Tin-Can Telephone is a musical duo comprising of two brothers-in-law who reside in separate continents. Bound by their familial ties, whenever they reunite, they feel compelled to create music together. Drawing from their backgrounds in rock, punk, and indie genres, they craft songs that evoke the essence of their past musical endeavors.
In 2023, they unveiled their first EP titled Songs to You, a compilation of tracks predominantly written and recorded in the preceding year during their precious in-person meetings. They cherish the mutual inspiration they derive from each other and aspire to carry this creative synergy into their future collaborations, irrespective of the physical distance that separates them. The first track is called “Together On This Road” and right away I got a wholesome feeling from the music. Everything about the music felt very positive and borderline motivational. I felt like this was a pop song with a side rock. The melodies are catchy and I felt like the song was single worthy. Towards the end of the song the vocalist repeats the phrase “Can’t we stretch this moment into another life / This bond will continue until the day we die.” The opener was solid but “Sing Our Songs” was my jam. I liked the Americana feeling to this song. That being said, the song isn’t too far away from the emotional appeal of “Together On This Road.” I thought the guitar work was inventive and the singing was honest and emotive. Up next is “Grey” which is a little more pensive and melancholy than the previous song. It plays into nostalgia and feels reflective. The vocalist sings “Say what you want. I’ll think what I want. There’s room for everyone. / Be who you want to be. We’ll get through anything. The reason we’re meant to believe.” The most intimate song is “Aftermath” and features delicate vocals and warm guitars. This song reminded me of songs you might hear at worship. To my ears there are a lot of similarities. And on that note these songs should have a broad appeal. The songs are well written and heartfelt.
[object Object]
1 Comment
From East Anglia, UK, comes singer/songwriter Rob Carey who records electronic pop under the name Art of the Sound Temple. He’s just released two new singles titled “Ionian Blue” and “LA Skies.” Carey’s day job for over twenty years has been working as a nurse and counselor for people of all ages with mental health difficulties. Carey has used his work experiences as fuel for his songwriting. Interestingly, Carey is not the first indie musician I’ve reviewed who doubles as a mental health professional, or who believes music “has a powerful therapeutic quality that can heal.” Carey has also worked in Northern Australia with the Aboriginal community, and with underprivileged children and young adults in deprived areas of North America.
Back to his music: Carey has written hundreds of original songs in all genres with accompanying videos, and has performed live around the world as well as in the UK In 2017 Carey set up his own recording studio to service his music production company, “Art of the Sound Temple.” He’s also collaborated with and produced other singers and musicians. The first of the two tracks, “Ionian Blue” starts with an eerie violin or other stringed instrument that sounds like a woman’s voice in a Middle Eastern instrumental (is this his Sound Temple?). But that’s just a feint as the song proper has a jaunty, laid back groove. Carey starts with an insistent kick drum beat, diffuse electric guitar and his own English-accented vocals. Add the synths, insistent bassline and multiple harmonies and before you know it we’re into an ’80s synth pop tune like Thomas Dolby or The Human League. But not exactly, as Carey’s vocals and arrangements also betray a British Invasion sensibility overlaid on top like The Move or The Kinks. It’s a clever, amiable and catchy track that creates its own universe in just over three minutes. I don’t know exactly what Ionian Blue is, but based on the lyrics it’s clearly a beach paradise we’d all like to find. The second single is “LA Skies” and as a Los Angeles native there’s nothing I like more than songs about my home town by Brits! However Carey throws a left curve with his opening verses: “Mother cried when Bowie died / And Elvis, Lennon too / She drinks her wine and she’s just fine / Until she hears the news.” The music and vocals begin gently, like Carey’s telling us a secret, then swings into a dreampop vibe. The idea seems to be that the LA Skies is more of a metaphor pointing out the fragility of life even for our biggest stars. It kind of makes sense because non-LA natives Bowie, Lennon and Elvis all spent significant chunks of time in my fair city! For that matter this track isn’t far musically from early acoustic David Bowie. It pains me to note that the track is somewhat overgenerous with compression, as there’s some distortion when things get loud. While I was playing this track I had a quick listen to Carey’s other songs on Spotify and his style is pretty consistent, and consistently engaging. Really nice work and worth a listen!
