Noah Evan Wilson is a singer/songwriter who just released Desert Cities - Part One. I’m not sure how many parts are going to be in this series of releases but this EP contains four songs. The music fits neatly into the singer/songwriter genre. This genre seems to embrace warmth, nostalgia, melancholy and hope which is exactly the emotions I was feeling when listening to this release.
The EP opens with “Hold Out Thirst” which begins with some warm acoustic guitar and vocals. There is a harmonica that quickly comes into the mix and the lyrics quickly bring up nostalgia and recalling memories of lost love that formed. It’s a sweet and tender love song. The instrumentation sounds exceptional on this song. Up next is “Lost In Seoul” which very much reminded me of the feeling I get when listening to Mumford & Sons. The song builds with banjo and other warm strings and at around the halfway point that sort of cathartic, hopeful vibe that people are drawn to emerges. That being said the song is more like a roller coaster with the dynamics rather than just going uphill. “Brooklyn” showcases some different textures. It’s still very warm but it seems like an electric lead guitar is at work. It’s a little funky in maybe an '80s Paul Simon type of way. There really aren’t many lyrics to the song which is mostly about life in Brooklyn. Last up is “Coming Home” which definitely feels like the redemption song. The song sounds a lot like the title. This song in particular reminded me of the country flavor Bright Eyes had with their release I'm Wide Awake, It's Morning. The song ends with a bright and warm wave. This definitely seemed to be an auto-biographical outline of his experiences. If it wasn’t I sure was getting the impression that these were real moments in his life. Life itself as we experience isn’t always a long, warm journey (sometimes it can be) as most of us know from just being it in but the feeling you get when reflecting on the past can be contingent depending on what lens you are viewing it through. The feeling I got with these songs is that Wilson has a lot of gratitude for the people he has met and the places he has seen and that’s why I surmise the songs feel tender, hopeful and warm
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Steven Bowers is one of those indie folk acts that builds big sweeping moods. His work can take a moment or a seemingly innocent encounter and expand it ten fold. He's an explorer of emotion and introspection. He is very good at manipulating time by slowing it down and examining all the consequences of human interaction. Whether these moments are sad, anxiety ridden or joyful, he manages to paint a beautiful musical picture. His album Elk Island Park is intense and expansive, stuff made for the silver screen.
While he resides on the folk end of the spectrum the amount of layering applied here is much more than the average folk bear. I feel too often folk is associated with acoustic instruments and bare bones production. Bowers' take is very lavish and full and in no way is any of that folk charm lost. This album is ambitious on the production side and the result is something modern while still timeless. The assembly of this album is rather complex. Some of it was done in homes and some in studios. Over the four years it took to create this album, the songs have been through many hands. What I love is how cohesive and solid of a foundation this album has despite all of that. The wonders of modern day recording never cease to amaze me. The music rests comfortably on delicate and endearing melodic veins that take deep root in the songs. Melodies designed to tug on the heart strings and reset the pace of your nervous system. It is engulfing the way he creates such, cinematic moments, and with any instrument of his choosing. Sometimes it's the strings, sometimes it's the vocal harmonies he builds and sometimes it’s even the percussion. He is very creative in his efforts to create an atmosphere and it is commendable. Most of the eleven tracks follow a similar, low impact tempo and so it was key that he break these songs apart with distinctive features. The lyrics are very thoughtful and vulnerable. At times there were a few misses for me. I think his narratives are so thick that sometimes they get away from him. For the most part though, the words are very enjoyable and sweet. The words are what create that time shifting effect more than anything. As I have said, he will dive into the tiniest encounter and dissect it ever so carefully. It's an interesting songwriting tick that gives him a unique voice in the crowd. Elk Island Park is beautiful in that it is complex where you least expect it and simple to digest. The appeal for this album I imagine is quite wide. I could see this being a big commercial phenomenon. I imagine all the layers and Bowers' lovely voice would be something many would pay for, myself included. Bowers was very thorough in his craft with this album and I believe he has made something high end and note worthy. Give it a listen when you have time to yourself.
Cristin Heart (vocals/guitar) and Yash Srivastava (vocals/cello) are Sepals. I was excited just by reading that I was getting guitar, cello and vocals. The sounds I heard on their self-titled EP Sepals however were not what I expected. Their music is very down tempo atmospheric shoegaze/electronic.
