Stephen Rothkopf’s music is soulful, at times poppy and carries an affluent air of jazz. The classically trained musician is from Indiana and has recently moved to LA where the young songwriter is growing his newly launched career. This collection of songs entitled Stephen Rothkopf is a direct result of that. The first song titled “Addiction,” weirdly reminds me of the Britney Spear’s song “Toxic,” and perhaps some other song I’ve heard in my life about being wrapped up in addictive love. Yet while subconsciously seeming like a cover song, Rothkopf’s original has its own unique flavor that just might be “nicotine and alcohol, baby you’re my Adderall … because you got it all.” Rothkopf’s voice in this song is very pleasing; he shows countless variations in tone and style, which result in an entertaining listen. The following song “The Single Life (What I Like)” is a sweet ballad quite simply about being single and “free.” The song is super carefree and carries a positive air, “cuz I’m over you, and I really feel nothing… I’m beginning to find the single life.” This song seems to touch on all the aspects of a breakup, “I’m not bitter… I just know there’s something better.” Then on the other hand, the song titled “Everything Reminds Me Of Her,” attacks a breakup from another and more sentimental point of view. The chorus “there is always something better” shows the acceptance of the closing of the relationship, but the entire song is a beautiful and perhaps therapeutic way to forget by remembering all the little things like, “coffee beans, tangerines, towels on the floor…” Rothkopf showcases his skills as a singer-songwriter in this release. Each song has its own beautiful flare and unique sentiment to it. He is quite the charmer and his voice matches the demeanor. Quality of sound is good and anyone into soulful singing music will enjoy this album. Become A Fan
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Kail Maheswaran’s sound is most definitely one-of-a-kind. Perhaps inspired by the unique and quite colorful landscape of his home city Miami, Maheswaran’s music is wild, eclectic and it’s quite hard to put a finger on just one genre. It’s kind of funky jungle eastern-inspired melodies, that sweep you away to somewhere that you have no recollection of once you get back, but regardless, you knew it was wild. Quite simply, the opening track on his album Wish Tree titled “Jungle Juice” starts off with some quirky vocal samples that me think of some weird and eclectic cartoon show from the ‘90s. This song is righteously filled with so much character, and has some loopy and interesting effects all the while. There is some reggae vibes laden in the background and at the same time it’s a bit bluesy and soulful. One of the highlights "Saturn's Return" combines a surplus of percussion, clean guitars, organ into a rhythmically complex yet catchy song. It's not your typical 4/4 dance track but still got me in the mood to dance. "Impostor's Palace" is another impressive song in which you will not want to miss the beat boxing that seamlessly melds with the other instrumentation. “Shot Down” starts off with a high-frequency down-south guitar strumming repetitively. The percussion keeps a nice beat as well. This song is definably a mix of, like, six different genres. Later on in the song there is a really nice guitar break-down that just makes you want to dance, really fast. Listening to Wish Tree is not for the faint of heart; the tracks are incredibly upbeat, at times it seems like they are playing in fast forward, and they are definitely multi-sensory. It is a superbly entertaining listen, great for filling the mind and even perhaps discovering inspiration. The album is of great production quality and a great album for the adventurous listener. Washington, D.C.'s Brad Ulreich, who is Richard Blue, is clearly in love with English music. His self-titled debut Richard Blue rolls up three waves of British invasion into one tasty morsel. Woozy, kaleidoscopic '60s psychedelia meets Brit-pop, with a lemon zest of '90s power pop punk. Although this is Ulreich's solo debut, he's been active on the D. C. scene for some time, having played in the bands Mother and Pale Brother, and it shows. Utreich's got CHOPS, particularly in the realm of songwriting and arrangement. He's also a talented multi-instrumentalist, playing nearly every part on Richard Blue. A large part of the success of Richard Blue is due to the recording, mixing and mastering. A great album will sink like a stone, if its guitars sound like gutter scrapings. But Richard Blue is impeccably recorded and mixed: the guitars are warm and full, the vocals are deliciously multi-tracked and totally in key. Richard