Some songs grab me right away and don’t let go till they end. I had this type of experience with the song “Violent Birth” by Van Dorn. The song starts with piano and vocals. The first lyric “butterflies in my belly have teeth” grabbed my attention right away. There are ominous sounding strings that come in that create a very pensive and haunting vibe.
The vocals are really well done and she sings the song in a way that complements the music. I loved the drums that came in as well. The drumming is technically advanced and creatively interesting. I actually wasn’t expecting to get so huge but right around a minute-and-thirty- seconds in the song just explodes. The song covers you in white noise created by distortion and cymbals. I thought the come down was equally as good. The piano trickles with notes and before you know it the song revisits that absolutely massive sounding section but this time around it’s even bigger with what sounds like a lead guitar wailing away. The song has a nice comedown and then ends in a pretty beautiful way. Right after I listened to it the first time I had to listen once again so I could make sure I captured all the elements. My point being is there’s a lot of nuance with this song. I wanted to hear all the subtleties with the drum work and see what else I could find in those waves of white noise. One of the things I loved about this song was how expansive it was. There are points where it sounds like you’re right next to the performance and other times where it feels like you're listening to the song in a cosmic arena. Suffice it to say I think it’s a powerful song and made me want to check out some of the other music that has been released. This was an impressive song from beginning to end. Recommended.
official website
Terrestrial Animal is an ambient rock jam band from Wilmington, North Carolina, that has just released a new one-track album titled Laniakea. Shortly after the band’s 2019 debut album Amorphous Sum was reviewed on the Pitch Perfect website, the Covid lockdown hit. The band lost a guitar player but added keyboards when the smoke cleared, and the current lineup is Jason Ward (guitar), Sid Neel (bass) Tiff Ellis (keyboards) and AJ Moore (drums).
The “Laniakea” track was built from a very old bassline by Sid Neel that had been kicking around even before the band’s debut album. Recently the band started playing around with this bass pattern, then hit Record and captured the track we have here. The band describes it as “sounding like an ambient stoner rock jam, something reminiscent of floating through space and being pulled into a black hole. It reminds us of the sounds of bands such as Isis, Sunn O))), Red Sparrows and Mogwai.” Recording took place in the band’s practice space, using their homemade studio. The released track was built from two takes that were then mixed and mastered using Studio One 5 by bassist Sid Neel. Of course reviewing a jam performance is tricky because they just tend to flow where the spirit leads them, but I’ll do my best! The track opens with an ominous, otherworldly low-end rumble. It’s a cool sound and I admit I can’t figure out how they did it, though it’s probably a combination of low guitar rumbling, speed manipulation and something from the keyboard. At any rate it’s just an intro to the track, which does indeed start with a simple two-note bass riff. Keys and guitar soon join in. The pace is slow and steady and the guys take their time working around the main theme without overthinking it. The keyboards sound like an Egyptian instrument from outer space, especially when Ellis starts slurring the notes. Ward’s guitar is set to a repeating echo pattern which adds to the dream effect. If you were looking to compare, the vibe here is similar to the expansive jam section of “Riders On The Storm” by the Doors. As the guys get more fired up, the sound gets spacier and feels more like early Pink Floyd. The first section ends with what sounds like radio distortion and morse code alerts, with some very cool final drum beats. Section Two starts almost 3/4 into the track. Again the guys create a little experimental intro to get us into the jam, featuring ghostly swoops, backward sounds and a charming girl’s voice calling from murk: “Come back alive!” Part Two is performed at a much heavier level, with everyone playing at 11 right from the top. If you enjoy zoning out to walls of fuzz with an overlay of otherworldly keyboard sounds, this would be your jam! The ending happens organically without breaking the mood. For a “jam tape” this was surprisingly good and engaging. It doesn’t require your full attention to enjoy but will fully engage you with headphones in a dark room. Loved it!