I really loved some of the soundscapes on this EP. There is a wide array of textures and tones they experiment with. The band gets going with “Something Else” and you are greeted with a warbly synth, a solid beat and bright drone guitars. I had a very hard time understanding the monotone vocals that never felt like a focal point which was fine especially with the shoegaze vibe. It’s almost like he was whispering or just really depressed on a “I can’t get out of bed” type of way. The music does pick up quite a bit and controls the mood of the song. Towards the end it sounds a bit like the Junior Boys and The Postal Service. Up next is “Smudge” which is much more shoegaze and sounded more influenced by a group like My Bloody Valentine. The 90's style guitars are a big factor here with some minor dissonance while the reverb laced drums create a strong foundation. I could barely make out the vocals at all here at points when the music was at it's loudest. I realized this sort of standard shoegaze aesthetic worked well when the music was softer. The vocal delivery is again very monotone, dramatic and barely above a whisper. It fits the mood but I would have liked just a little more dynamics at points but in terms of octaves and emotion. That being said this song was all about the mood. “Chiasmus (I Am Your Projection)” is up next and begins with light synths and the same vocal delivery we have heard in the previous songs. It’s the music that brings the energy to the song and once things get going with the off kilter beat I was into the groove. I loved some of the mild dissonance and even Aphex Twin type beats although this would be something you would hear on his ambient albums. The band closes with “Sympathy” which is the highlight and escapes from the darker depths they were exploring. The vocals which are sung by the other member fit the mood perfectly and I actually wanted to hear more singing on this track. It was a great track to end on and a vibe I hope they explore more of. The recording quality is solid for a home recording DIY project. That being said this is yet another case where working with an engineer or at least a professional mastering engineer could give it that extra ten to fifteen percent. I have high hopes for Sepals. Overall, I think this is a great start and fans of ambient, shoegaze and electronic music will want to check this out and keep your ears peeled for their debut album. Take a listen.
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If you enjoy blood-curdling chords, engaging storytelling, and instrumentation as characterization you will enjoy Jay Vilnai's Thorns All Over album. Walking through a collection of oddities, a little macabre, and a dark whimsy paints this album and I love it.
Jay Vilnai's style of music combines Chicago blues, mixtures of jazz styles and Balkan folk music. We open to "The Lake" and "Woman or a Gun," both full of music delights and horrors of lyrics, "I never met a woman or a gun I did not like." Leaves you with the visual of the murderous dark smile of a murderer. And "I took her to the lake." Well, we all know what happened after that. Piano and guitar play disparate but aligned parts on "The Lake". The tension has been this creepy since Scott Walker released The Drift. This album is a fantastic listening party album to discuss the lyrics, the avante-garde/pop/off the edge style that is experimented throughout. Washed-out guitars, mangled percussion, out-of-tune pianos and disembodied vocals capture the essence of both victims and perpetrators throughout the album. Sometimes even not being able to tell who is who on the edge of madness. "The Forest" explores more striking piano notes which often sound like shards of breaking glass. You do get the feeling you are walking through a dark, enchanted forest. "The Night We Met" is the last song on the album, and it may be my favorite because it captures a bit of everything in the album without the intensity. Yet it is a remembrance of the beginning of when that devilish murderous thought was first planted. "Do you remember when my hands were on your throat?" This album is a macabre storytelling feast for those with an appreciation for the little bit odd.
Thomas King is a twenty-one-year-old musician from Australia. He also is an illustrator, clothes maker, student and tutor. I have to admit I'm a little jealous that he’s so multi-faceted. I’m almost twice his age and I can’t say I’m that many things about myself. King’s debut album is titled My Love Rides Down Upon You. He says this about the album, “imagine the score to a tragic gay romance film set in a futuristic medieval renaissance.”
