got happy, early Elvis Costello vibes from the poppy “Not The Special Girl,” especially from the keyboards and tempo (along with an ending copped from “Radio Radio”). “Don’t Count Me Out” is another total British Invasion-fest, reaching beyond the Beatles to those other bands few remember.

“And Then The King Of Hearts” is an amiable pop rocker with a surprisingly sophisticated chorus, skating through several changes before returning to the verses, along with a sweet lead solo. Great, unexpected ending too. A late favorite! “Far From The Loneliness” combines early Beatles vocals (especially that Lennon grit) with another deceptively complex but winning arrangement. They toss off a bonus harmony guitar section without breaking a sweat!

​There’s 14 songs total and though I skipped a few for space, every one of them is worth a listen or several. If you love retro pop rock sounds and attitude, this is the band for you!

kingdomofmustang.com