Blue follows an everything-and-the-kitchen-sink production regime, but the small Salvation Army Marching Band of organs, mellotrons, vocal harmonies and ghostly accordions are each given their own space and left to breath. This means there is nothing to break the reverie, and Richard Blue pulls you under its spell and keeps you there. It grows on you, with its infectious melodies and magical lyrics, and each successive listen reveals fresh delights, like the insanely catchy guitar hook of album opener "Wound Queen,” or the weird Parisian sound sculpture of "Root.” The recording and mix is nothing short of a total miracle and is a red flag that Brad Ulreich is a talent to watch, as most of the recording was done at home on a laptop and later mixed by Ivan Basauri and mastered by Dave Harris at Studio B in Charlotte, NC. The fact that he took the trouble to have his record mastered shows that he is serious about his music and having as many people hear it as possible. The predominant mood of Richard Blue is '60s orchestral pop psychedelia, which is augmented with the occasional '90s pop punk vocal harmonies or industrial grunge shimmer. It's simultaneously like the first wave of '60s psychedelic rock, particularly The Beatles, as well as future mutations, '80s Paisley Underground, like The Soft Boys, '90s Brit-pop, like Blur or Oasis, lashed with industrial stadium psychedelia, via the likes of the oft-forgotten Failure. In addition to all of this, fans of the Elephant 6 Collective, Neutral Milk Hotel and Olivia Tremor Control, especially, will fall in love with these kaleidoscopic mantras. The only faltering is some of those emo harmonies, which I could do without. I've never cared for that style, which smacks of forced epic-ness and somewhat dates this record, in a bad way. If I were Ulreich, I would ignore that era, in his musical jambalaya. So light some sandalwood incense and turn on the lava lamp, as you are transported by Ulreich's stories of interstellar travel and jungles bursting out of hallway closets, heartbreak and loneliness, all filtered through Ulreich's love of all things British. I love this record, and can't stop listening to it, and I think you will too. Become A Fan
Stereo Treason started in 2012 by Steven (Red) Rogers and Anthony Wyke and slowly grew into the eclectic five-piece it is today. Both Rogers and Wyke were familiar with hardcore and metal but were not opposed to working with musicians who were from a different background. They started looking for guitarists and eventually drafted Steven Whitney who had a background in blues, jazz, and rock to handle guitar duties. A few months later Ryan Lucas came on board to play bass and last but certainly not least they found their front man Douglas Pack. Their recent release entitled Black Eyed and Blurry is a solid EP that still has its roots in hardcore but does not feel limited in its scope. The first thing that is noticeable when listening to this EP is the chemistry and undeniable technical talent the band possesses. I was pretty impressed by the cutting jagged riffs of the guitar, the vocal range and foundational bass. That being said the drumming on this EP is on the verge of ridiculous. Some of the subtle and not so subtle things that happen had me backing up the song and making sure I didn’t make it up in my head. The album kicks off with “Oak Tree,” which doesn't waste much time getting you acclimated with the band. It starts off with a lone guitar that quickly gets bombarded with a steady, heavy kick drum and vocals. The guitars are relatively clean during the verse leaving space for the bass, vocals and drums but once the chorus kicks in the fuzz pedals get stomped on. Overall, it is a pretty solid introduction to the band. You are not going to want to miss the snare rolls in “Nameless” while “Black Eyed And Blurry” has an undeniable ‘80’s hair metal type vibe. “Back To Life” is a bit of a rollercoaster. Lots of changes structurally and dynamically with this song. They close the EP with arguably the hardest song on the album entitled “The Brink.” Black Eyed and Blurry has its moments. Not all of it struck a chord with me but it’s undeniable that these guys can rock. I’m pretty convinced they could melt your face off live. Become A Fan
Ejher manages to make something out of nothing on Attik. The atmospheric minimalism demands a good dose of active listening and doesn’t do much sonically unless played through a well-rounded system. Your standard device speakers drop out way too often especially when the long waves of sound dip low in dynamic. It’s hard to stay afloat on the first half albeit the tracks have individual distinction despite seeming like one long road of ambience.
