Nathan Clapper (The Rapper) is a hip-hop from Massillon, Ohio who recently released Dad Shoes Vol.1. The title of this album immediately made me feel old. I’m not that old - I’m only thirty-eight but I think I own dad shoes that look like the ones on the cover and I don’t wear them ironically. In fact this whole album feels like it speaks to people in their mid-twenties from “Quit My Job” which you can’t do if you’re trying to support a family to the spirit of a promising young love. Although I may wear dad shoes un-ironically at this point I still can hear plenty of talent since I’ve dedicated my life to music.
The songs here are very clever, catchy and accessible. “Headphones” is the first and the production is fairly lush and comforting. It reminded me somewhat of the playful vibe Eminem has every once in awhile. There isn’t much ego and I liked that. Up next is “Dad Shoes” and I was happy to hear that he was embracing dad shoes. The lyrics are great. It’s a little tongue-in-cheek and again very playful and catchy. The songs continues to feel fun as the album continues. “Better Views,” “I’m Not Finished Yet” and “Quit My Job” are all really good songs. He does an excellent job giving each song it's own variation. .For instance the textures and timbre of the drums change but it's subtle. He is cleverly building a signature sound as the album progresses. The album has twenty songs but is only forty-minutes long. I liked the shorter almost vignette sort of style. On that note there were some songs I loved right away. I’m completely on board with “Social Media” and I have had the same exact thoughts. In fact I’ve unfollowed all my friends and my feed consists of articles from The Onion, Clickhole and a couple of MMA websites because I don’t need to “like” that you had a wonderful time hiking Colorado. I really liked this album the more and more I consumed it. As I’ve gotten older I really can’t handle a lot of ego in my rap which still seems to be a thing but not as much anymore. It just feels ridiculous to me at this point. My point being is this album hits all the right points in my opinion which makes it inviting and a pleasure to listen to at any age.
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Alex Fournier has been deep into music studies for a long time. I’m not going to go through all his schooling but let's just say Fournier went deep. I myself went to school for music and know how deep it can run. There is absolutely no reason to go deep into music studies if you want to make pop music. I would also say this is the case for ninety-nine percent of rock, hip-hop and folk. The genres that tend to incorporate sophisticated musical ideas are jazz and classical. Take for instance avant garde jazz group Chicago Art Ensemble of the classical pianist Glenn Gould. You get to hear similar levels of complexity on Triio.
The six songs on this release are what I would consider free jazz. I’ll be blunt if you do listen to a lot of pop music and prefer songs where there is a repetitive melody you can sing along to this may take some time to get used to. There is actually a podcast called Mindscape where one of the guests, Indre Viskontas, who is a musician and neuroscientist explains that if you don’t like a genre like opera or free jazz there's a good chance that the reason why is because you haven’t heard enough of it. It may seem like on the surface that this is a bad reason but songs from groups like The Beatles and Nirvana are good to so many people because there are variations of simple, repetitive melodies that we have been consuming since we were young. The songs on Triio are not simple and not repetitive. They are arrangements that seamlessly integrate complicated time signatures, tempos and patterns. There is dissonance, polyrhythms and much more that goes against expectations. It can sound chaotic, manic and even just like noise to some people. You may have noticed I have not mentioned a single song and this is a rare case where I don’t need to pick out details. There is simply too much and if I were to transcribe it would take a small book to complete. Perhaps one of the reasons jazz doesn't get a good wrap with the general public is that it doesn't hit upon a lot of the specific emotional axioms a lot of other genres do. A good pop song elicits an emotional response that doesn't take much effort. It can make you feel happy or sad or something else by the lyrics and music. For most people it’s not about what chords are being played or a time signature. The songs on Triio are different. The emotional residue is less clear. It’s ambiguous and I would argue it is more musician’s music. There is a level of appreciation that happens when you understand what the musicians are doing and that in its own way turns into its own emotion. I encourage you take more than a listen to this music. If you aren’t familiar with the genre I would say to hold off judgement at first because there are many treasures to be found between the weeds.
I was in college about fifteen years ago. When I heard the name Hot Dad Calendar my first thought was this would be the name I would have come up with while drinking cheap beers with college friends. Someone would say the name, everyone would laugh and then someone would say something like “that’s pretty good actually.”
