Mojo Messiah is the recording project of Los Angeles guitar player Travis Daily. Though a gigging musician playing blues and world music from a very young age, Daily switched careers and worked as a public defender for 15 years. After his father passed away at 58, Daily realized he couldn’t put aside his musical dreams any longer, which is how his album Release Me came about. He describes this collection as “…a genre-jumping album that sticks to only one rule: make it groovy!” Among the styles he employs are funk, rock, punk, alt-rock, Afro-beat, Cumbia and horn-driven instrumental.
It’s unclear if Daily plays everything or has a backup band (I suspect the latter), but he employed tenor sax player Randal Fisher to create the horn arrangements. The album was recorded and mixed in Pro Tools and Logic in collaboration with David Ott in Los Angeles, and mastered by Grammy winner Brian “Big Bass” Gardner who provides a thick, heavily compressed sound. “Welcome to Mojo” opens the album with a funky tribute to Daily’s early jam days and “is meant to be fun.” Daily’s busy, snaky guitar takes centerstage atop the percolating Los Lobos rhythms. His playing betrays a bit of Santana and Hendrix, but is also clearly his own style. The organ player provides ace support and partakes in a lively dialogue with the guitar. “Little Kid” ups the RPM’s for a roots rocker with Daily’s vocals topping a potent stew of fuzzy guitars, horns and Randal Fisher’s sax. “Baja” has an appropriate Tex-Mex feel through its chorus-drenched open chords and percussion before exploding into a hard rock chorus with even more fierce guitar soloing by Daily. “Goodland” is a jittery high energy guitar instrumental with added bongos and congas and another gorgeous horn section. Thus far Daily’s solos have all been teeming with invention, and I can easily imagine him playing onstage for hours without losing his welcome. “Here For You” is a swampy Arrowsmith-style rocker featuring the main chord from “Foxy Lady.” Olivia Kuper Harris provides a soulful guest harmony during the snarky choruses: “Doesn’t matter who you sleep with tonight / I don’t care who you go home to… I just want you to know that I’m here for you.” Album highlight! “Gentleman” is something rare indeed: a cover version of a Fela Kuti track. Randal Fisher takes the lead on sax (and maybe plays some of the other horns as well), and the rhythm section grooves along in authentic Afro-beat style. Though not as long as a traditional Kuti song, Daily gives his band over six minutes to feel the beat and explore the sounds. The title track “Release Me” is another soulful collaboration with Olivia Harris and features a seductive, down low groove reminiscent of Leon Russell. This time Harris gets a lot more time and space to vocally show us everything she’s got. “Cumbia Sierra” is a collaboration with the Los Angeles underground band Spaghetti Cumbia. Daily calls this track a “Cumbia psychedelic medley,” and though I’m unfamiliar with Cumbia (which is partly defined as “Latin American folk dance rhythms”), it sounds to me like faster reggae and is every bit as engaging. Daily’s parts are quite busy and never flag for a second. A unique and exciting track! “Walking Song” ends the album with a surprising pop instrumental that could have come from Chicago or Blood, Sweat and Tears with the horn section predominant plus some nice bass patterns as well. Overall Daily has delivered a great sounding, wonderfully performed album that’s impossible to resist!
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Martin Ascher is a Brooklyn based guitarist and songwriter who is also the lead guitarist in Stitched in Blue, a Brooklyn alternative/blues band. Don’t Get Caught Up is his solo debut. Martin loves a good guitar solo and is influenced by artists such as Gary Clark Jr., John Mayer, the Grateful Dead and Bruce Springsteen. The EP was recorded in Brooklyn over two long weekends during quarantine in the home studio of producer Jason Sill (who also contributed arrangements of the percussion, bass, piano and vocal harmonies). Colleen Curry also contributed on piano, as well as Sam “AC” Smith on additional guitar.