The music for me was always riding the line between taking itself too seriously or maybe not enough. I think that’s actually a good line to dance upon when done well like it is here. Some of my favorite artists like Perfume Genius and Of Montreal do that brilliantly. On that note King has similarities to both of those artists. The first song that really got my attention was “Shed My Skin.” He’s right about the medieval vibe. It sounds like a synthetic harpsichord. It has a bit of a video game feel to it because the tones and textures don’t seem to be too much than sine waves with some reverb and atmosphere. On that note it never sounds cheesy. The aspect which made the music work was the exceptional vocals. King has a really good voice especially for what he is doing. It’s sort of sad, fragile and sometimes powerful. He is at best on songs like this where his vocal melody covers a number of different emotions. “Pretend I Don't Exist” was another highlight. It’s atmospheric but has a great groove. The vocals again are very well done. There are some experimental pieces as well such as “Hole in the Hull” which has some really inventivel sounding splices of the vocals. “My Love Rides Down Upon You” is very ambient and perhaps the most uplifting track when it's full bloom. “I Wish You the Best in the Future” was a closer that worked. It’s hopeful, nostalgic and memorable. King has some serious talent but even more importantly he carved out a foundation and signature sound with these songs. He is a young guy and I imagine this is just the beginning from him. I look forward to hearing more. Take a listen.
Talk about a tasty slice of Americana. I find being an American something to grapple with these days and yet, WALLSTREETWALKERS (love this name, will be on the hunt for t-shirt) has managed to give me a little hope. Their music speaks of honesty and resilience and is American as hell in the best sense. First up is "South Of Houston." This song made such a warm and fuzzy introduction as well as a time hop. Sure, you can feel the raw energy ’70s stage rock washing over you. The lyrics and vocals are superb, the epic building and the calculated guitar solos. There's also the fabulous piano work in here. I could go on for days. It may not seem like it, but I can tell there was serious thought put into the structure or more so to the movement of this track. It's a great opener and set the bar VERY high. Taking it down a notch to a somber and swaying level, the next track is "The Devil Ain't Here." It's here that vocalist Kenneth Ian really flexes those golden pipes. Good lord that voice is swoon worthy. Again, excellent words, also credited to Ian. This particular song really felt like a level to the blues genre. It wouldn't surprise me to know Ian and myself had VERY similar tastes in blues artists. By track three we are now picking up the tempo with the foot-tapping tune of "Busted Up & Broken Down." This is a catchy one and had me smiling almost immediately. Good lord the keys and bass on here are simply wicked. It felt good. Don't get me started on the organ and sax on here, it's just too good. "Does Everybody Feel This Way" might be my favorite track on the album due to its more modern flavor. Same instruments but a fresh take that doesn't walk the beaten path. They found the here and now vein of rock music and tuned to their aesthetic. If there was one note I had for this album it would be to find more of this modern edge. Ending on a very strong Americana note is "I Know You." This one sticks very close to traditional formatting which the group is very good at, however, after "Does Everybody Feel This Way" I was already missing that more fusion sound. It's a lovely song, and still has fantastic lyrics and unfurls into a beautiful movement. I am in love with the fact that this down home Americana sound comes NYC. I have had an inkling to get back to the big apple for a while and a chance to catch these folks live might be the final straw. I think the most distinct feature for this group is their energy. Not to get all new-aged about it, but they have a vibe that is earnest and lacking in guile. What I'm trying to say with too many damn adjectives is, I like this album. Check it out.
The Graylings is a Los Angeles based alt country/alt rock quintet that released their debut Tell Me How It Ends this past April. The group was founded by Zachary and Bridget Galanis, a married couple who have been performing together as a folk-Americana duet since 2007. Zach and Bridget are joined by Jose Galvez on bass, Jon Rygiewicz on drums and percussion, and Derek Purdy on piano and keys. Their musical style is a “little bit-of country, a touch of rock and a pinch of baroque-folk.” The songwriting process for the band’s first release started with 150+ songs – wowsers! – written by Zach. Those songs were then “pruned through” by Bridget in search of the gems, either lyrically or melodically, or both. From there they edited down their hefty collection until ending up with 13 total. Jessica and David Catalan both make a wind instrument appearance midway through the album, Jessica on French horn and David on flute and clarinet, on “Orion’s Belt.”