Jordan Santiago (vocals/bass/vibraslap), Jack Duncan (guitar/vocals) and Savannah Peck (drums/percussion) do have that kind of young college guy feel on their album In Good Time. Some of the songs are about girls and there is also a song called “PBR Light” which is essentially what college kids drank here in the midwest and slowly mutated into a hipster’s favorite drink. The songs are diverse but for the most part alternative. They open with “Disappearing Act" which is the highlight of the four songs. The song has a good groove, rocks out quite sufficiently and has the most memorable vocal melodies. I grew up with ’90s alternative and this was a good dose of that style. The guitar work was diverse and caught a lot of my attention. Next up is “Bossa Nova Scotia” which does actually go into this Bossa nova/jazz song with clean guitars and is an outlier. The energy and juxtaposition from the first song felt huge. It almost sounded like a different band. Then you have “Fake Distances” which is more mellow, melancholy and nostalgic for the first two-minutes-and-forty-five seconds. They eventually rock out and I was liking the groove from the bass and found the vocal at their best with a lot of distortion behind it. Up next is “PBR Light (Bonus Track)” which happens to be four-minutes-and-twenty-seconds long. Ha I get it, moving on. This was the other highlight to my ears. It’s a catchy song and a song that was made for someone in their early twenties. This is a solid EP which deals with coming of age themes that are well written and fun to listen to.
Tuesday X is an indie-pop project from the midwest United States by Seth Babbitt. His self-titled album Tuesday X is thirteen songs long and contains a lot of different styles of music. On that note I think they work under the umbrella of lo-fi indie bedroom pop.
Up first is “Pop Music.” He says Tame Impala was an influence and you can hear that. Some of the notes are a little off key and the synth sound is a very basic type of sine wave but for all its blemishes it’s a charming song. His best moments are however his most subtle like on the song “I'll See You on the Other Side.” The vocals are very low in the mix at times but I thought the song was heartfelt and memorable. The mood continues with “...Lost” and “Sabbatical/The Elusive Vagabond” which is atmospheric with a cathartic vocal performance. “Them” is also a solid effort. “Funny You Should Mention That” puts aside the synths for an acoustic guitar. The vocals are delayed on this song. I normally don’t like a lot delay on vocals but I think it sounded good in this case. “Maybe? Maybe Not” and “Adult Swim” have their moments as well. “Stay Occupied” which is a highlight has a bit of disco theme to it which is followed by the catchy “Be Quiet.” “Why is This Happening to Me?” is very introspective and cosmic sounding while “Hometown Confessional” weaves a classic story of sorts. “I Guess You Could Call This an Ending” is a highlight as well as the closer. The production and recording quality is on the lo-fi side here. I sometimes found this hard to get past at times especially when trying to understand the lyrics. One thing I should say is that he made this album after a break-up and it does feels like a purge of emotion. They are a number of times where he has vocal outbursts which sound like a release of pent emotional energy. I always thought the best parts of the creative process are healing properties for the artist. That might be the case here.
Alex Bradshaw is a musician from Atlanta, Georgia. In 2016 re-released his debut and recently released a self-titled EP Alex Bradshaw. His music hits upon an older vibe of the ’50s and ’60s blues and rock and even more. He really does nail a number of specific genres and I loved the vibe on these songs which felt like an homage to some of the very influencers of sound.
“Show & Tell” is the opening track. It’s a delightfully fun yet dark song. You can hear elements of spaghetti western, Roy Orbison and country and folk. The song throws in some Peter Frampton type talk guitar. Additionally it’s really well written and I liked the flow of the song “Things Indifferent” is old school B.B. King type of blues. The harmonica towards the beginning of the song is absolute fire. “Madhouse” veers in a different direction. It’s a pretty melody and reminded me more of a band like The Magnetic Fields or The Smiths minus any vocals. I have to admit the shift was unexpected and I liked the melodies. That Peter Frampton style guitar returns on “Relentless.” The whole vibe feels a lot more ’70s than anything. There is a lounge like vibe almost on the verge of disco at points. There is a smooth funk flavor on “Relentless.” I loved the bass line and the serene sort of wave on this track. This EP felt like a genre timepiece. Bradshaw seems to have reverence for these different styles. I think he is very talented and the writing and delivery proves it. On that note, I'd love to hear a bit more of Bradshaw’s signature sound in the future. Establishing a signature sound as I’ve talked about before is one of the hardest things an original musician has to do if not the hardest. It goes beyond learning to play an instrument or write a song. There is an X-factor of creativity that has to come into play where your own essence is revealed while simultaneously being influenced by the music you fell in love with in the first place. I loved the fact that Bradshaw is such a young guy and has such reverence for music that came way before his time. To that I say cheers to keeping the spirit alive. Recommended.