The four-song EP was mixed and mastered remotely by Johnny Del Toro and Pierce Johnston, respectively. Ascher describes his work as pop-rock but with a heavy blues and folk influence. Everything on the recording was written post-Covid and many of the lyrics reflect the past year from the darkness of the time to the need to stay in the present and accept what you cannot control. As this was a solo effort, he had complete creative control, which allowed him to put more guitar parts down than he would have with his band. The title track “Don’t Get Caught Up” has a nice pop, folkish rhythm and light melody. The layering vocal harmonies are fantastic, as well as the song’s overall vibe. Ascher sings – “Don’t get caught up / It’s not good for your health / Don’t get caught up / You can lose yourself / Don’t get caught up / Leave it on a shelf.” Solid words of wisdom at any point in one’s life, who may be going through a rough and anxious time. Next is “I Don’t Know You (But I Want To)” and it starts off bare with just Ascher at the mic with his acoustic. A light bass groove drops in and then some gentle beats on the drums. A chill song with a sweet guitar solo, that mixes a couple of guitar tracks down. The climatic tension gets good and hot towards the song’s end. “Leave Me Uptown” has a classic ‘70s Springsteen feel to it, but perhaps more on the side pop folk, than rough street Jersey rock. Overall, this tune has a nice, light feel. It also has this melancholic vibe as if Ascher is looking back on something in his life or is experiencing a deeply present moment that he doesn’t want to see end. Last up is “Calm, Peace, and Grace” and this tune was my favorite. The piano coupled with the gorgeous vocal harmonies was great! The chords and arrangement are catchy and the timing of the drums coming in just after four minutes was perfect. There is also another nice guitar solo to be heard. Altogether, the song has an inspirational appeal with elements that have some ambient and/or soundscape qualities to them. All in all, I found Don’t Get Caught Up to be well produced and has me interested in hearing more from this Brooklyn singer/songwriter.
Westchester Country, New York--that’s just north of the Bronx--brings us rock quartet The Blinds. Tell Me What You See is the debut release from band members Joe Fareed (vocals/songwriting), Morgan Davis (guitars), Frank Bubiccio (bass) and Leo Rinaldi (drums).
The Blinds are young (all members were between eighteen and twenty-one at the time of recording), but they worked efficiently in the studio: the nine-track LP was recorded in just five days. The group tells us that they were well-rehearsed beforehand, so most tracks required just one or two takes. That rock-band-in-a-room urgency comes through and it’s refreshing. But this is not a throwaway garage-band recording. The songs have structure and dynamics with varying tempos and feels. Producer Sam Wagner has included some nice touches without being heavy-handed at the controls. This is a distorted-guitar, alternative rock record, first and foremost--the band stays in its lane--but there are little bits of polish and sparkle to help a live act make the transition to the studio. Clearly, The Blinds can play their instruments. Davis’ guitars are on-point throughout, whether he’s doing straight-ahead power chords (“Tell Me What You See,” “Zoe”), a Hendrix-y Stratocaster blues workout (“Serenity”), or sensitive acoustic work (“Sulk”). Bubiccio’s bass work is brawny yet melodic and Rinaldi’s drumming is rock solid. Vocalist Fareed has great pipes, but it’s his written words that star. His observation and introspection is wise beyond his years, and he brings it to life with several clever lyrical turns. For instance, on “Conversations in Parked Cars,” he fends off an older, married woman: “Self control is testing me tonight / When you say that monotony steam from monogamy / I won’t let you fill my head with nonsense.” Or, on “Betterman,” where he indicts a friend’s boyfriend: “Now, see what you did / She’s scratching letters into drywall with nails that fray / You tore off all the pedals of a rose today.” Wow. Each of the nine tracks is well done. The straight-ahead rock tracks (including “Tell Me What You See,” “Zoe,” “Conversations,” “Last Forever,” “All You Do” and “Betterman”) start with the standard vi-IV-I-V types of tonalities, but incorporate enough variation to be interesting. The arrangements help, too: the second verse of “Last Forever” leaves the guitars off for the first few bars, which worked very well. “All You Do”’s outro guitar solo was just right. The Bic-lighter power ballad “White Fang'' is a top track. Everything comes together here. Fareed’s lyrics hit deeper than most in this genre (“The best in you is what I wanted / But the best of you is what I got”), and his vocals have a lusty edge and rasp. Bubiccio and Rinaldi give things just the right amount of propulsion. Davis’ melodic guitar lead is set against backing-vocals oohs, which is a standout touch of production. Kudos to Wagner for leaving the synths unplugged and thickening the track in the old-school way. “Can we just be honest with ourselves?” Fareed asks on “Sulk” and the honest truth is that The Blinds have delivered a truly enjoyable rock record with Tell Me What You See. Who knew Westchester County had it in them?
