Galen Clark is a singer/songwriter as well as a producer and audio engineer. For over fifteen years he has been playing a wide variety of different styles of music since the age of ten. After graduating from the Shenandoah Conservatory in Winchester, Virginia in May of 2017, Galen did what many like-minded musicians do which is move to Brooklyn. Once there he wrote and recorded a three-song electronic EP called Amnesia using the moniker Wallace.
Clark’s debut record under his own name and recorded in the more usual singer/songwriter vein of acoustic guitar and vocals is called Providence. Many of its thirteen tracks include a list of guest stars who either recorded with him or recorded their tracks remotely. These fellows include, drummer Michael Hagen, pianist Natalie Ahearn, bassist Tyler Altstatt, banjoist Terence Blum-Marciano and Michael Mason on drums and samples. Some of the songs on Providence were written as far back as 2013 and others came to Clark in a rush of inspiration after he had graduated and moved on. The opening track “Giants Causeway” is spritely acoustic guitar and uppity drum beats that falls into that vein of singer/songwriter café style songwriting but with a little bit more oomph behind it, as far as orchestration goes. He gets a little bit more of this on the story-telling “Easton Opal” which reminded me of Red House Painters’ early work. When Clark wants to he can draw you in and give you a few lessons on how a song works, shows you its moving parts and he knows when to hit and when to hold so to speak. These elements of his song craft are strongest on songs like “Poet and Prose” and on the slightly eerie “Providence” which has some pretty well finger picked guitar parts that help the song stand out from just another emotive retrospective of conjugal heartbreaks past. Looking past some of the more predictable singer/songwriter moments, at the heart of Providence is a genuine talent that will emerge after he has grown past old influences.
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Arrowleaf is an indie-pop quartet from Missoula, Montana that features the singing and songwriting of Sarah Marker and is rounded out by drummer Jon Filkins, guitarist Jim Frazer and bassist Brady Schwertfeger. The band originated back in 2016 as a way to fill an opening slot during a show for Marker and Filkin’s other project called Mendelssohn. Now after two years of hard work Arrowleaf has just released their debut EP not myself, but no one else.
The three songs on not myself, but no one else, are very lush musically with whimsical melodies that include droning guitars, subdued drums and searing blares of trumpet, over all of which Marker’s sweet but biting vocals ring out to tell her stories. And these stories, as Marker explained are not happy ones, despite the fact she has a generally happy disposition, she found herself writing these songs in a darker mood than she had for previous projects. However not myself, but no one else doesn’t come across as a sad or dear diary type of record. The universal truths which Marker writes about, are sung sweetly and rendered through metaphors which are crisp and gives the listener a sense of the tragedies taking place. But behind it the music is so elegantly cosmic and easy to get along with and that really speaks to the band’s ability to contrast their subject matter with their melodies, which seems simple enough but so often seems to be the detriment of many artists who are trying to pull off the same effects. The opening track “Waiting” is at once inviting with its surf-style guitar riffs and its quick-paced drumming and mellow keyboards. As Marker sings, “Where have you gone? / I lost you somewhere down the road/ And in this shell you fill you are a visitor /And I'm waiting for you to come home.” She is speaking not to us but to this missing person. The feeling this creates within the song gives the song its power. Next comes “Knot” which has to it a slight tinge of alt country in its DNA and also some upbeat jangle pop, but again as we listen to the portrait which Marker paints, we realize that the music is the only bright and sunny thing about this song, as Marker notes, “Sometimes I feel like a knot that needs untangling / Sometimes I feel unrecognized.” The record closes with the whimsical doom of the drone rocker “Rock Bottom” the saddest but best song on the EP. Though only three songs long not myself, but no one else shows a lot of potential. I would say stick to the more shoegazer guitar sounds, and use “Rock Bottom” as a stepping stone and don’t look back.
Daviesteelman is the project for David Mudie. He recently released Where It All Began, a five- song EP, which has songs that span a twenty-year period. I have been doing this long enough to know when the artist says that the songs more often than not feel very separate. Even if there are great songs there is usually a gap in the cohesive quality that happens because the artists influences change, they get older, etc.