“Come By Boat” starts things off really mellow and chill and I got the feeling that this LA band’s selling point is their vocal harmonies and the feel good folky vibes. Lyrically, this opener seems to be about some kind of rescue mission. “Flaming Tongues” finds Bridget on the lead vocals and more action by the piano – along with a melodic and warm electric. I did like the change in tempo in this one, it even gets more rocking during the solo and ending parts. “Hummingbird” features a fantastic drum rhythm and a certain spookiness that I liked. The band’s style reminds me of mesh of songs – Tom Waits off of “Orphans…”, an R.E.M. B-side and something from Arcade Fire’s The Suburbs. “Little Bird” feels more rustic and Americana, think Emmylou Harris and Gillian Welch, or Fleetwood Mac’s “Gold Dust Woman.” Another great song that gave me the chills. “Honey Bee” offers a rocking attitude and danceable beat. Lyrically, this one has a lot of metaphor. What I like best was the effect on the keys, a little quirkiness adds a lot. “Golden Line” mellows things out again with a slow-moving rhythm and cool and smooth vocal harmonies. “Orion’s Belt” features the aforementioned guest appearances, which for me was enjoyable – I always get a kick out of bands that add traditional orchestral instruments to modern music. The cello addition was very nice, too. I think lyrically, the band’s words are something we can all relate to. Perhaps the most humorous, tongue-in-cheek number on the album is “Slayer on Cassette” and yes, the band is referring to the metal band Slayer. Bridget sings about a girl who needs to forget about her life problems, so she head bangs and rages just a little and then gets “destroyed” in the pit. “Erasing Lines” sounds like newer country rock, but maybe more in a delivery style like Graham Parsons. “In the Night” is a slow, crooning love song – or at least I think so. I couldn’t quite make out the meaning behind “cover the streets,” “cover the houses where the families eat” or “cover the pictures we’ve yet to hang.” They are either referring to moving in to a new house or mourning the dead like they did in the Victorian era. I’ll spare you the history lesson. “Entertain Us” was indeed entertaining and offers a toe tapping beat, harder rocking guitars and a more keyboard presence. Interestingly, the “walking” jangly guitars, low floor drum beat and overall arrangement to the song reminded me of ‘90s R.E.M. The title track to the album features slide action on the guitar, piano and imaginative lyrics. My favorite words were – “I like to muse that we’re all drawn to / A unifying perspective / A pencil dot that consumes our world / Gives life / If we turn the canvas over.” The last tune “Glow Globe” finds two lovers imagining themselves above the earth atmosphere and looking for “Magellan’s path to the cities we want to live in.” The dreamers drift off to a world “small and sweet” as sweet as the harmonies sung and as beautiful as the hushed keys being played here. A nice, cozy way to end the group’s debut. Overall, The Graylings musical arrangements, melodies and harmonies along with their universal, charming lyrics should appeal to many listeners who enjoy an alt-country/alt rock style. Although the type of musical genre The Graylings play is not my first choice, I can appreciate top notch musicianship, chemistry and production – this band certainly has all three.
Luna is an artist from Northern Virginia who recently released i stayed inside again today. I reviewed some of his previous work which is under a different moniker. Before I even heard a note it seemed like this was going to be a very woe is me type of existential reflection from all the song titles. It’s definitely that to an extent but also much more. Sadness is ubiquitous and anyone can experience it any age. That being said with thirty eight years on this planet I think the age is a factor in how we experience negative emotions. The songs, lyrics and themes really seem to revolve on this relatively new type of existential dread that seems to be affecting teenagers and people in their 20’s. It is this void of emotion that seemed to have been opened from things like social media, and people feeling less connected because of the lack of an analog connection in reality. I might be off here but that was my interpretation of where this music was coming from.
Musically, I think this is the right direction for the artist. The vocal based and more contemporary feel is more aligned with his message than ever before. The album contains some heavy beats, emotional lyrics and catchy hooks. There are some moments on this album which felt very creative. The first song which was a highlight was “i'm trying.” It’s a song that weaves beauty, nostalgia and sadness. The auto vocals works very well here in fact it's an integral part of the song which amplifies the emotion. It reminded me of how Bon Iver uses the effect. Another highlight “we thrive in pain” was bright and atmospheric. The hook is infectious and I loved the pads he uses. I also really enjoyed the closer “you fell through my hands” which melds angelic vocal harmonies. One of the things I most appreciated when listening to an artist over a couple of years is seeing them develop. More often than not it’s for the better. That’s what you have here. I have to admit I eventually want to hear that album where the pain is transformed into joy but this is a very healthy step in the process. Recommended.
Dampé is a rock duo from Nashville, TN, consisting of Matt Everett and Tyler Simmons The team started working together as a pop punk band in 2016 but found their sound as Dampé once they began working on Hour of the Wolf. Being a duo creating full band songs means both men wear hats. The team would pass the guitar back and forth as they co-wrote they lyrics. They’ve been featured in a few music publications such as Vents Magazine and Kill The Music. In fact, Dampé was a semi-finalist for the Music City Songstar songwriting competition for a country song they wrote. Now the band released their self-recorded album Hour of the Wolf produced from the bedroom of a suburban home.