Claytonsfaith is based in Melbourne, Australia and released Anxiety's Clarity. They mention: “The latest release Anxieties Clarity is our first album with a deliberate purpose created, this time written of poetry following my descent into PTSD/anxiety out of the blue several years ago, and follows the ebb and flow of life stated quite clearly lyrically from then until present.” This topic is one of the most popular that I’ve noticed artists writing about more and more. If not anxiety, then it’s depression or some sort of general state that is negative.
The album is more or less shoegaze with a strong emphasis on ambient soundscapes. It’s lush, heady and serene. The first song “Kayhaitch” brings to mind a band like The Jesus and Mary Chain. There isn’t much happening in terms of guitar that I heard and revolves around slow moving pads, a sparse drum beat and vocals. “Cherry Red” continues to sprawl on this slow burn of shifting atmosphere. The vocals are distinct and actually reminded me of Sgt. Peppers era The Beatles in some way. We get some more energy on “Free From Me” which contains a slightly disorienting mix of sounds which is classic shoegaze in some ways. “Into The Sun” has some memorable melodies that combine with delayed guitar, harmonies and more to make a robust sounding song. “Frosted Thoughts” and “Aggenee” continue to form this foundation. There are some pleasant but darker soundscapes. I loved the driving fuzziness on “Terms And Conditions” and the closer “Supposed Adversary” which is one of the hopeful sounding songs. This album had an early '90s shoegaze quailty. It would fit right at home on a playlist with Ride, Slowdive and My Bloody Valentine. I’ve always loved the dissonance that genre pulls off and the band does a great job here. This was a cohesive album. The soundscapes were different enough from song to song but not so different that it felt like a different band. Fans of shoegaze should love this. Take a listen.
Silvereye by clash bowley started off a little more sparse than I’m used to. The prolific artist has a tremendous amount of output and this release to some extent feels scaled back at points.
The title track “Silvereye” starts with a steady beat and just vocals. I don’t think I ever heard his vocals like this before. I liked it. There are other familiar elements such as the warping synth bass which enter into the mix. It’s almost like the vocals felt separated from the track in some ways. “Heroine” almost felt like an extension of the first track. There’s some more backbone here with a nice bump on the low end. “Responsibilities” was another very stripped back where bowley lets the first half of the song breathe with not much more than bass and vocals. The other elements that come in feel natural. Bowley had some more success with “Hold” and “Courage” which were classic Bowley but the song “Compass” was the song that got more of my attention. There’s some unique funk on “Production (feat. D-Mix)” which was a highlight in the batch. As the album progressed I thought there were some songs which felt like Bowley was spreading his wings a bit. The songs “Anonymity,” “Hero” and “Here” in particular. “Here” is a heartfelt song where the cascading synths are more or less absent. I got the feeling with this release that bowley is getting more comfortable with less instrumentation. That’s certainly not a bad thing and in a lot of ways opens up new doors. This release contains some of bowley’s signature sound as well as some songs which are unique in their approach. I love hearing such a talented artist like bowley expanding his talent. This was a nice surprise and I hope to hear more experimentation from the artist. On this album it worked to his favor.
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 Robin Wolfe Robin Wolfe 3.6 FE forget everything 3.6 Count To Infinity Fossil 3.7 Rubberneck Interlude 3.7 Citizens Band Orchestra Songs From the Future, Songs From the Past 3.6
Zaeus is a collaborative music project based in the Washington DC metro area. The artist has been playing piano since he was five. He later played in two LA bands, a soul/funk outfit and a live hip hop group. Zaeus also contributed music to the Emmy award-winning show “Top Chef” and the film “Once in the Life.” On his debut album Be Still, Zaeus incorporates many different voices and perspectives across the board, teaming up with artists from all around the world including the US, Italy, South Africa, Indonesia and South America. Be Still fuses the magic of trip hop, hip hop and soul from earlier eras with a sound leaning onto the likes of Portishead, Massive Attack, Zero 7, The Roots and Morcheeba. Zaeus has sculpted from the ground-up a sound that takes the best from these artists with the full ability to stand on its own as well. The artist goes from smooth and soulful to upbeat and energized at just a moment’s notice. Each track has its own fresh appeal and with something for everyone to enjoy, Be Still talks about the journey and the themes that may arise including romance, anger, addiction, passion, survival and spirituality. The varied voices on Be Still show Zaeus’ eclectic vision, giving you hip hop, R&B and soul tracks you’ll be sure to return to again and again.