I’ve reviewed a few “concept bands” in my time, including one whose whole album was based on hot tubs, but the Midwestern trio The Chugs have got to be the weirdest: a punk band dedicated to celebrating Hamm’s beer! As demonstrated on their debut release The Cancept Album, The Chugs are bizarre on several levels. First off, I didn’t even know Hamm’s beer was still a thing! (Sold on the West Coast when I was growing up, I haven’t seen it for decades.) Secondly, and even wilder, the Chug’s genre of choice is hardcore speed punk, which doesn’t exactly remind one of mainstream American beer!
Despite all that, this idea totally makes sense. Hamm’s beer had great commercials featuring animated bears when I was a kid, and their “jingle” was a native-sounding war chant with pounding drums. In fact there’s a passage in the Beatles track “Mr. Moonlight” that sounds just like that commercial (“And from the whirl, you sent my girl”). That said, I assumed these guys were putting me on until I heard the album; I can assure you that if this is a “bit,” they are fully committed. It’s been a minute since I’ve heard speed punk this wild, creative and ferocious, and they sing so fast that you might not even catch the Hamm’s references unless you’re reading the lyrics! The members of The Chugs are Scott Wambach, Brian Harding and Sam Kuban. They state that the band “only makes music about our passions, and we are exclusively passionate about Hamm’s beer, America’s Premium Classic. We fully embody the golden brew, and we're headed to the land of sky blue waters.” Recording took place at Wally Opus Records in Evansville, Indiana. “Sky Blue Waters” (a key phrase from Hamm’s advertising campaigns) opens the album with feedback and a descending guitar riff worth of Dick Dale. As the feedback morphs into an almost melodic background, the bass and drums kick in at hyper-speed. This song is built on a simple rock riff but played with extreme energy. The lead vocals are classic punk (Midwestern with an English accent… Why not?), with multiple overdubs for the chorus singers that approach Queen-like majesty. The lyrics do seem to deal with Hamm superficially (“We'll drink liquid gold / Where the food stays hot, but the beer stays cold / Where we'll nap under the trees / After we celebrate responsibly”) but is more about striving for a paradise on earth. In fact I’d say that’s the group’s best trick: if you hadn’t read their band page first, you’d have no idea these songs had anything to do with Hamm’s. Not content with just one part, this song has a “false ending” complete with spectator applause before the band cranks into another section with chant-like vocals before circling back to the original arrangement for the “true ending.” The lead singer shouts “Fuck yeah!” with obvious pride, before more feedback heralds the next song. “Public Transit” opens with that tinny-boom-box-into-glorious-stereo trick (it’s overused but it always works). This is a hilarious song about smuggling beer to the back of a bus but getting caught by the driver. “You took my Hamm's / Away from me / I want it back / Right now, right now with an apology!” Who amongst us cannot relate? The lead vocalist cranks up the angst and anger several notches, the chorus singing is brutally thick and the guitars threaten to spontaneously combust. “Morning Beer” is the shortest track and takes a moment to reset the album with a Tex-Mex instrumental that would fit perfectly in a Tarantino film. Turns out this is just an intro to a quite lovely and affecting ballad about collapsing in a strange place after a night of drinking beer (natch), being awoken by the sun and yearning for that first morning Hamm’s to help start the new day. An amazing amount of music and emotion crammed into a minute-forty-seven! “Breakfast of Hammpions” is epic at four minutes and features some of the most sophisticated chord sequences and background singing, while still retaining that unstoppable energy and subversive humor. If you’re keeping track, this song seems to continue the “story” from the previous song where our narrator desperately needs a morning beer, finally and gloriously scoring in the parking lot of an Arby’s at 9:00 A.M. Living a sheltered existence such as mine I can’t imagine how anybody could get THIS excited about beer, but these guys sell the idea so relentlessly that I almost believe them. “(I Think We’re) Going to Prison” switches gears yet again for a mellow, doo-wop influenced intro that blasts back into hardcore punk, then back to doo-wop. That’s another thing about these guys that I love: they are undeniably hardcore but occasionally “change the channel” to keep things unexpected and lively. This song sees the band inciting a bar fight and maybe burning down the building because they drained the entire keg of Hamm’s. Seems reasonable! “Chug With You Forever” closes the set with The Chugg’s signature brand of melodic pop punk serenading a love interest with promises of drinking Hamm’s together (in the shade, in parking lots and in the shower) for 90 years. The final lyrics have a chorus that’s swollen with multiple overdubs and a party’s worth of pals joining in (you can hear them laughing at the end, which is hilarious). “Did you get it?” “We got it. Thanks so much!” You’re welcome, guys. Thank YOU for one of the most unique albums I’ve heard in many a beer-drenched moon!
