Famous For A Day is a two-piece pop-punk acoustic project comprised of Nick Newcomer and Kevin Ploth. That description is apt for their sound. On their EP The Pre-Sides the band unequivocally plays pop-punk songs from the high-pitched nasally vocals to the lyrics which deal with coming of of age experiences of a young person.
Pop-punk is a genre that is tripping over itself and very few bands in the genre are doing anything to bring something new to the table. Famous For A Day follows the tropes like a certified checklist. On that note this emotive EP will appeal to pop-punk fans who are looking to add on to their collection of bands like Mayday Parade, Fall Out Boy and so on. Up first “Hold My Beer, I'm Goin' in” which works just as good acoustically as it would with a full band that was plugged in. The boys have done their homework and will surely attract a slew of young teenage fans who have trouble containing their raging hormones. Up next is “This Isn't Even My Final Form” which is similar to the opener. The energy is more chill and the lyrics play out like indignant regret as well as appreciative growth. He sings about thanking his significant other for making him who he is but then on the next line the other vocalist sings, “I wish I never met you.” They close with a piano led ballad entitled “Part of Me.” The song unravels like a journal of praise and nostalgia. Ploth and Newcomer have the genre down and they do it well. I would like to see if the duo can push some boundaries on their next release. This genre isn't exactly new and is arguably the most oversaturated genre that has shifted in marginal incremental amounts in the last decade. This genre needs some new life breathed into it just like post-rock. Overall, this is pop-punk for fans who are already fans of the genre.
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Bell and the Ringers is a band from Australia that recently released their debut EP entitled Love is a Crow. The EP is demo quality which at the very least gives you an idea of the band's sound. At this point they have a fairly general sound that isn’t particular niche to themselves or any sub-genre.
The influences are broad but the lead singer sounds a lot like Ben Gibbard from Death Cab for Cutie. He contains a childish, naivety to his vocals that is very similar. The most unique aspect are the juxtaposed vocals. It's a mixed bag. At its most alarming it reminds me of a play or comedic theater. Take for instance “She Knows it's Not Right.” The song starts off sounding like a Death Cab for Cutie song. The other vocalist sounds hyperbolic as if he is imitating a pirate for better or for worse. “So Go (Feat. Rachel Wheatley)” fares a bit better and just seemed to more consistent with the emotional energy of the song. The highlight is “Helping Hand.” The vocalist’s delivery comes off a little like an “aww schuck” type of personality which is on the line of going overboard. They end with another solid song “Flag at Half Mast” which is stripped back and has heartfelt vocal performances. The band is off to a good start but I have some advice. The band gets awfully close to sounding too similar to Death Cab for Cutie with the vocals and the music. They need to be aware of this and try to distance themselves. The production will have to improve if they hope to compete with notable acts. There are issues with compression, EQ and separation that is not consistent with each song. The band is writing pretty basic pop songs at this point. They have some good ideas but I have a feeling they will evolve as they are such a newly formed band. I can basically guarantee there will be strides in their development if they continue to keep at it. Keep your eye on them.
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Nick Hobson is an artist who is just getting his start with music, He released Black Rope which shows some potential as well as a lot of room for growth. The album is completely DIY and sounds like it. Suffice it to say it's not the recording quality you expect from a pro studio but it is respectable for a home recordist.
