Noah Whiteside is an artist who has made a name for himself in the Boston area as well as in the greater New England area over the past three years playing in a Boston based punk/rock band called Cook Bag. After reading that I wasn’t expecting such warm acoustics on his solo release entitled Now and Then. These songs are stripped back putting guitar and his vocals at the center of these songs.
The EP starts with “Only One” which is a short song under two minutes. This song is done in an Americana/folk style and I think that there might have been a mandolin in there as well. It’s bright and the kind of song that mixes melancholy and joy. “Midwest Girl” hits again on an Americana vibe. In fact the story is a classic tale of going back to where you were raised. The instrumentation is warm and soothing. It’s all very nostalgic and has a reflective sound. Whiteside sings “So you move to Michigan / And you fall in love again /Cause this big city is eating us alive / So you move to Michigan.” The next song “Now And Then” is actually much more pop-punk oriented. It’s the faster pace but also the way he delivered the vocals. That being said the song is in a similar vein to the previous songs. I thought the highlight was “I've Got Nothing.” The vocal harmonies sound great here and you would think by the title of the song it would be a mopey kind of song. That’s not the case when he sings “I've got nothing I've got nothing left I've got nothing left for you.” He seems to be celebrating the fact that this relationship is over and it’s time to move on. This is an EP with songs that aren’t trying to be anything they are not. The songs have no hidden meaning it seems to me. These are heartfelt songs about topics I think the majority of people can relate to. Take a listen.
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The latest release Short Songs for Long Days by Cape Nowhere is a sweet ode to the Soviet space dog Laika who did not return from her mission. I didn’t know anything about this and googled it and read about it. It’s honestly a bit of a tearjerker. They take this poor dog who did not sign up to go on a space mission who was expected to die and died pretty fast. I suppose it’s nice this dog is celebrated with a statue but man that dog must have been “wtf are we doing? Where are we going”
At any rate the music here is short, warm and sparse. It’s also melancholy and beautiful in all the right ways.The album start with “Dream of Locks” which revolves around guitar and vocals. It’s soft yet poignant and is over very quickly. I liked the opener but “Going to the Moon” was gorgeous. There is more movement and it contains this reflective melancholy. Andrew Graham sings, “I'm going to the moon / Sleeping in the total darkness / Wondering was it all so bad.” Oh man just thinking about that poor dog in space all alone in darkness. It just pulls on my heart strings. Up next is “More Than One” which is the longest song at three minutes. It’s slow moving but beautifully delivered. Absolutely nothing is rushed. “Nothing” is a highlight. My interpretation was that it was about accepting nihilism. “And the Light Came In” is another highlight in the batch. The guitar picking is crisp and delicate on this song and sort of reminded me of the group Madredeus. “For Laika” contains some piano and is a bittersweet send off. I really thought the topic here was a unique and original way to harness emotion. It worked very well not only because of the topic but because of well crafted songs and the way in which they were delivered.
The Rusty Kid is a musical project belonging to Zach Andrus. He has been in bands for a long time as a drummer and recently released No Money EP.
The artist said his music in “"No Money EP" is a collection of songs that can best be described as “lo-fi surf rock meets western.” Some of the songs definitely had a surf vibe to my ears while others didn’t really seem to as much. The western reference was a little subtle (I would say there are some elements of spaghetti western) but there's certainly some garage rock and folk in there as well. “Blame the Sun” is the first song. I really loved some of the melodies buried in the song. That being said the song is extremely lo-fi. “Someday” has this clean grunge vibe going on with some folk. This is a slightly less lo-fi and and again I really liked the melodies as well as his heartfelt delivery. “The Way They Feel” is a classic surf/garage rock song while “Summertime Stomp” is a one-off sing-along. It sounded a bit like horses running from the percussive elements. “No Money” veers back into “Someday” territory but this felt very Americana infused. “Nothing Left to Give” is a bit of a downer to close but it definitely has some beauty to it. Andrus wrote these songs when times weren’t great. In all honesty I think at least 80% of the submissions I read tread a similar storyline whether it’s depression, divorce, losing a job etc. It's become clear to me that the most beautiful thing about music and art in general is often the cathartic effect it has on the artist. Going through that creative process is almost always healing in some ways and it produces art that feels very honest and pure to the listener. And that’s the way I felt about these songs. As an engineer I have to admit these songs were much more lo-fi compared to what I’m normally used to. I completely understand working with the tools you have but things like getting advice from a student who may be studying engineering can be an indispensable tool to get a second set of ears. The one thing I would love to hear next time is a bump in the engineering department even if its by as little as 20% because some of that emotion seems to be getting lost in the mix. There is a good amount of talent here especially in the songwriting. That’s the most important part. I don’t know Andrus but something tells this is just the beginning for him and a way to start anew. I’m looking forward to hearing more.
