Henric Blomqvist is a guitarist and songwriter from Jakobstad, Finland who just released his debut solo album entitled All Of Your Illusions. The album doesn't sound like it has been influenced by ‘80s metal/rock; it sounds like it was made in 1986 as it fits all the criteria you can think of that defines that era. It’s not just one thing. Between the tone of distortion on the guitars, his voice and the overall song structure Blomqvist unapologetically plays music that he grew up with when he was a student. While All Of Your Illusions is a solo album but all the credit can’t go to Blomqvist. He recruited Jonas Kuhlberg to play the bass and Roger Snellman to rock out on drums. Then there was the issue of vocals in which Blomqvist partnered with Jukka Nummi, Johan Mattjus, and Jari Tiura. Last but not least is Sven Wannäs who played organ and engineered the album. The album first and foremost is guitar-based. There are a number of tracks, which feature some solos that are on par with something you would hear from Joe Satriani and Yngwie Malmsteen. A clear example of this is the fifth track entitled “Plenty of Reason.” The music sounds like that of a ballad as Blomqvist solos over the music. He doesn't go overboard with notes but strategically decides where to let loose with a barrage of scales and when to let the sustain ring out from a single note. “Thunderbrigade” may remind you of Spinal Tap in the best way possible while “Black Sky” has anthemic qualities that define stadium rock. As the album progresses there were a couple of other highlights such as “When We Were Young,” “Perfect Dream” and “All Of Your Illusions.” All Of Your Illusions is the type of album you won’t need much time with to know if it’s something you are going to keep on listening to. People tend to love or hate this style of music. So if you still regularly pop in Iron Maiden, Whitesnake and Warrant then this is something you are not going to want to miss.
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Shepherd’s Pie is a four-piece rock band from Louisiana that doesn’t seem content playing one style of music. On their recent full-length album The Jar is a Door the band flirts with a surplus of sub-genres under the umbrella of rock as well as brief ventures into bluegrass. It’s an odd pairing that you don’t hear very often but more on that later. The other sub-genres they play range from classic rock to grunge to ska. By the end of the fifteen-song album you are left a bit confused by the lack of continuation of any one style. Nonetheless, the band occasionally strikes gold and I found that I appreciate their work more when looking at it as a collection of singles. The opener “Renea” is an instrumental atmospheric piece that revolves around subtle percussion elements, acoustic guitar and gurgling warm pads. It serves as a bit of an intro but actually isn’t very indicative of what you can expect from the rest of the album. “The Veil” is a rock song that tips its hat to Alice In Chains. Watch out as the group pulls off a double guitar solo and the singer adapts his singing style to fit the music. One of my favorite tracks “Buttermilk Biscuits” was also one of the shortest. It features some decent banjo skills and impressive reverb covered vocal work. “With You” is a hybrid rock/funk based song that sounds like a cross between Red Hot Chili Peppers and Maroon 5. “Treehouse” is yet another departure and flirts with reggae. It’s a well-written song with a couple of blazing guitar solos. The band isn't satisfied as they plunge into instrumental math rock with “Spork In The Road.” It’s filled with intricate timings and a number of rocking guitar riffs. At fifteen songs deep The Jar is a Door is a hefty listen that will most likely create an ambivalent relationship with an audience. It may be hard establishing a fan base with this effort just because they flirt with so many different styles and don’t rely on a foundation that people can rely on. Don’t get me wrong - the band is talented and they have a lot of ambition but I think they would benefit by concentrating their efforts into one style. Become A Fan
Seasonal Affective is the solo project of Dave Strachan who just released an EP entitled Autumn. As of right now it serves as a framework for Strachan’s ideas. It’s an instrumental EP in which the drums are programmed and the guitar and bass are organic. I have to say the programmed drums are hard to get past. They don't have dynamics and sound too perfect against the lo-fi sounding guitar and bass. Strachan does implement some good ideas here and there and you can see his ideas getting flushed out as his style evolves. The EP begins with “Autumn,” which is an ambient piece consisting of a guitar and a couple of effects like delay and reverb. It is nothing transcending but it is decent enough. “Part 1” has a couple of inventive guitar parts but is adversely affected by the recording quality of the guitars. “Segue 1” is the first song where it starts coming together. Strachan creates a hazy, almost sensual-sounding landscape. The guitar and bass parts work well together. “Segue II” is stronger than “Segue 1” as he introduces elements of funk into the mix. The highlight of the EP is “Part III.” Strachan implements a solid, smooth bass line and handclaps that support his guitar picking. He layers bells on top and the song starts coming together. There are a number of production issues throughout the album but there are also some decent starting points with this demo. At some time Strachan is going to have to stop using digital drums to take the music up a notch. Strachan still has a long way to go but has planted seeds for potential growth.
Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating The Eastwood Smokes Holy Smokes 3.5 Method Of Escape Method Of Escape 3.6 Whimsical Mood Astral Sandwich 3.5 Further North Vespers 3.8 Running Days Changes 3.3 Brynn Emond Oddfellows 3.2 Stereoma I Will Be Your Friend 3.7 Corporal Hart Motions 3.8 Joe Mills I Can See London 3.6 Autumn Lungs The Long Way Round 3.4 New York Horns, a seven-man band, originated with trumpeter Chris Anderson and saxophonist John Isley. The two began making music together in 1998, and even released an EP called Tunnel Vision in 1999. Through this EP they got over 350,000 downloads and gained many loyal fans. New York Horns continued to play and make music together until 2003, when other projects separated them. They reunited in 2012. Now the band consists of Anderson, Isley, Neal Pawley (trombone and vocals), Tony Tino (bass guitar), Shawn Pelton (drums), Jeff Kazee (Hammond B3, piano, and vocals) and Glenn Alexander (guitar and vocals). Their self-titled album New York Horns is the band's second album. It creates the atmosphere, invokes the character and channels the excitement of a live performance. Each song takes listeners to a different place - whether a concert, club or festival - where the music comes alive in an authentic way. New York Horns' album blends jazz, funk, soul and blues in a cohesive, but never dull, package. Many of New York Horns songs mesmerize listeners, but a few completely bewitch them. "Nothing Left To Say" embodies the spirit of a jazz club performance with every note and beat. "More Than Tears" makes the perfect meditative sound for creative explorations of the mind. "Can't Stand to See You Cry" has a bit of a Motown sound, but combines it with the marketable nature of a current pop tune. The beats and lyrics make it an easy song to sing and dance to. Listening to "Morningside at Midnight” makes everything seven times cooler. It's a slick, smooth jazz piece that creates a nice blend of fun and technique. "Song for Levon,” a harmonica heavy track, creates a bluegrass and jazz-hybrid vibe. Its transition and shifts create tranquil and fascinating tones. It's one of the more quietly brilliant songs on New York Horns. New York Horns’ second album provides a variety of sounds that really give listeners the spirit and soul of a live jazz band performance. It's a perfect addition to any album collection. It'll make any dull Friday night a party. There is no denying that Nick Deutsch makes pop music that has a similar production aesthetics, structure and overall feel to that you would find on a popular FM radio station. It’s music that is meant to be digested by the masses and go down with ease. The concepts and ideas he paints are simple enough for a fifth grader to understand and also broad enough that anyone can relate to. And at its core isn’t that what pop music is intended for. Whether or not you are someone who indulges in top 40 pop there is no denying that Deutsch’s recent release Crazy Ride is superbly produced with a number of well-written songs. The first song from the EP is entitled “Green Light,” which dabbles in universal themes such as heartbreak, loss, perseverance and hope. It starts with a hypnotic piano melody and vocals, which is quickly followed by the steady thud of a heavy kick drum, which gives it a dance vibe. Deutsch implements frequently used effects such as delay and filters on his voice, which gives it even more of that top 40 feel. The song initially dabbles in melancholy over loss but by its end it turns grandiose and triumphant. He sings, “No turning back - I see a green light” as an arpeggiated synths, drums and bass provide uplifting melody. The second track “The Static” features a debut with Marissa Pontecorvo, which scales back the dance beat and synths for more organic instrumentation. This song appeals to radio even more than the first song. There is no denying they sound great together and belt it out. Deutsch closes with “Run,” which arguably has the most infectious melodies on the album. The production is top notch as he implements a number of pro techniques that make the song fluid and smooth. Let’s be honest. If you are eagerly awaiting the new Ty Segall Band album you probably won't be into Nick Deutsch but if you enjoy watching “The Voice” this music might be right up your alley. Deutsch knows exactly what he’s doing and he is setting himself up for someone you may be hearing a lot more of in the not too distant future. The Blondies are Berkeley and Oakland California natives. Their ages range from 16 to 18, and they have played music for eight years. The Blondies’ gigs include playing at popular Bay Area spots like The Freight & Salvage and The Regency Ballroom. One of their biggest achievements, thus far, is receiving the Gibson Guitars Artist award. They were the youngest band to ever get this honor. Another big milestone for The Blondies was being featured in BAM magazine. Their third album, Sweet Nothings, blends jazz, rock and pop sounds, while tackling universal and personal stories of joy, love, tragedy and inspiration. In its simplest form, the album is about young love and the obstacles of inner city life. In its most complex form, Sweet Nothings is about the freedom to have dreams and to fight for them. Some of the standout songs on the album are "White Girls," "Your Steps," "Let Me In Your Heart," "EWBA" and "All I Ever Wanted." "Your Steps" offers up the most interesting lyrical story, while "All I Ever Wanted" really shows the bands instrumental depth-especially with their fusion of jazz and pop. "EWBA" and "White Girls" tell vivid stories of life's greatest joy and pain. "White Girls" is about falling in love with someone for all the things that make them special. "EWBA," short for "Everything Will Be Alright" dissects all the pain of violence and loss. All the songs have catchy choruses and fully energetic guitar beats. The guitars are the stars of many of the tracks on Sweet Nothings, but the glimpses and subtle nature of the other instruments, like the piano, saxophone, trumpet and drums, really add layers to the album The Blondies have an old-school vibe that not only makes them a pleasure to listen to but a group to glorify for their talent. Sweet Nothings has all the ingredients that make music exhilarating.