Although Mudie didn’t go too far into left field there did seem to be two specific areas he was exploring. The first one being prog rock from the ’70s and ’80s. There were certain songs and parts which brought up bands like Rush, Journey and Joe Satriani. The other half to this equation is the ethereal, cerebral qualities of bands like Pink Floyd which is the more predominant. He opens with “Slab” which seems influenced by early to mid ’80s instrumental lead guitar music. It's a little more Van Halen and Joe Satriani than Pink Floyd but if you listen closely you can already tell the overlap is beginning to happen. There are notable shifts in energy and tone on “Triplets.” The song embraces organ and feeds into the gothic sound that Meatloaf once attempted. I wasn’t crazy about the tones and textures of the instrumentation which veered towards basic midi sounds you heard all over in the place in the ’80s. The one element I really enjoyed was the vocals. Mudie has an attractive voice and a distinct English accent. Does the song justify its eleven-minute time frame? It’s arguable but could have worked multiple ways for me. There are some instrumentals sections which were solid and interesting but Mudie could also cut this down to a three- or four-minute pop song which would work as well. “Rush Of Kings” is very serene and tranquil and really starts to dig deep into an undeniable Pink Floyd type of vibe from the lyrics to the instrumentation. I again really enjoyed the vocals. “Shadow Street Shuffle” is a tad more funky and festive. “Grey Rocks” feels worlds away from where we started the EP. The song is extremely tranquil and serene to the point where the music itself could be considered new age. The other artist that came to mid was Brian Eno because of the ambient qualities to the song. I think the vocals were the winning factor for me here. I’m not normally a fan of spoken word sections but Mudie’s English accent lets him get away with it. The songs were really well written and I think Mudie is a gifted vocalist and instrumentalist. Fans of the aforementioned genres should take a listen
With a name like Auditory Implant I think it’s pretty obvious you will be greeted with hard rock Josh Hunt (vocals/guitar), Andrew Lariviere (guitar), Andy Hunt (bass) and Matt Johnson (drums) are the members of the band that released one. The band has a lot in common with Soundgarden and Audioslave as well as a number of like-minded bands that jumped on a similar strain a couple of years back.
The songs are pretty straightforward hard rock. There weren’t any twists and turns that threw me for a loop. They stick to a lot of tried and true hard rock 101 type moves that have been in the playbook for bands in this genre. The EP is cohesive and builds off a clear foundation that shouldn’t confuse anyone. They get going with “Falling Faster.” It’s a hard hitting song with distorted minor and major chords, explosive drums and a steady bass. Up next is “Leave It Up To You” which was a nice, well delivered follow up because it wasn’t as heavy and it feeds into a different set of dynamics. The song has an overt ’90s feel. “Slide” could have been a Soundgarden B-side to my ears. Hunt sounds somewhat similar to Cornell here. “If I Only Knew” was the most dynamic song. This was also Hunt’s best and most unique vocal performance. To my ears the song felt a little more natural and comfortable for him. It seemed to really work with his vocal range. I encourage him to continue to explore this style of singing. The songs are well written and delivered but they weren’t so distinct to where I really felt like I had a clear grasp on their signature sound. They fell into the hard rock camp but the details and nuances that would make them recognizable amongst similar bands was harder to recognize. My one piece of advice would be to veer against the Soundgarden/Audioslave tendencies. I couldn't help when listening to these songs but think of the late Chris Cornell who is arguably the best hard rock singer to ever live. My point is no hard rock singer really wants to be on competitive ground with this once in a century type singer. Overall, I think the band has all the necessary elements to be a successful hard rock band and I think there is a large demo that will love what they offer. I have feeling we will be hearing more from them soon and wish them luck in their evolution.
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Cam Be is a multi-dimensional artist. He is a prolific photographer, film director and musician and doesn't dabble in any of these pursuits. A couple of years back has was recognized with an Emmy award for his work in film and recently displayed some of his photographs in Chicago. 7 Steps to 7 is his first solo album and melds soul, funk, hip-hop and jazz. He went all out working with a large array of musicians who bring their talent to the album.