His music is on the more mellow side with poppy hooks. He implements atmospheric pads, clean guitar and electronic beats. Up first is “Dreams” which is indicative of the title. He has a soulful voice and sings, “You know I dreamed of you last night Can't seem to keep you out of em I scream, I fuss, I fight Still I can't keep you out of em.” The music is a bit ominous and dark. “Given Up” has more of a singer/songwriter vibe. The song had its moments but “Home” was a clear highlight. I liked the the smooth guitar and the beat was one of the best on the album. The next track “Pink Room” has a more ambient feel. The percussion lays far back in the mix and the electronic piano and keys are up front in the mix. I thought the instrumental last half had a nice sounding lead guitar but it went a little too long. “Kinky Machine” contains spoken word and didn't move the needle much for me. The song’s energy was static and the song felt like a filler that would have been more effective at about a minute long. The best tracks moving forward were “Stay Put” and the closer “Spanish Waves.” Hobson definitely has talent. His lead guitar is solid but it's also been replicated a million and a half times since Hendrix got popular, The drum programming is basic and he sticks to basic 4/4 time. I’d like to seem him push this more and experiment with tempo changes as well as different time signatures. He also may want to consider working with other people. I think a real drummer and a bassist could add a lot to the music. Hobson is at his best on songs like “Home.” He has a really good voice and the mellow soulful vibe fit him. As of right now he is a case of wait and see but I’m looking forward to more.
Kevin Musliner is a solo songwriter and producer from Boston. MA. He started writing and mixing instrumentals for collaborative hip hop duo AYCES with his best friend but was drawn to a lot of other styles with the electronic medium. That’s what led him down the path of creating his own individual work, and I’m glad that happened.
His latest release entitled Early Words opens with “641 Margins.” I loved the innovative sound of this track. Warbling, anxious, stuttering, static, sampled piano notes jitter uncertainly atop a glitchy electronic drum beat creating a surprisingly pleasant, soothing sound. Arpeggios danced and twirled atop one another as the digitized piano sounds blended seamlessly with synthetic notes and set the tone for the intriguing sound of this EP. Experimental is certainly one word for it; it reminds me of something you’d see on a Thom Yorke solo release, minus the vocals. “Trilogy of Erosion” is driven by a sonic earworm of a synthetic riff. Atmospheric sounds create the warm backdrop of this track, joined by another glitchy, synthetic, but tempered beat lying behind multiple layers of electronic noise. There were moments within this track during which the drum beat went a little over the top with filler, but that’s only because the beat, at moments, was a little too juxtaposed against the soothing, chilled-out atmosphere surrounding it. It did throw me back to the experimental vibes of instrumental bands such as 65daysofstatic, who Kevin should certainly listen to if he fancies heading down a more ferocious electronic route. Still, the positives of this track far outweighed the negatives; the soundscape itself was mind-boggling, much like the opener. “wavs” opens with a a video-game-esque synth arpeggio. It dances and fluctuates up and down the octaves in a head-bop-inducing manner. Low synthetic bass rhythms drive the majority of the song, however. There’s certainly a funky vibe to this track, but I liked the diversity of it all. There were moments of serenity and calm thrown into the mix for good measure. The listener is given a chance to breathe from time to time. “Cozumi” was so cool. Continuing the funky, upbeat vibes of the previous track, it’s driven by a ridiculously catchy high-pitched synth line. Then comes a low, funky bass rhythm, dancing twirling bells which sound almost like synthetic steel drums and a punchy, ricocheting drum beat which jolts all over the place, jumping from the left to right audio track uncontrollably. “Salvation Army” opens with jingling bells, a low and tempered bass rhythm which is brand new territory for Musliner, and I think it comes across brilliantly. Organ sounds jolt in and out of the distance. The only problem my eyes because they’re unnecessary instrumental filler, but I was really getting into the groove of this and the last song, and I felt like they stopped too abruptly. “Shade of Violet” was a different beast altogether. Ominous synthetic sounds lay a brooding, endlessly-reverberating backdrop to this track. This really delves into the depths of electronica as Musliner creates a sprawling and never-ending soundscape of haunting, overlapping synths, and vocal samples which jar and collide into one another, and an infectious, throbbing bass rhythm. This is really a good EP and I look forward to seeing what comes next.
Lemon Cordial by Laura Rose is a wonderful new EP released by the singer/songwriter. It takes themes from Rose’s struggle with mental illness and struggle to keep the relationships in her life stable. Musically this album is subtle with really delicate qualities. It is the instrumentation that leads the way to these songs being given life and timbre.