Remedies is a musical group from Northern Norway, consisting of Tor Erik Krane Ursin and Sigrid Ravn Ryan. The band formed in 2016 and recently released Delusions which is a beautifully lush EP which contains danceable rhythms and unique soundscapes.
The music often sounds somewhere between artists like Lykke Li and The Knife. I loved the textures and colors on this EP. It’s organic but electronic in a way that feels truly symbiotic. The EP starts off with the title track “Delusions.” I loved the dark, off-kilter beat which blends subterranean synths with a constant kick. The vocals are slick and very jazzy at first. As the song progresses a bigger groove is established and feels sort of like disco. The song starts to explode about a minute-and-a-half in. The hook is undeniable and by the time the second verse swings around again they explore a lot of territory. Up next is “Crimson Mind.” It starts with piano but within about twenty seconds blooms to this epic sound collage of sounds. The verse is slick and there is a build that is just epic. There is a lot going on but it works. The mix can handle all the elements and the chorus is undeniably memorable and infectious. They have this ability to change so seamlessly which is apparent when they go back to the verse. “Hollow” is the third track and the vibe here off the bat is more introspective and cosmic. I quite liked it and the verse felt more striped back with guitar, bass and drums being the main components here. It’s beautiful and eventually like other songs explodes. This time an arpeggiated synth runs rampant across the stereo field with a pulsating rhythm that is intoxicating. The band closes with the disco infused “The Mad Handler.” There is more of a clear disco vibe on this song with Hercules and Love Affair and Heart coming closer to the center of the bullseye here. I loved all four of these songs. The production is some of the best I have heard and deserves Top Album. Highly recommended.
Megababes is a band from Iowa that recently released Perfect 10. All the songs were written by the band's frontman Max LeaVesseur. He mentions that artists like The War on Drugs, DIIV and Kevin Morby are influences. I think the similarities to Kevin Morby was the most apparent as a number of songs have this catchy folk sensibility with an indie pop afterglow. That being said some of the reverb laced shoegaze type aesthetics from DIIV as well as the Americana style of quality that The War on Drugs possesses is there but subtly.
I thought the songs were really well written and delivered. The melodies were infectious on first listen. Up first is “Father Forgive Me” which is an undeniably sweet and tender song that has single worthy quality to it. There is a hint of ’50s pop and even surf that you hear in the drums and guitar. The vocals are memorable on this song. “I've Gotta Know” is another fun and catchy song. The guitar work is slick and also leaves plenty of room for the vocals to breathe. There is a nice blend of genres here making it an accessible song that will have mass appeal. The Kevin Morby influence is perhaps most notable on the “Frozen Ground” which goes back to sounding like Bohemian folk from the late ’60s. I have to compliment the guitarist again especially for the lead work which never steps on the vocal melodies. “Holy War” is under a minute long and is just an acoustic guitar and vocals. It’s also significant enough to not feel like a filler. “Wild at Heart” has a brighter Americana type of spirit while “Alex” is perhaps the most emotionally resonant song that plays into nostalgia and melancholy. They close with “Queen of Everything” which is where the shoegaze influence aesthetics comes into play. Bands like DIIV, Slowdive and The Jesus and Mary Chain come to mind. This is a very strong first release. I thought the songs flowed really well together while using enough variety to create a foundation for the band to build on. Recommended.
Maurice and Rachel Africh are Still Electric and they released an album entitled Friend. I was reading about their story with the information they provided. Suffice it to say it was one of the few times I came close to tears. Their story is a mix of tender love, triumph and tragedy. I’m not going to go into specifics but I was already hoping to love this album before I heard a note. The music went way beyond what I am hoping for. It’s catchy, fun, and sweet but never saccharine. The music feels relaxed and is not in a rush to get anywhere. There is a mediative aspect to the music where I was just enjoying what was happening and not waiting for the next thing.