The album opens with “7” which splices together vintage electric piano, vocal harmonies and a deep cutting drum beat into a smooth sounding groove. The flow is great but so is the hook. It’s jazzy with a dab of A Tribe Called Quest. I was on board after the first track. “ldust” is slightly off-kilter, dissonant and throws you into a dreamlike psychedelic haze. The drums and lead vocals keep the song from floating away. “Miracles” contains a smooth, jazzy ’70s flavor while “VII” felt like the best beatnik poetry reading you have ever heard. The mood is festive and fun on “4days” but above all else extremely chill. There is wicked jazz on “Possibilities.” The way the vocals come in and and out of the mix is psychedelic and dreamlike. A female vocal arises out of nowhere and blends with a lead and then another vocal takes over. I really liked the inventive arrangement and structure on this song. “Guns & Police” is arguably the grooviest song on the album. It’s instrumental with no lead vocals. The vocals that do make themselves known are in the background like ghosts. “Seven” closes the album which is a smooth and extremely serene and tranquil song. 7 Steps to 7 excels at unique transitions with fading techniques. It really gives the whole album a dream like ephemeral quality that is highly original and unifies the album. The beautifully captured and produced elements don’t hurt in making it one of the best albums I have heard this year. Spread the word. Highly recommended. The intriguing and undoubtedly talented Grant Mower is bringing a new pop sound to the masses from New York with his new album I'm Trying Not To Think About It. This is a powerful album that speaks to serious themes such as abuse, mental turmoil and even aimlessness. However all of themes are dipped in a tasteful coating of glamour with this luxe dream pop sound. Despite the issues involved, and the overall somber tone, this album still comes off as a victory lap. I'm willing to guess that this album was heavily cathartic for Mower and in turn, it became cathartic for me as well. This album made a very good, long lasting impression on me. When it comes to lyrics and vocal talent, Mower's cup is overflowing. As a vocalist he comes off like someone who has formal training and education. His style is one that is more traditional and classical. He takes his time with every note, you can hear him using all of his muscles with proper form. To be where he is as a vocalist requires discipline and patience and it has all paid off. As a lyricist he is pure emotion and passion. He is speaking from a very real and personal place. His words make him very vulnerable and he does so with absolutely no fear which makes these performances so inspiring. Musically this album works against the traditional grain of what Mover's voice is doing, but hey, it works like a charm. The music is very unexpected at times. Every song managed to have something hiding in it that surprised me. There were lots of moments where he almost went for a modern take on the baroque period of music. It's prim and proper, even a little stuffy but it helps illustrate the confinement and isolation of abuse and being misunderstood. I have never heard such a take on these matters presented this way. I respect it very deeply. I now understand the "Grandeur" aspect of Grant & Grandeur. Now this album to me sounds utterly fantastic. I was willing to bet money this was a pro studio job. However I LOVE to be proven wrong when it comes to this subject and boom, Mower delivered. This album was a one man job by Mover himself out of his apartment in the East Village. The whole album was recorded using an apogee duet interface and AKGC414. Next he took to his Mac laptop and broke out the Logic Pro X to mix and master. This is why I love technology. Even more so, this is why I admire artists who are ready and willing to go beyond the performance and engineer their own sound. This album is for anyone who has struggled or is struggling. Honestly who can't think of a current struggle at the moment? I want to thank Mr. Mower for being brave and unwavering in his vision for his work. Somehow Mower took his own personal darkness and made it into an accessible and ultimately feel good album
The three members of Kinky Lumsden comprised of John Heffernan, Geraint Evans and Richard Harvey got together in 2017 and recently released Lumsdenista!. They are a band that has a slightly dark post-punk feel to their music in the spirit of a band like Joy Division. That being said they go into fairly closely related genres that all make sense piled on top of each other.
The EP opens “Simian Shake” and I could practically see Ian Curtis dancing in his own unique way to this song. It’s a simple song and deceptively catchy. The lyrics were a little hard to understand but I found myself laughing at how many times he repeats “monkeys dancing.” I suppose that visual came into my mind and well the humor is self evident isn’t it? Up next is “Later Train” which is just as much early Nirvana as it is post-punk. The hooks on this song however had a little more in common with a band like The Sex Pistols. “Violence is Golden” is jangly garage via a band like The Strokes while “Meat Bingo” felt maybe a bit too purposely sloppy for me at times but the hook might be the most infectious on the EP. “Roller Disco” is a little more smooth and funky. In fact I wasn’t expecting this much funk. It’s like a David Bowie funk not a Red Hot Chili Peppers funk. The close with the dreamy and ethereal “Lumsdenista!.” Kinky Lumsden has a couple of hallmarks of a new band in the embryonic stage of their development. The main factor being that they jump to different styles in the songs rather than building off a core foundation. It can take years for a band to develop a signature sound but I don’t think Kinky Lumsden is quite there at this point. That being said the songs are well written and I appreciated the hooks throughout the album. I think this band has a lot of potential and this is was a solid start. I’m looking forward to hearing more from them.
It only took six songs for The Bleachés to seduce me with their beachy alt rock album Easter Island. This isn't your typical surfy alt sound. While yes I can hear the ocean waves and the sand beneath my feet, I also get the sense I'm not beach bound for fun in the sun. Easter Island makes me think of the beach at sunset when the kids go home and the troublemakers come to the water to indulge in all their vices.