Every song has a unique feel to it as Rose is still in search for a dynamic sound to call all her own, but I think the vast differences in song sounds is what makes this EP really fun to listen to. What is even better is that with any proceeds being made to this EP, the money is given to charity. It isn’t often you see music giving, but when it does it always brings joy to the world. Each song on this album has a different taste, so different but really well rounded and complete. “Temporary Blues” is very laid back and concentrated on Roses’ articulation and feel. A very solemn sounding vibe/keyboard structures the song cordially with very minimal drums resonating in the back moving the track to each of its phases. “Emotion Sickness” is another hauntingly beautiful tune. Rose’s voice is produced best in this song. Elliot Wallet who is the producer in my opinion did his best work sonically on this track. The drums are crisp and nicely mixed into the track to help complement the bass, guitar and vocals. “Dry Your Eyes” has a sort of new-age doo-wop feel to it while still maintaining an indie vibe associated with bands like Best Coast. “Dry Your Eyes” just lays down the feels and can have you reminiscing about your life and the people around you. Another very well captured song sonically is the EP’s closer “Dazed.” Love the arrangement of tracks on this tune. Everything vibes with one another instrumentally so that the vocals have a real power to them, which leads the song into a brilliantly heavy feel that can have anyone moving and dancing. All in all Lemon Cordial by Laura Rose is a lovingly provocative EP of songs that with each one bring the listener into a new world, new feeling, and new understanding of where this song writer is coming from. Rose differentiates herself from the others and really stands out on this EP. Go out and take a listen. I know you’ll dig it!
Cory Cooper is a pop artist who now resides in California but began his musical journey in MIssouri. He released a single entitled “Me In My Dreams” which is a certified ballad with an ’80s vibe. The recording is top notch and there is no better way to describe it than FM radio ready and commercially accessible.
He follows the tropes and criteria we have heard before that sound similar to music on shows like American Idol and The Voice. His music is easy to figure out and if you haven't heard the similarities to the most ubiquitous of styles then you have been hiding under a rock. Cooper’s other material is mostly straightforward 4/4 dance pop music. Songs like “It’s So Natural” and “Everything That I Want To Be” are optimistic club thumpers that would sound perfect in an LA hot spot. My favorite track I found was “I Will Die When You Go” which sounded a bit like Duran Duran during the verse. Cooper seems to be taking on a new direction with “Me In My Dreams.” I’m not sure of what to expect in the future but it could be more ballad based with an emphasis on the vocals. It doesn't take a whole lot of guess work to figure out if Cooper is your thing or not. He has a distinct sound that will unequivocally not fit in the underground but thrives in the mainstream arena. I promise you it will take all but a couple of minutes to figure out if this is a pass or not. One thing I can say about Cooper is that his video for “Me In My Dreams” has high production value. The other thing is that it reminds me of ballad videos from the ’80s like Meatloaf. He sings into the sunset and plays a piano while it's burning. Cooper is unapologetically doing the music he loves which will appeal to the most broad of demographics.
Brandon Goode is a songwriter and musician from Cullman, Alabama. Soft Serve: Volume 1 is his first attempt at making an album. All songs were written, performed, recorded and mixed by Goode in his garage. There’s definitely a raw quality to the music, but it’s well recorded and produced for a beginner working in the garage. Goode is a man who loves all kinds of music and wants to put his own stamp on his own pocket of the scene. Like many DIY musicians, Goode realized that if his idols could do it then there was no reason he couldn’t do it too.