This is also a case where I loved both singers almost equally which is very rare. The first song is called “Move On Cue” which is one of my favorite songs I have heard this year and the arguable highlight. It’s a song that is sort of cute but not annoying. I think the Postal Service is a good reference here but they implement some vocals that are sort of rapping. It sounds like it could be disastrous but the way it’s implemented is perfect. Up next is “Broken” and does Rachel Africh have a nice sounding set of pipes. There is a romantic, jazz like quality to her vocals. The song is so smooth and oh so catchy. I thought the textures were done very well. It’s sort of dark and the horns seems to lurking in the background like ghosts. That sort of vibe continues with “Ocean” which showcases vocal harmonies. They sound great here and the way they blend the vocals sound sort of androgynous. The band is just getting started and what they do so successfully is to create a signature sound. “Illuminaughty” is a new word and also a great song while “Through Your Eyes” is as close to straight pop as they get. The horns are a continuing theme as are highlights such as “Happy.” There are some twists and variations but nothing too out of the ordinary as we hear on “Warlords” or “Wait.” “Wicked Women” is a festive and fun song while the closer “Friend” is a hopeful and motivational closer. This album will appeal to a very wide demographic in my opinion. I’m not sure what’s not to love here. Highly recommended.
Jasmine and Zoё are Roswell. The duo formed in 2018 and recently released Remedy which is a five-song EP. They may have formed recently but there is no doubt in my mind that they have a lot of experience as musicians. The songs are beautifully crafted and delivered.
Their music is organic acoustic folk mixed with elements of Americana. I found the music to be bright and warm in a way that immediately puts you in a good mood. They start with “London Town.” The song begins with acoustic guitar and vocal harmonies. It’s already beautiful but you can feel the build happening. The instrumentation get more broad with a fiddle in the mix and before you know it you are greeted with hand claps and a kick drum. By about the two-minute mark the song is booming, hitting a crescendo. They however bring it down once more before ending. Up next is “What I Know Now” which had a different flavor to it. This song felt very fun and loose with a great groove. I loved the percussive aspects and the way the fiddle interjected fills into the music. As good as the instrumentation is, it’s the vocals which carry the song that are truly exceptional. “Heaven Knows” contains impressive classical guitar picking. The song begins with just guitar and vocals and I thought some of the most beautiful moments were before the drums and bass come into the mix. “Remedy” feels like pure joy at points. The song will put you in a good mood. That being said the song is more than just a happy song. There are emotional curves that the song is playing with making it a pleasure to listen to. Last up is “Cry Wolf” which is another fantastic song and perhaps the most epic. The song is dynamic and the end of the song is explosive. This is a great EP from beginning to end that is seamless and cohesive. Each song had a different flavor but still served the foundation they were building. Don’t miss out.
Oh boy, here I go again, falling head over heels for a homespun band. I'll try not to doodle in my notebook. Fresh out of my backyard here in Chicago comes Super Neutral and I have been handed the pleasure of examining their latest album Nervous System. Seriously though, nothing makes my job easier than when an album is good and I don't have to buy a plane ticket to go see them live. Super Neutral has cultivated a strong modern indie rock sound that is setting itself up for mass fandom and adoration and rightfully so.
To start, the songwriting on here is very solid. Originally Super Neutral was going to be a solo project, brain child of guitarist Brad Jetson. The bulk of the writing on this album was done before the band had come together. Jetson is a charming lyricist and a thoughtful composer. His words are easily accessible and very human. I can say that some of the things said in the lyrics are thoughts I myself and I'm sure many others have had. There is a lot of passion and even frustration in the words at times and it is comforting to not be alone in those thoughts and those frustrations. The structure of the songs is part of what makes gives the group its distinctive voice. They have created their own cadence of sorts and it has become their signature. There is a lot of homage to alt and indie rock of decades long gone. A lot of ’90s love in here, quickest way to my heart. However they didn't hit it so close to the target that it sounds dated. This is very much a fresh modern sound. I really love the vocal work on here. Swoon worthy harmonies combined with gruff and even grating, counter culture performances. They have a lot of range and room to play with the vocal quality. The vocal work is also styled to compliment the distinctive song structures. Their willingness to experiment with their vocal abilities is another piece of this album that makes it such a winner. Nervous System is a proper twelve-track album. It's rare these days I see anything north of ten; there is always something about a proper dozen that brings me back to my childhood. Twelve tracks is a lot to handle in terms of production. Luckily the band has their own studio of sorts that allowed them to record this album on their own. Mixing and mastering was done by the hands of Grant Mitchell, who I have to say did an incredible job. The production on this album is well executed in that you get a taste of their live energy but it still has a touch of intimacy. I am spoiled in that I have a good chance of catching these guys live. If you're not in my neck of the woods and have been pining for a good alt rock band in your life, go find Super Neutral. They have your number. |
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