I ended up projecting my own uses for the beach when I was a teenager onto this album. Endless cigarettes being smoked, passing around bottles of the cheapest alcohol we could scrounge up. All of so happy to be anywhere but school. The temptation to skinny dip ever looming. This is the sort of jaded youthfulness I picked up while listening to this album and I really enjoyed it. Everything about this album is moody and subdued. The guitar riffs from Adam Hutchinson are rough and ragged, but never overwhelming or unruly. You've got James McGraw on drums and percussion pulling out fun little tricks to keep one guessing just exactly what era this music is from. Someone is clearly well educated in some of the best drummers from the late sixties. Either that or someone is reincarnated. Josh Yeung brings both the good vibes and wickedness with the bass. Last on my mention list, but by no means the least is the incredible Chloé Sancho who provides guitar but also utterly awesome vocals. Her voice is EVERYTHING for me on this album. She is breathy, seductive but also completely inaccessible. She is elsewhere, perhaps on the other side of the universe among other fantastical beings we cannot fathom. There is a monotone nature to her vocal styling that just makes her too cool for school, I adore her! Right off the bat you get that beach feel with the first song which is "Balsa Boogie" and is complemented at the beginning with sample sounds one would easily identify to be sea shore. This song also comes with the endearing vintage sound of the organ and groovy bass line fit for waxing your board to. The songs reside pretty much the same vein as one another. Sometimes they step out a bit from their comfort zone to talk a walk on the very mellow indie side like they did with "Dive." This is such a sharp and cool album. Who could resist?
Flat Earth Astronauts is the solo project for Dave Swann. Swann got some help along the way from Leo Benjamin, Patrick Cootes and Dave O'Brien when creating his debut album entitled Infiltrate. Swann considers Infiltrate a prog rock album which blends elements of ’70s prog, ’70s heavy rock, jazz fusion, electronica and funk.
The album gets going with “Identity Theft” and is indicative of the type of meaty songs you can expect going forward. Right off the bat the technical abilities are apparent in the drum, guitar and bass work. The song moves and doesn't stay on one part very long. It’s funky, smooth and contains a somewhat ominous sounding breakdown. Next up is “No One Knows” which contains a good amount of hard rock attitude with the technical prowess of prog. It’s also a catchy song with memorable vocal melodies. Next up is “Faraday Cage” which reminded me a little of a folky, alternative song from the ’90s. That being said the song slightly mutates into something funky at points. I definitely had a little sense of Rage Against the Machine on “System of Control” with the opening riffs. Similar to the other songs it goes off in very different directions. It’s an incredibly dynamic song with a soft, angelic breakdown and crushing crescendos. “The Skip Tracer” and “900 Seconds” should not be overlooked but it’s the eleven-plus-minute epic song “Dead Planets” that may be their finest moment. Infiltrate is the what you might call a musician's album. There are a lot of things happening that someone uneducated in music theory might not catch. I was able to appreciate the band's ability to switch BPM, the time signature and more as I listened to the songs. On that note even if you aren’t a musician there is a ton to get lost in. Take a listen.
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In less than a year, an original rock/grunge band from Nottingham, UK called Sift has gone onto play several venues around the UK and released their first EP in May under the same name. Consisting of vocalist Liam Coleman, guitarist Ellis Hale, bassist Ken Scott and drummer Jason James, this group’s very short EP comes complete with heavy and deep guitar riffs, unique rhythms and crisp, clean timing.
The opener “You Don’t Know It” caught me off guard for the direction the instruments were taking. The drums have one beat as the guitar seem to be going in another direction, but Hale’s guitar and James’ drumming worked very well together. The art of keeping time, especially between a guitarist and a drummer can be a hard thing to pull off for a new band – and I can say this in all honesty, because I’ve been there. So I give these guys props for being gutsy! “Restart Everything” has some really good ‘inside the pocket’ stuff between the drumming and bassist Ken Scott – another solid song. “When Did Things Change” is the EP’s slower song and features tragic love story lyrics with solid vocal harmonies. It has all the makings of a good rock love ballad. “Clear Mirror” picks things up with a faster beat and razor edged guitar riffs, which I thought were quite catchy. Things got really good after two minutes in as James’ drum beat breaks a groove and Hale’s guitar solo builds up with it’s own style and creativity. Overall, Sift has put out a solid first effort with some really unique twists and turns. My only complaint, perhaps, would be for Liam Coleman’s vocals to come out a bit more on some parts of the songs. Maybe it’s just a mixing thing that can be done post-recording – but anyway, for what it’s worth – looking forward to what’s next for this young band.
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May 2024
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