Hour of the Wolf starts off with “Helping Hand.” The beginning has a mellow guitar playing as the words are softly spoken, “Your helping hand caught me by surprise, don’t make promises you can’t keep. You stare is laced with disapproval. All you see is everything I’ll never be.” Then drums kick in transforming the song into a frantic rock tune. Dampé continues the fast pace energy with “Pick Your Poison.” It’s a much more aggressive track but the instrumentation is enjoyable to listen to, especially the breakdown at the end of the song. If you ever felt trapped in a relationship then you can relate to “Jailbreak.” It’s another track where Dampé showcases their vocals and songwriting. “If I’m never going to live without you, it’s time to stage a jailbreak. Cast off these chains around me along with all my fear and hate.” While “Jailbreak” is about breaking free from a disastrous relationship, “Words (That Don’t Mean A Thing)” is about hanging on to the memories. It’s a much calmer song compared to the rest of albums much more angrier tone as it stays mellow all the way through. Here the duo is able to show its more gentile side with heartbreaking opening lyrics, “I don’t know how I’ll ever sleep with perfume stains my pillowcase. Can’t help but think what a waste of a perfect night, perfect life.” Dampé brings back some punk as they wrap up the album with the titled track “Hour of the Wolf.” While “Hour of the Wolf” is the longest song on the album, Dampé pace themselves allowing the song to progress. It bounces back and forth for softer moments to in your face lyrics making this their strongest song. Hour of the Wolf is a pretty nice pop-punk album from Tennessee. The instrumentations are wonderfully well done as you listen to the smooth vocals. When describing Hour of the Wolf to us Dampé stated, “Sounds like Hands Like Houses met up with Pierce The Veil and went over to I The Mighty’s house where they all got drunk and played around with some blues and ’80s pop.” Now if that doesn’t get you excited for this album then nothing will!
Something about Aura Zorba's latest album Silver Dye really tickled my fancy. The first thing that struck me about this album is that the artist, Tyler Grates, describes themselves as a "Detroit artist based in Portland, Oregon. These are two very different environments in terms of...everything. Weather, region, economic status, music scene, to strong musical communities housed in one artist immediately had me curious. Somehow, this fascinating musical Grates has cultivated seems to reflect these opposing scenes so perfectly. Leave your expectations at the door. You are in Aura Zorba's house now and there will be none of that.
Where to begin? I mean seriously, what do we have here?! It's a little poppy, a little rocky, a little trippy - all I know is it's fabulous. It's fuzzy, gritty, dangerous, bizarre. I could whip out these adjectives all day but the truth is it's easier than trying to jam this album into one genre hole. Honestly I think trying to do so would do the music and the artist a disservice. I'd say its soul rests in the electronic arena, but that's not to say there isn't a beating heart here. There is a worldly vein that pumps warmth throughout the album. Songs like "Who You Were" will help explain this point. So beyond the wonderful trickery that is the music, there is the vocal work and words. It is here that Grates shines with his talent. Sometimes the vocals are shrouded in mystery and effects. Other times you get full bodied performances where they hit those notes so dreamily. As I progressed further into the album I became wildly entertained by not knowing which tactic was going to applied. Their patterns are often so unpredictable and even coy; it came off very playful and fun. In terms of production it is hard to determine what the goals were, and I think that might be part of the point. Overall I had nothing to complain about. There were a few effects here or there that rubbed me the wrong way, but nothing that was ever deal-breaking. Track four, one of my favorites on the album, is a strong example of the solid mixing and mastering instincts applied on this album. There's a lot of ideas here. They are painting with lots of colors, and yet, via production methods, cohesion was carved into everything. As I have backed away from trying to determine genre placement for Aura Zorba, the same goes for who their audience is. This album may come off as niche, but I believe it had the capability to cast a wide net. This album is a genuine thinker. It took me out of myself and my comfort zone. Listening to it in its entirety is something I highly recommend; you'll go on a proper journey. I'll say if you feel like you've heard everything, and there are times as a music critic I have, this might be the pallet cleanser. Again, this album is so free of expectations that I found it above everything else to be liberating and who couldn’t use a dose of liberation?
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