Be Still takes off to some syncopated vocal harmonies on “Nikarika (ft. Z Day).” A cool lounge vibe eventually comes in. Next, Z Day’s glossy vocals arrive to full effect. I loved how soulful and harmonious her vocals were. The music had a nearly tribal air to it and this juxtaposed with the smooth vocals made for a compelling sound. This was an R&B track that had a whole lot of soul. A dash of funk could also be felt in the music. Syncopated beats sound out in the backdrop as right from the get-go, Mr. Maph’s evocative rap style comes through on “Selfie (ft. Mr. Maph).” There was definitely a ‘90s old-school hip hop throwback to his rap style. His free-flowing style really has a classic sense to it. Some muted tones on the keys arrive on “House Of The Rising Sun (ft. Syauqi Destanika).” Gradually, the keys grow in groove coming in with some programmed beats. The groove is mellow and laid-back. As Destanika’s vocal harmonies come through, you get the sense that she is baring-all on this intimate performance, sounding as if she is performing this song only six feet away from you in the same room. The vibe feels very up-close-and-personal. There was also a real jazzy flair and overall cool lounge vibe to the music. Some beats add some traction to “Dead By Thirty (ft. Molly Durand).” More mellow music makes for an easy-going listening experience. Durand’s vocals change up from fast-paced to soothing at a drop of a hat. She coos and croons, using her full vocal range in realizing this track. Jutting intermittently in this song are announcer voice overs that adds to the immediate themes and urgency. The sound of guitars and keys come in for a real smooth listening experience on “In Flames (ft. Faye).” More R&B notes come through from Faye’s vocalizations. The mellow keys bring about an easy-going listen. Some horns add a Latin element to the vibes. The sound of ocean waves right away arrests listeners on “Salinas.” Gradually, the smooth sound of keys works in an inviting vibe for audiences. The keys are played with a great retro flair. The melody at moments reminded me of the Peanuts’ theme song. “Amnesia (ft. Molly Durand)” brings in some percussive beats right away. The groove gradually grows in sound. Eventually, some more airy keys come in. More smooth and mellow sounds are carried through. Once Durand’s vocals arrive, you can feel her soulful and old school voice surround you like a hug. The feeling is truly warm and comfortable. On “Me Against The World (ft. Molly Durand and Tim Lefebvre),” moody synths start off this track. The ambiance on this piece just grows and grows. Next, the soulful and silky-smooth vocals coming from Durand convinces audiences to listen on. Her honeyed vocals will definitely leave an impression on listeners. There’s a jazzy pull to the music and a great contemporary radio vibe. Durand’s vocals are dripping with heaviness as if she has a bottomless weariness for the world and everything in it. It feels like she is languishing in this world weariness and the sound is overall very gravitating. Airy strings open up this song to a great atmospheric vibe on “Coda (Afterlife).” The vibe is lush and sweeping all at once. Next, a piano melody comes in. The sounds meander for a bit. The live instrumentation provides a live element to this song. Different from the sounds from before, this movement towards a more natural sound is successfully executed here. A home-recording and with the core instruments utilized being the 1980 Rhodes Fifty-Four and a 1982 Juno-60, Zaeus uses a wide variety of sounds that include analog and digital sonics to produce a widely layered and textured sound. Zaeus’ expert musicianship on the keys and synths magnifies the recording, easing listeners into the glossy sounds. Though mainly a bedroom recording, I thought that the compositions on this album shined through with a professional gleam. Zaeus collaborates with many different artists and you can hear their eclectic voices on this album. I got the sense when listening to Be Still that Zaeus has a lot to say. With the album as his launching point, this is a definitive intro to Zaeus’ sound and I very much look forward to seeing what’s next for the artist.
Winona Avenue is a two-piece Christian rock band from Indianapolis, IN featuring brothers Daniel Deputy and David Deputy. Inspired by synth pop and pop rock from the 2000s and 2010s, Daniel who is the lead vocalist and songwriter goes out of his way to make uplifting music with empowering lyrics. He says that if the lyrics aren’t doing its job in making a difference in its listeners’ life, he feels that it would be a “disservice” and that music is meant to build up and not tear down. This feel-good energy is consistent throughout their debut self-titled album Winona Avenue which was released exclusively in CD format on August 14, 2019 and was released digitally on June 25, 2021. The vibes are sanguine, nearly bubblegum pop in feel and I think this is due mainly to the band’s Christian undertones established in the message of the album, where the common themes of inspiration, optimism, life and hope projects a boost of positivity for listeners to experience firsthand when listening to this record.