Ever wonder what Kesha mixed with Lincoln Park might sound like? Possibly not, but you will get your answer if you listen to the recent self-titled EP Electricomplex by Electricomplex. Electricomplex is a solo female producer and singer from Tampa who has some serious skills. There is very little she doesn’t do on this EP. In fact I am wondering if anyone else is even involved in making her EP. The music is made to be played in clubs, pre-gaming at someone’s house before your night out or at a house party. It’s most likely not going to be something you are going to want to pop in if you want to get some work done of go to sleep. Electricomplex is a hybrid rapper/singer who melds electronic, rock, hip-hop and even a hint of industrial into her music. When she spits rhymes she is in control dictating the pace of the song and when she is singing it’s usually poppy melodies that are bound to get stuck in your head. On top of that there is a lot of originality with her music that comes through as well. The first track “Lions + Cages” implements distorted guitars with a programmed beat that sounds somewhere between Sleigh Bells and Lincoln Park. She rhymes over the beat and when the hook comes she throws down a memorable melody that establishes she has the ability to write a pop song. “Faded Stars and Cheap Models” is a solid song where the production sounds similar to something you might have heard from Missy Elliott a couple of years back. She implements a number of savvy production techniques that are bound to get her style compared to some of the most prominent producers in the biz. “High Class Dreams” further demonstrates her originality but here she is implementing sounds you might imagine being on a Nine Inch Nails record while the closer “Never Given Enough” is a fast-paced lyrically heavy song that feels like an onslaught of words and sounds. Electricomplex isn’t a carbon copy of the endless slew of producers who sound like everything else out there. Even though her music can draw comparison to other artists she brings her own personality and style to the songs.
Ghost Pains is a rock band from Seattle, Washington and they have recently come together to release their first full-length album Stealing Tomorrow. Music on the album can be described as psychedelic punk rock, and while listening, that classification fluctuates slightly making the album an entertaining listen. Sharing the same name as the album, “Stealing Tomorrow” is the opening track and is so lively just as you would guess by the title. As the song goes on it becomes more and more infectious and you can’t help but sing along or move to the high-energy beat. Despite the great energy of the song, by listening to the lyrics you realize there is more than just music behind the song, “give us all your money, destroy this place… sweetest sorrow, the end to my race, we’re staling tomorrow, soon all will be replaced.” There is an illusion to our modern day society and how “stealing tomorrow” may be a direct connection to how “we’re living everyday beyond our means.” “What’s My Head Missing” is a slower track with a more alluring edge to it. It kind of lets you just melt away while listening to it. Style from the vocalist has also morphed to match the vibe of this song, “we might get blown away, away, away what’s my head missing." The song illustrates something of a modern-day nightmare; “finally come to terms with getting old and grey, another couple of years, I’ll be a walking cliché, cliché…” and soon after these lyrics, an epic breakdown erases all the previously mentioned worries. The album is very well produced and Ghost Pains offers a refreshing take on alternative rock that is rich in sound, delivery and meaning. The sound is dynamic and does not stay stagnant throughout the entire album. Stealing Tomorrow moves through waves of alternative rock, punk and smooth psychedelic rock making this album a great listen. Become A Fan
The Hungry Animals have a taste for brightly drunk music, the kind that settles nicely as if on the verge of a fantastic passing out. The songs are dripping with groove and low-key vibes, vocals effortlessly lazy but pitch intact. The drive comes and goes, the crunch intermittent as well – chords jumbled between indie rock and timid hard rock. The Strokes and Coldplay are definitely making some vicarious appearances on Agneta, but the tone isn’t extravagant or super commercial either. It’s all very mellow and artful, like a slow walk along the river in fall. As far as musicianship goes, this band uses less and creates more with simple applications from a modest rig, but chosen at the right time and with the right intention. Bell hits to the cymbal paired with sparing guitar and loose vocals. Sometimes there’s not even a pulse, but you follow their path with ease. Every track makes an attempt at vulnerability and it never seems forced, which is a nod at some honest songwriting and continuity throughout the content/composition relationship. Agneta speaks like an album instead of just a collection of songs. In some way, the songs showcase brazen instrumentation and murky themes of angst or joy like a constant contrasting emotional leveler. “Methylphenidate” wins for strangest title. More importantly, it has well crafted introduction and shows off the different sides of Hungry Animals in a tightly wrapped minute. The snares buzz and tap while the guitar creates tension all leading up to a rolling 6/8 feel that turns up the fierce just a touch. Then the somewhat distant, treble heavy riffing enters and we get a feel for basic motifs to come. “Hover” might sound a little reggae with a slight alteration of beat, but it plays like an island ‘80s jam that did a barrel roll in a dirty alley. There’s a great guitar break on “Don’t Wait Up” that hits hard but still has a gentle and passionate resonance. The bass is present, but soft and just as the waves of sound seem to overbear they fade back into a lullaby rendering. This album is about ebb and flow and if the wind is right, it will certainly take you somewhere. Become A Fan
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