The first track called "Sphirex" sounds as if it is a b-side from Aphex Twins selected ambient works, Volume II. Ejher creates a ominous hum that sounds as if it has originated from a alien planet. The comparisons to Richard D James are even more noticeable on "Adloquium" as he combines minimal percussion elements with foggy pads. The beats really don’t pick up rhythmically until track 11, “Spring AM.” It’s at that point that you get the feeling a corner has been turned. This latter half is more produced and electronic, still balanced with lighter moments and simple tonal phrases. After the songs run their course, it’s difficult to find standouts or moments that portrayed memorable elements. This album isn’t necessarily geared towards that kind of experience and yet we as listeners latch on to things of that nature and music tends to work best when it attracts the senses in a localized fashion. Not to say this isn’t impactful, but it’s a wash when it comes to researching the music and becoming familiar with a long-winded track list and near identical compositions. I understand this is ambient music for the most part, but it can still be done with more attention to melody, sound production, and volume in this case. “Tienx” is definitely worth the wait. It moves like a dance song but has the restraint of chilled artistry. There is cloud of nostalgia that settles and releases throughout the album, transcending Attik into a kind of soundtrack for our thoughts. Let it sit and mingle with your mind and soon you’ll find that it becomes a part of your subconscious. That is the most redeeming part of this record. Try it out and enjoy the experience. Cameron West is an accomplished singer-songwriter from Los Angeles currently residing in New York at Bard College. West continues to hold residencies in both locations while crafting material and recording. He has had the privilege of performing with such greats as David Byrne and Natalie Merchant, but he remains a humble artist so true to his companions that he enlisted several students from Bard to play on his album Forest Through the Trees. What a great way to promote their work and supply his sound with the refined skills of fellow musical peers? West marries piano and emotional rock like only the great Ben Folds can. Heads up, this album sounds much like his work so if you get down with Folds you’ll be right at home with Forest Through the Trees. Even if you’re not familiar, this brand of relaxed rock is perfect for the listener looking for something new and yet non-progressive. I hear a few sprinklings of Dave Matthews influence as well, specifically their early ‘90s sound mixed with Matthew’s vocal eccentricities and unique phrasing. The album has good flow with introspective valleys and drive-inspiring peaks; each track complemented by West’s close attention to musicality and detail, making the album feel like one unit while still exploring different themes and moods. It’s hard to find an instrument so consistently associated with conveying beauty and sadness quite like the piano, so taking that into consideration, West doesn’t overdo it on either end of the scale - just full, moving chords anchoring entrancing melodies. West’s lyrics paint the tales of dissolving friendships and lovers, suicide, college life as a whole and the always thought-provoking existence of God. "Honest Captain" and “All But Insane” mingle 7/8 time with 4/4 to create an interesting groove in the pop/ballad vein. The standout track for me is “Spiders” although I think the title could be reconsidered. I lost myself in the piano interlude and really felt some true passion coming through in breadth of chords. This composition is a great example of how powerful the piano can be when colored with melancholy. Become A Fan Operation Teardrop is indie panache mixed with pretty much whatever Rittling wants. The whub of dance pulse, the march of a fanfare – it doesn’t matter to him if they’re in the same song or if they’re followed by a back-river folk tune. Operation Teardrop touches many musical styles but stays true to the heart – a heart beating for the finer things in life a la elegant piano and jangly art-pop. Rittling's voice captures attention immediately. He sounds like a singer I used to play with, that trademark rasp coarse with emotion. I would bet that Rittling has more control and technique as my guy had to force it and will probably have throat issues later in life. That rasp swaps out with gritty croons from time to time and always sounds full of experience. Rittling evokes a time well before his years as if the stories being told were from the mouth of an aged man. Rittling sings with a purposeful reserve, never flashy. Rather than write or try to find passages for chops, he uses his voice as part of the larger picture of sound. “Begin” has a delightful array of synth bubbles that float the surface before bursting into gentle brightness. The backing vocals at the middle section are nothing short of effortlessly cheery. You can’t help but feel the lightness in this song. However, Rittling's curiosity gets the better of him on a couple of tracks. "Giraffe" for instance features awkward rapping that alternates with sung sections. I’ll award points for confidence, but this song never quite grabs ahold of itself and instead drifts like a confused bird. Rittling redeems himself on "Milkshake" a catchy tune that builds into something out of the old malt shoppe. Rittling's own artistic daring and creativity sail and sink the ship in my opinion. There are some great moments and some dull ones. Not a complete mixed bag, but not highlighted enough for limited track skipping. Like a Starburst pack with only a few pinks if you know what I mean. There are some