Bittersweet is the latest release from Noel Aponte. This talented singer/songwriter really hits it out of the ballpark with his opening song on the record, "I'll Be Dancing,” which lives up to the name. It's driven by a catchy beat, an earworm of a synth hook and tender vocal harmonies from Aponte. There's a feel-good, head-bopping, indie feel to this track. I love the vocal melody. There's an understated quality to Aponte's vocal performance, and that's what makes it shine -- it perfectly suits the laidback, ethereal style of the instrumental. This is a psychedelic, washed-out track with a catchy beat and funky instruments. It's dance music for chilled out people; the kids who stand in the corner at parties, too introverted to get involved, but desperate to move their bodies.
"Fleeting Love" takes a different musical approach. It's a guitar-centric track, driven by a warm clean electric guitar progression, Aponte's heartfelt vocal melody -- delivered in a prominent, engaging lead hook with echoing, distant backing vocals providing an atmospheric blanket. It's dominated by another catchy electronic beat and twinkling synths, but I'd call this one more of a sad bop than the opener. "You say you want me around / But don't wanna be mine / 'Cause I'm a fool for you / I didn't see the signs.” In spite of lyrics such as that, the track still manages to bounce onwards in a dance-worthy fashion. That's a testament to Aponte's ability to turn sadness into something colorful and engaging. This describes his EP on the whole, really. "Still Love You" is definitely one of the saddest tracks on the EP. It opens with a gorgeous synth-string progression, lacking the dance-ability of previous tracks on the record, but it delivers sadness in such a beautiful form of balladry. Catchy synths, somber electric guitar and a punchy electronic beat make it clear that this is still the same EP, but there's no head-bopping this time. Just a heartbreakingly-pretty song. Fantastic production work too. What a powerful penultimate track. And it leads into the equally heartbreaking outro, "I don't see you in my Dreams.” Aponte offers a stripped-back closer to this atmospheric indie-pop EP. A beautiful piano melody and delicate vocals. It's a glorious chord progression and a vibrant vocal melody delivered in such a breathtakingly powerful way. Aponte delivers his best vocal performance of the album on this closing track, and there's no doubt about that. You can tell this song was something powerful for him. What more can I say? I love this record. A brilliant EP, all in all. I can't wait to hear whatever Noel Aponte does next.
Murphy, an artist born in Canada, is making significant strides in the music industry with each upcoming chart-topper. Her daring pop tunes have already started to captivate listeners, causing them to hum along as she prepares for the next major milestone in her promising career. Despite being just 21 years old, Murphy has already impressed industry professionals with her impressive expertise and magnetic sound. She crafts compelling melodies and heartfelt lyrics entirely on her own, captivating fans with her stream-of-consciousness style that resonates deeply with their emotions and experiences. She recently released "Beside You," which also features Soloman Matthew and Outertone.