Floral Couches is the “sexy solo moniker of Chicago musician and songwriter Cody Gray. After creating lo-fi fever dream sounds with synthesizers on his last album Electric Fever, Cody returns more than a year later with the R&B and jazz influenced pop EP glitter. It sounds exactly as the name implies with twinkling percussion, smooth instrumentation and a late-night aesthetic. A much more organic feel than past works, glitter brings you into a world all its own that you won’t want to leave.
The EP was recorded in Gray’s home studio in Chicago using Logic. His recording is truly a DIY project – lead guitars coming from a hand-made 5f1 tube amp and rhythm recorded from a JC40 (not sure what that is but it sounds homemade, too). Lots of percussion was added as well, such as the triangle, wood block and chimes and synth sounds coming from two different sets ups. The opening track “Welcome” is a groovy, synth infused intro with a little futuristic style thrown in. The beginning to “Feelings I Can’t Control” reminds me of one of Prince’s obscure late-night songs he would center an entire album on – yeah, Prince never stopped writing and recording. The sexy style is evident – the feathery guitar melodies, the kinky funky beats, and of course the synth, all add to a slow moving and soulful R&B styled song. “Hold On” keeps up the same beat somewhat, albeit with a faster tempo. The synths are jumpier and anxious (not to mention kind of catchy) and the overall style is more modern, like say a Justin Timberlake tune. I also thought the guitar playing was quite good, sounding more like a harp. “Dull Inside” features a thick, syrupy beat – thumpy and ear splitting, if played in the car I suppose. The synth has an ethereal sound, magical and “dream like.” Sexy style is definitely in this song’s DNA. I liked how this one fades out, too. The last tune “TY” (which I’m guessing stands for ‘thank you’) begins with a sporadic beat, spacious guitar chords and wood block percussion. Very lightly in the background there is a shaker playing as well. My only drawback to this instrumental-only song was that it was too short – I was really getting into it. All in all, this was an interesting EP and one that was very focused on a sexy style – whether the song was more pop, jazz, lo-fi or R&B – the EP’s underlining feeling was all about the sexy grooves.
Atlanta, Georgia band, Brother Moon, was founded by guitarist and lead singer Sam Epstein and bassist Elijah Haller. Being friends since they were a wee three years old, the duo’s short but powerful three-song debut Nightwatch was inspired by musical artists such as The Grateful Dead, John Mayer and B.B. King.
The EP was recorded and mixed at Standard Electric Recorders in Decatur and mastered by Damon Moon. The pair also had help from fellow musicians, Aidan Babuka Black on keys and Joseph McGill on drums. The band describes their songs as having a “pop feel along with the musical diversity of underground jams” and each tune has a story to tell. The first track “Nightwatch” encompasses the group’s blues/pop influences including John Mayer and B.B King. I could definitely hear Mayer influence on this one with the shuffling blues beat and catchy toe-tapping rhythm. The drums are very live and full sounding as is Haller’s bass - a short and groovy beginning. The next track “Why” is by far the mellowest of the three. The song itself could be considered a “dynamic dream” due to its tasteful feel. Later on, it builds to “an all-out banger.” It sounds as if Haller is on the lead vocal here, but just a guess. Overall, the musical arrangements are soulful and deep and the added keys by Black shows a great tenderness to this slow dancing number. Also, I liked how this one fades out in the end. The last track “The Last Time” is called the “rockiest” of the three although it starts off with a quiet lead in. I absolutely loved the melody during the chorus and the overall “feeling” within this tune. It just has that certain something – like a love song melody tinged with the blues. If you like Zeppelin’s or Hendrix’s softer blues “love songs” you may like this one. The duo says the “lead guitar along with heavy drums sets a tone for the adventurous – with its non-traditional composure, the song encompasses a first verse, then goes into a heavier second verse and then into a heavy outro.” The outro is one to sing along to according to the band. Overall, I’d say these Georgian “brothers” have a sound and style that’s pretty solid and strong, which should help them out in their future recordings.
Grace Conheady is an artist from Rochester, NY who has been involved with music and poetry most of her life. Her release Things You Misheard is a short collection of songs about love and the pain that often accompanies the process. It was written over a span of three years.