Soft Serve: Volume 1 is a five-track EP which opens with the song “Can’t Help It.” “I can’t help it, you know / I can’t help it, you know” Goode repeats endlessly in the chorus of this song. He doesn’t tease us with a dull, growing opener; he bursts straight in with the old-school indie rock chord progression, the crashing drums and the piercing lead guitar squeals that are so intricately intertwined with the genre. “Settle Down is another highlight. “People never change / People never change / Blame it on your mother” Goode sings in a melodic, low, warbling voice that’s reminiscent of the tone from old indie classic bands such as The Editors. It takes me back, but it throws something new into the genre too. There’s a definite immediate and clean quality to the music; again, I think that’s due to the really decent production. There wasn’t a lot to separate this song from the opener. If diversity is what I wanted then I certainly got it with the third track entitled “Hot and Heavy.” It’s a much slower track, but it’s driven by a bass rhythm and power chords chugging in and out of view. Yet, at the same time, Goode retains the indie rock vibe in both the tone of his voice and the tone of his guitar itself. There’s a nice vocal melody behind it all, and the reverberating, bending notes of the lead guitar add a certain edge to the music. There’s a little variety here, and it’s hard to achieve that in the indie rock genre - it’s often quite formulaic, but Goode has enough instrumental and vocal talent to push the boundaries of what he’s doing with these songs. “Oh Sean” opens with a clean riff and a slowly throbbing beat, but this soon explodes into gritty, distorted electric power chords and Goode’s most passionate vocals on the entire album. There’s a real energy and fire to his voice that reminds me of the style of early material from The Killers. Still, Goode puts his own stamp on the style; his voice is distinctive at this point. It’s only his first EP, after all, and I have hope that he’ll push even further to find a unique, individual sound in future releases. The half-melted ice cream on the album cover of this EP says it all, really. It’s bittersweet. There’s something all so delicious and appealing about it, but there’s a bitter taste to the lyrics. I really like that contrast. There are uplifting moments and downtrodden moments merged smoothly into the same songs. Above all else, there’s something simultaneously nostalgic and new about the sound of this release. It’s the indie rock of the noughties mixed with some new-rock flavour of the modern age.
According to the artist behind the solo project Parade Music the project serves as a challenge to see how much music a person with no innate understanding of the recording process can release. Collaborating with musicians across Melbourne, Australia’s indie rock landscape, Parade Music will be releasing new sounds every week potentially forever.
Just by looking at the Bandcamp page it doesn’t seem like the artist is releasing music every week to my knowledge. I also don’t understand the purpose of the challenge for a number of reasons like over-saturating your fan base and simply rushing every song you can conceive. His first release Mime Erotica plays like it took longer than a week to write, record, mix and release. If that is indeed the case I’d be way more interested to see what he could come up with no time constraints. The songwriting is good, the production is solid and I enjoyed what I heard. My one suggestion is to have the songs mastered or at the very least slap a limiter on there to make it louder. Up first is “Syrup.” I was attracted to the vocals immediately and was reminded of Ben Gibbard. He has a similar childlike solace in his voice. You will know what I’m talking about when you hear it. The music is somewhere between Pavement-esque indie rock and pop rock. I liked the first track but “Shipwreck” was more up my alley. The vocal melody is infectious and the distorted guitars sound great. Perhaps the best moments are towards the epic instrumental ending. Up next is “Coffee Cup” which has shades of Conor Oberst while “The Moment After” is a clear highlight with hard hitting drums and a surplus of energy. The other track you won't want to miss is “Fumes” but the melancholy closer “Sleepy Time” is emotionally resonant. I thought there was a lot to appreciate on Mime Erotica. I’m interested to see where he takes this project in the future.
Greg Dale is an artist from San Francisco who recently released a solo album entitled Winter's Ghost. Dale is no rookie to making music. He has played in groups like The Night Falls and Gary Floyd and the Buddha Brothers to name a few.