The track sounds contemporary and modern. It begins with an airy pad and techno-like vocal samples. There's piano and vocals that come in. The mood is melancholy, but you can feel a build coming. The hook comes in under a minute as the artist repeats the line "I'll be right beside you." The second verse is handled by a different artist and sounds great as well. I liked the different vocal approaches. The song quickly returns to the hook and then goes into a breakdown section where both vocalists sort of go back and forth, leading to the most explosive moment. The hook repeats and feels like a mantra. Some of the vocals seem spliced up, and synths come from every direction in the stereo field. The song ends with some rain and is quite powerful. I will say this is indeed a good choice for a single. It's catchy, easy on the ears, and is the type of song you can put on almost anytime and enjoy. It's club-worthy, it will make you work out harder, and it's also a song where you can explore the textures and nuances with a nice pair of headphones. Recommended. Paranormal Arson hails from Antigonish, Nova Scotia, Canada, and is a death metal endeavor. The project's moniker, along with the self-titled EP and its song, draws inspiration from the Caledonia Mills Fire Spook event of 1922. According to the bandcamp page. The goal of the Paranormal Arson project is simple: make straight-forward, old-school flavored death metal that is as pummeling as it is catchy. To cut straight through to the listeners guts while still grabbing them with grooves and hooks. That goal was definitely achieved after listening to some of the music. The EP opens with “Graverobbing in Texas” which is an onslaught of noise. You can tell it’s going to be an intense ride in the first thirty seconds. A scream which sounds like it’s ascending from Hell comes from the caverns which have a blistering array of guitar and drums. I have to admit I couldn’t make out most of the lyrics but there are some good ones. The lyrics are descriptive and paint a vivid picture “The stench of death fills the torrid Texas air Blistering flesh for all to see A monument to the decay of humanity Figuratively and literally” “Paranormal Arson” is intense anyway you slice it. There’s no soft switch here. Your ears are covered in napalm and white noise. The jagged sounds come from every angle and there’s no sense of rest. “Fear of Napalm” might be the most single worthy song. The song rocks and there’s a killer breakdown as well. I felt like I was being swallowed by a serpent. There’s this sense of anxiety and apprehension which is masterfully displayed on this song. Perhaps my favorite song was “Saitama Bloodbath” which is just overwhelming in the best way possible. It’s a cure for intruding thoughts that you don’t want to be there. Just turn this up loud and you won’t have to worry about anything. “The Name Dies With Me” is the last and possibly a bit more of a metal drone vibe here in the spirit of Sunn O))). It’s a fantastic way to end the album. I can’t say Paranormal Arson is for everyone but if you’re a fan of heavy hitting death metal you will love this.
Twin Stags is a project from Fort Collins, Colorado that recently released "Omit." The music, to my ears, has a post-punk and shoegaze-like quality but flirts with many genres. Although sometimes I felt like the music veered into math rock, which I thought worked out well.
The album opens with "Back From Rehab," which starts fairly mellow and melancholic with reverb-laced clean guitars, slight percussion, and vocals. It breathes, but soon enough, fast drums and other distorted elements come into the picture, greatly changing the energy. The performances are very tight, and I thoroughly enjoyed it. Up next is "We All Disappear," which has a bit of surf and 50s pop flavor. It sounds updated and contemporary and is very catchy. It's a great tune, and the shoegaze-like reverb works beautifully here. This is arguably the highlight. I loved "Control," which reminded me a bit of Beck's Midnight Vultures era. There's a sort of hyper-realistic electro-funk vibe. The song is very danceable, and the vocals are also fantastic. This is one of those songs you play at a party, and everyone would dig it. "No Means" is funky as well but in a more rock format. The bass holds the groove, with silky guitars coming in and out. I thought the hook on this tune was exceptional, but the breakdowns and other sections also thrive in different ways. It's dynamic and robust. "Saudade" is the most beautiful and haunting song and my personal favorite. It's dark and moody in a way that doesn't feel fake. The song is also pretty epic as white noise covers the stereo field, but ultimately, it's the vocals that make this slow burn exceptional. "Don't Wanna Hear" is solid mid-energy rock. The post-punk vibe is strong here, and there are a lot of inventive transitions that work on many different levels. "Wish You Did" is the closing song and is the heaviest song, with a metal-sounding guitar I wasn't expecting. The artist manages to make this release sound cohesive despite flirting with different genres. I found this to be a great release all around. Recommended.