really strong tracks here, but the album is not bigger than the sum of its parts. InnerCitySights is a positive vibes rock project born from the creative genius within Scottish singer/songwriter Allan Kerr. Kerr has been involved in music for many years and has been a part of nearly as many bands. It’s his musical message to deliver pop sensibility with rock intensity and inspire fun jams for a generation too hung up on stress and hardship. Capital Vices is positive, energetic, driving, and catchy. How can you go wrong with that recipe? Right from the first track “New World” it’s clear we have some anthemic material on our hands. The guitars are wide and repetitive with a big chorus for the win. “Your smile tells me everything’s alright” is the feel-good lyric of the album. A great first step to get listeners in the mind set for what’s to come. The EP was written to be uplifting, but maintains an underlying darkness. Kerr himself cites The Killers, Angels & Airwaves, and Muse as influential artists that shaped the sound he was going for especially on the opener. Those bands create a lot of space with their instrumentation and progressions so he utilized that kind of songwriting to his benefit. I personally enjoy that style very much so this was a treat. “Dancing In The Rain” echoes the alternative of the ‘90s like a Black Crowes meets Silverchair. Great guitar solo toward the end, very pure and whining without losing good tone and feel. “Knife Left My Hand” definitely issues Muse qualities - the gang vocals, tense chords/phrasing, and epic choral lyrics alongside a powerful melody. “Losing Touch” has a nice danceable feel to it thanks to the hi-hat work. I can’t help but hear it with cleaner production and boosted with club remix. A little left field, but I know it would work - something to think about maybe? The synth lines are already bouncing in my head. Additions aside, it’s a solid closer and reiterates the all around message of good times though truth seeking and spirit searching. The Leavelles have a story that a lot of other bands have who have some sort of home studio. Back in 2012 Frank Colwell (lead vocals) and Joe McClour (guitar) began recording their debut album Echo and it wasn't until after they started recording that they began practicing with David Mahaffey who would later become the drummer. Echo is a well-produced eight-track album that combines rock, country and pop music. The songs are easy to enjoy and accessible to just about anyone who enjoys a well-written song. There is an eclectic mix of emotion on the album. They inject some humor, melancholy, nostalgia and hope providing an enjoyable listening experience that doesn't get stale. They start with a soft rock style song entitled “Echo” that is not unlike something you might hear from a band like Wilco. The guys focus on vocal melodies and infectious guitar riffs to keep your attention while the drum and bass provide a solid foundation. ”All I Want” has some country twang and nostalgia along with a pretty catchy vocal melody. It is a good song but sometimes I felt the energy level could have been elevated. “Bridge” is an upbeat song that was almost too poppy while “Probably Right” contains a very welcome horn section. The highlight of the album is the folk/country song entitled “Nothing Turns Me On.” The vocal work is some of the best on the album as they harmonize and are backed by a banjo. They wear country well as it seemed to be the one genre that really fit their singing style. The other track that caught my attention was “Feels Like The End.” It was fairly straightforward but has another solid vocal performance that stuck with me. They close with “Annabel,” which starts off as a folk song that eventually transforms to a soft rock through the addition of drums and electric guitar. Overall there is a mixed bag of songs that might appeal to you so give it a spin.
Forming in 2008 in Bedford, UK, Speedshot consists of Danny Young (guitar & vocals), Andrew ‘Hobit’ Stevens (bass) and Michele Grimaldi (drums). The band’s name sounds very close to what the music is. It’s fast, with a lot of energy and doesn't have a dull moment. The band is described as “Balls out Rock played with a Punk passion” and that pretty much nails it. The guys produce music that is fun, loose, unpretentious and sounds best in a bar with about 20 -35 other people there who are just as drunk as you are. Their recent release Blow is the second is a series of EP’s, which will form their upcoming album. The production on the EP is on point. They are a three-piece band and sound absolutely huge. The guitars are gritty, with the perfect amount of distortion, the drums hit hard and the bass is covered in some grit as well. I love when a three-piece sounds like a wall of sound and these guys accomplish that. There are three tracks on this EP and to be honest there is not too much you need to know about them. They all follow a similar style and if you dig one of their songs there is no doubt you will be in to their other material. They rev up the engine with “Vaseline,” which is a fast-paced song that tips its hat to ‘70s punk as much as it does to garage bands. Musically, they immediately impress with a constant barrage of notes and drumming that is like a metronome. On top of that is the vocal melody, which is pretty gosh darn catchy. “Living Like This” has a tinge of influence from ‘80s metal bands and continues to rock hard. They close with “Stereo Bible”, which is arguably the highlight of the three. Don’t miss the ridiculously tight kick drum action from the drummer. Not much I didn't like here. These guys rock out.
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May 2024
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