Winter's Ghost is an album to appreciate from many reasons but I felt Dale was as his strongest when the songs were covered in melancholy. Take for instance the heartfelt and emotionally resonant “New Morning.” The L.A. Noir vibe mixed with Pink Floyd is a great concoction. Even better may be “Rodeo” where Dale’s vocals really shine. He has a gritty, scratchy voice which at times has a resemblance to Bruce Springsteen. Finally, “White Factory Noise” is a slow moving, emotive tearjerker that gets into pretty epic territory. Don’t miss the ending to this track. Dale can be unpredictable. The beginning of “Visitor” has a wonderful jazzy intro that seamlessly transitions into a riff that sounds more like rock/pop. As the song progresses it can be quite frantic and almost tribal with percussion and ghostly vocal harmonies. The song flirts with topics like aliens and existential questions. He sings, “way {from} way out in the stars come the visitors what do they see chaos and beauty have they been here all along (letting us do what we do).” He closes with “Water Bearer.” Dale’s vocal performance is expressive and dynamic on this track. On top of that his lyrics are poetic and poignant. He sings, “I feel the wind of the past blow through the hollows of this empty crevice see a change need to come we are tearing at the seams Of a world undone.” Winter's Ghost is a dynamic album. The energy is up and down which made it a pleasure to listen to in sequential order. Dale’s experience shows on this album and makes for an example of how multi-dimensional a solo album can sound. Recommended.
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Anthony Lee Phillips is a singer/songwriter based in Seattle. His EP Between Doubles consists of thirteen songs with varying influences. His sound could be put in the indie rock category, yet it touches on styles ranging from folk to jazz. Each track has its own sound and vibe with intense descriptive lyrics and unique arrangements.
The album started with “Bluejay” which was a surprisingly pretty, soft melodic track with a similar aura to The Beatles “Blackbird.” Phillips’ voice is gentle yet dimensional and weaves and dips in the same way as the intricate melodies of his guitar. The song was poetic and artistic and I enjoyed it immensely. The next track “Mr. Blithe” went in a completely different direction. It had more of an indie vibe with a cool stylistic quality that reminded me of Violent Femmes mixed with Ben Folds Five with the lyrical quality of Deathcab for Cutie. I loved the key and tempo that changed as well as the funky bass solo. “Morning Breaks” had the same hip vibe with more of a jazzy style. The amount of lyrics Phillips squeezes into a verse without sounding excessive is impressive. “What’s Coming to You” was upbeat with a darker, almost sinister vibe. Phillips’ vocal range is showcased in this track and there’s no denying the talent in his voice. I also liked the rock guitar and overall aggressive vibe. “Fade” had more of a pop feel and reminded me of Jason Miraz with its clever lyrics and swaying beat. The lyrics “just apples with the worms in, half eaten from our thin skins” were fun and original. The following song “Reasons” was slower with more acoustic guitar. “Rock on, Little Danger” was probably my least favorite track on the album. The lyrics came off as too much and the choir at the end was loud and didn’t blend well with the instrumental backing; it just sounded off. The intent was there, but it just felt like it missed the mark. The following song “Lonewolf” left a similar taste in my mouth but Phillips redeemed himself (for me anyway) with “Strawberry Muse” which was poetic without being showy. “Colors” had a unique arrangement with intricate melodies. It’s this very thing, though, that I think can come off as a little too much in some of the tracks. It sometimes crosses the line from being accessible to confusing; bordering on pretentious. But the complexity still remains impressive. “Watercolor Halo” brightened my attitude quite a bit. I enjoyed the upbeat sound and horns mixed with the emotional lyrics. “Wax & Wane” had a cool rock eclectic feel, although it came off as a little odd. For me, the final track “Can’t Get Enough” was a breakthrough. It felt intimate and raw. The facade that I felt from some of the previous tracks was gone, and the song came through as real and honest. The lyrics were clear yet poetic without feeling showy and the accompaniment was complementing without being distracting. It was a perfect ending track. Between Doubles is an impressive EP. Phillips has a knack for songwriting and his arrangements are in a class of their own. Although a few songs missed the mark a bit for me, I’m still able to recognize the immense talent he possesses. When his authenticity shines through, it really is something special. I’m excited to see the evolution of his sound and will keep my eye on this one for sure.
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