Conheady is a student which means she is mostly likely in her 20’s. It was almost twenty years ago I was that age but I still remember how fragile and difficult relationships were to manage for myself and others around me. My emotions were so intense it was difficult to know how to weave through that web of knowing how to deal with them properly. That intensity seems to make its way through the music in a way that only young love seems to burn. She opens with “Manhattan” which is a song that embraces the complexity of the city as if it’s a living organism. The first line she sings is “Manhattan has seen me cry, on the doorstep, on the pavement.” She does a great job melding metaphor with gut wrenching reality. One of my other favorite lines was “Lost in the city, with nowhere to go, but the places you see, heart melts and bleeds, on the subway seats.” Instrumentally, there is a lot to appreciate as well. It's dynamic, soft but powerful when it needs to be. Up next is “The Pope” and like the first song contains exceptional storytelling. The lyrics felt like a nice balance to me of poetry and direct concepts. Similar to the first song it’s delicate but powerful. These types of dichotomies are apparent in a number of ways. Up next is “October” which is the first time she kind of rocks out. There is even some fuzzy bass and some epic heights on this track. Last up is “Things You Misheard” which grows with energy but it’s a slow burn which can fade into the night. Things You Misheard hits all the right emotional notes and I think if you happen to be in a complex relationship songs like these can have healing properties.
The current wave of Americana often leans toward the indie rock sector, and don't get me wrong, I am loving it. However Colorado's Larry Lacerte leans the other way heading into traditional folk and deep hues of blues. His latest album is On To The North is a charming mix of quaint and fresh sounding songs that are breezy and grounded. He explores the full range of the unique sound he has cultivated and it came together beautifully.
I immediately feel in love with Lacerte's playful and unpredictable song structure. While Lacerte has traditional leanings, at his core he is undoubtedly a modern musician with a fresh sound. He is also a fully ranged vocalist who can come off as very earnest and folkish or much more subversive and punk. He also plays well with others as you'll see there is added vocal help on the album which was equally as enjoyable. Again, with his vocal performances, there is that level of play and range. There are a lot of fluid pieces to this puzzle and it took careful considering to assemble this album. Lacerte employed the tactic of letting the tone of the album evolve organically. We start in a very rural place and ends in a place that is much more populated to say the least. It's an interesting transition that somehow runs very smooth. On To The North is a studio album done in Denver, Colorado at CCM Studios. I really loved what was done in terms of production for this album. You have to be someone who is nimble or flexible when it comes to finding a cohesive thread among all of Lacerte's moods. The mixing and mastering was so intuitive to the fluidity and yet, that cohesion was found. I think the production quality is also what will allow this album to be more accessible and cast a wider net. Another big player in what makes this album a winner or me is the lyrics. As a writer, Lacerte is able to do a lot with singular and seemingly extraordinary moments and find the magic within them. He's observant and curious. It translates very well into solid narratives. It's interesting, I could see different sections of this album appealing to very different audiences if the songs were split up. However, in its entirety, I think it has potential to bridge gaps. With any review I do I always take into consideration who would be interesting in what I'm reviewing. In this case, I'm gonna go wide and call out to the indie rock, math rock, folk and blues communities. There are so many hidden gems in here, I cannot stress the importance of listening to it in its entirety. Not just to find what hits your buzzer, but also to hear the evolution that takes place. This is well done and above everything, unforeseen.
I couldn’t imagine I was going to get anything too chipper or joyful when listening to Badman by Worst Ones. The first two songs I noticed were called “Born of Pain” and “Funeral Flowers.”Suffice it to say the band certainly dwells on the darker side. The band mentions their music is for fans of bands like Marilyn Manson and The Melvins. I would agree.
The instrumentality aspects lean towards The Melvins and early Marilyn Manson. They rely on a lot of distortion and keep the music fairly stripped back but not always. It definitely feels like a band is playing live more often than the elaborate production of later Marilyn Manson. I actually have been listening to some Marilyn Manson recently and picked up on the similarities to the vocalist. The inflection and delivery is strikingly similar on certain songs . The band get going with “Born of Pain.” I was happy to hear some drone metal in the style of early Sunn O))) on this song. Distortion drips from the guitars and a heavy beat and bass define a thunderous low end. The energy picks up quite a bit on “Funeral Flowers” and is a distorted four-chord punk song with some cinematic qualities. It’s a little dangerous and quite fun. “Black Hole” goes into a drone metal type of grunge. It’s ugly with all sorts of distortion and exactly what you are seeking if you appreciate this type of music. “Dirtball” is garage rock not that far away from The Clash in a lot of ways. The chorus here is really catchy. “Summer Snakes” is perhaps the track that reminded me the most of Marilyn Manson. The song contains a hard hitting industrial beat and a lot of NIN type of production that you heard with Manson. “Washed Away” overflows with white noise and menace while “Forward Motion” has a kinetic beat and energy. They close with the title track “Badman” which embraces more drone type distortion. If you are a fan of any of the aforementioned bands I would say this release is essential listening. Recommended.