Who Hit Willie is a band based in Central Florida. The band consists of Robin Lewis (vocals, guitar, programming), Steve Bailey (bass, vocals), and Mr. Bill Windbourne (sax). Their sound is an eclectic mix of reggae, indie, jazz, pop, and rock. On their latest release, "Even the Desert Will Bloom," their first new album in seven years, the band definitely shows their stuff with funky bass and guitars, and some wild tunes from the sax. In the mix are both Lewis's and Bailey's vocals, which add another dynamic dimension to the overall sound. The band shows that they still have it with jazzy, funky tunes that sound like nothing I've ever heard before.
"Even the Desert Will Bloom" opens with the title track, which starts off with a very lounge and sauntering groove. I immediately got some funk along with the lounge vibe. Next, the funky beats transition into reggae. I found the band's sound really interesting here. The male lead vocals sound dreamy with tons of attached reverb. I love this atmospheric and ambient approach. The saxophone definitely offers something unique to the table. More sauntering vibes come from the guitars on "Fly Away." Then the sax enters, adding an energetic feel. The male lead vocals bring a searing sound. The keys sound very cool here and offer a nice touch. I enjoy this pop-driven song that reminds me of a lot of music from the '70s. The retro sound is really great. Off to a jaunty beat, the sax and other instrumentals join in for a happening vibe on "Resurrection." Once the vocals enter, I immediately get some '70s vibes. The acoustic guitar joins in, creating a moving vibe. The sax offers something truly original here for a captivating sound. More sax arrives, and the cool, smooth instrumentals in the background create a jazzy/lounge feel on "Gone, Gone, Gone." I detect a dash of funk in the mix, which I think is really cool. The vocals sizzle with a compelling vibe, which I enjoy. Organs light up the sounds on "Lighter Than Air," and the saxophone joins in for a compelling vibe. The vocals reel you in with their dynamic vibe. Once again, the band compels you to listen. More sax and simmering instrumentals join the melee on "Forever Monday." I love the funk-driven vibes from the keys here. This proves to be an eccentric and wacky sounding rock track. It truly makes for a unique listen. On "Missing You," electrifying guitar riffs sound out alongside some organ. The funky tunes make for a great sound. It certainly helps that the sax riffs aren't far behind, building into a great sound. The vocals sound smooth and alluring, and I can't get enough of it. Towards "Somewhere," synths come in for an atmospheric sound. Next, the sax accompanies the vibes for a moving display of sounds. This proves to be another flavorful track filled with smooth vibes. The male lead vocals really belt out the lyrics on "Livin' In A Ghost Town (Unplugged)" with feeling. His vocals are alone at first, being supported by sparse acoustic guitar. Then the drum machine enters along with the sax. There's a fiery Latin vibe to this track that I like. I'm reminded of Sublime and Santana all at once. It's an exciting way to end the album. Right from the start, I love the revved energy coming from the band. The band throws their all into the music, and you can tell that there's no holding back. The fun-loving tunes on this album are a blast from beginning to end. All in all, I couldn't get enough of it, and I'm sure you'll feel the same way too! |
Critique/insightWe are dedicated to informing the public about the different types of independent music that is available for your listening pleasure as well as giving the artist a professional critique from a seasoned music geek. We critique a wide variety of niche genres like experimental, IDM, electronic, ambient, shoegaze and much more.
Are you one of our faithful visitors who enjoys our website? Like us on Facebook
Archives
May 2024
|