The Neuro Farm is a dark wave indie rock band based in Washington DC. Since 2017, the band has been active in the DC indie scene since releasing three albums: Blissgul Isolation, Ghosts and their latest album The Descent. Bands such as Pink Floyd, Radiohead, Joy Division and Blond Redhead heavily influence The Neuro Farm. Determined to leave their mark, the band performances have been covered by the Washingtion Post Going Out guide, Metro Music and hometown Sounds. The Neuro Farm has also been featured on radio stations including Spain.
The Descent begins the first chapter “The Fall” with the gothic track “The Demagogue.” Opening with a string section and howling background vocals, Brian Wolff’s voice adds to the dark tone. The instrumentation is energetic but the haunting strings section creates the feeling of eeriness of the mood. “Divination” is a quick 30-second synth instrumental that gets you ready for the following track “Forged Alliance.” Here Rebekah Feng get to show off her vocal range and well as a wonderful violin solo. Chris Willett’s deep bass is electric and groovy enough to vibe along to the sound of the siren’s voice. The Neuro Farm switches up the mood beginning with Chapter II: The Gloom with “Cold Hands.” It’s a pretty tame song where Wolff expresses his pain. “Mercy” is simply a kick ass song with thumping guitar and nice drumming by Colin Diemer. It sounds closer to a blues-rock song you’d hear while having a beer in a country bar while you’re down on your luck. Of course The Neuro Farm had to add their own twist to the genre so instead of a fiddle, Feng pays an emotional violin solo. Chapter III: Resistance has only one song “The Square.” Here it’s all about the instruments. Yes Wolff does a good job in the first half as Feng sings back up. From the drums to the guitars it keeps leading up to this epic finish with Feng taking over singing duties. While her voice commands attentions, it’s the instrumentation that does all the heavy lifting throughout the song. The final chapter of The Descent, Chapter IV: Acceptance, starts with the track “Bubble.” The Radiohead influence really shows on this chapter of the album. The album finishes with the intense instrumental “The Return.” From the echoing synth and violins to Wolff’s drawn out words it’s a lush landscape of sounds. The Descent is a hauntingly dark and beautiful album from start to finish. The gothic vibe can be intense at times but it doesn’t overshadow the talent of the musicians. Also The Neuro Farm does a brilliant job of shaking up the sound just a bit to keep the album engaging. The concept album talks about the rise and fall of power, failed revolution and how fragile life is under tyranny. The fact that the band broke up the songs into chapters: The Fall, The Gloom, Acceptance and The Return proves how much thought went into the project.
Zane Moore, Nathan Whitaker, Blaine Pool and Jace Ross are Down by the Pool. The band formed in 2018 and played their school talent show and then decided to keep the band together. This kind of the same thing happened to me a little over twenty years ago. I had a band that formed after a talent show.
The band plays a mix of funk, rock and more on their release Honor Student. It’s also ironic the bands style they play because bands like Red Hot Chili Peppers and Rage Against The Machine were in their prime and really popular when I was in high school as well. The album opens with “Wolf Creek.” It’s a mix of funk, rap and rock. The lead singer seems to be trying hard to be indignant. He definitely feels more angry than anything and is searching for some type of cathartic release. You can also hear this indignant youthful anger on “Cunther” where he sings about just about every institution feeding us lies. There however are some different styles like you hear on “Natural Oddity” where they sound like a completely different band. It’s a melancholy ballad while ”H2o” is sort of silly and carefree. There a hippy jam session that turns to hard rock on “Doom.” “Easier Done Than Said” is sort of funk and atmospheric. This band is all over the place in terms of style and has all the common signs I see when a band has some talent but hasn’t been together very long. As a producer myself, I think the most important thing is to start forming more or a foundation or a signature sound. Sometimes creating a signature sound happens organically but sometimes it takes working with a producer or having a conversation about the direction the band wants to go in.I highly suggest working with an engineer at some point as well because of how lo-fi these songs are. I think this band has some talent and more importantly are having fun. They reminded me a lot of my younger self and some of the bands I was in. I’m interested to hear what they sound like in a year or two as they build and refine their sound.
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