Winona Avenue’s feel-good vibes get right to it with “Move This Town” that right off the bat starts off with strong guitars and a dramatic drumming beat. The sound comes through sounding a lot like pop rock and synth pop styles similar to bands of the ‘90s. The lyrics and music feel very uplifting, empowering listeners as they are compelled to listen on. Heavy on the synths, the guitars also create a great sound. This is rock music more on the upbeat vein filled with catchy and melodic riffs. Starting off with overpowering synths, the music right away comes in with an immediate sound on “Future Me.” There was an urgency to the lyrics and the music really comes together with a dynamic sound. I thought the band really rocks out on this track. Coming up with a dreamy power pop sound, “December Nights” heavily revolves around synths. There’s also a great piano accompaniment to this piece, feeling very much in the ballad vein. The vocals and music also felt very soaring. Feeling very pop punk-oriented, the band starts off with some jaunty rhythms and beats on “Paradise.” The band’s contagious energy continues on here. With a great energy, the pop punk vibes really come alive here. I loved the uplifting and motivational music. More power pop and punk pop feels come through on “Dancing In The Pouring Rain.” Keeping the flame of ‘90s and ‘00s bands of another era alive, the feel-good energy of this song will keep listeners satisfied. Those familiar with this type of music know what to expect and Winona Avenue delivers on all counts. Off to a moody start, synths sound out in bursts and spurts on “Masterpiece.” Next, the music becomes more full-on. With a more full-band backing, the guitars are moving, creating a wall of sound. This is another empowering anthem to lift up your spirits. “Alive In You” starts off with a sprawling vibe. The sound of synthetic strings gives off an epic feel, mixing orchestral elements with some rock embellishments. On “Beautiful Beginning,” percolating beats and synths sends out a glitch-y and electronic vibe towards the start. Next, the band’s power pop and punk pop energy comes in at full blast. The sound is uplifting and euphoric. This track felt more in the electronic route, coming across with a great dance-worthy and rock-fused vibe. Starting off with a classic pop punk riff, the energy of “Day Of Our Lives” just climbs and climbs. I greatly enjoyed the energy of this piece. The infectious feel-good vibes feel just right. The band finishes the album with this driven closer. Combining the band’s love for alternative rock with synth pop and ‘80s power pop, 2000s pop punk and 2010s pop rock, the band pretty much sounds like the bands they grew up listening to. As far as what sound they are going for, they manage to successfully bring about a synth-based and pop rock sound of different bands from these aforementioned eras. As a Christian rock band, they keep the lyrics uplifting and positive, pretty much like other Christian rock bands before them. There’s a worship element to the lyrics, although this isn’t that obvious at first. Some of the songs pretty much sounded like regular things bands would talk about but with a more positive slant and I think they do a good job of making their sound accessible to both the secular and non-secular world. The duo shows consistent talent here and I look forward to seeing them continue to evolve their sound in a future follow-up release.
Alternative/power pop rock quartet Kingdom of Mustang hail from Charlottesville, Virginia. Tales from the Atomic Tambourine is the group’s third offering. The band is a collaboration between Mark Roebuck (The Deal, Big Circle, Sub-Seven), Michael Clarke (The Deal, Left Lane), Tim Ryan (The Gladstones, Jeebus, Left Lane), and Rusty Speidel (SGG&L), who first came together in 2016 to perform songs from Roebuck’s album The World and All Within. Discovering a mutual love for songwriting and making records, Kingdom of Mustang has since spent most of its time writing and recording, but occasionally pops its collective head out and plays some live music for the people before heading back into the studio to make the next record. The twelve-track album was recorded at Studio 607 in Ivy, Virginia. The collection of songs has overtones of The Beatles, The Shoes, Teenage Fanclub, Big Star, The Byrds and others. Jangling guitars, soaring vocals and inquisitive lyrics are staples of Kingdom of Mustang music. Like many bands over the past year, Covid posed some logistical challenges. For Kingdom of Mustang, songs are typically presented with vocals and acoustic guitar, and then arranged and recorded through the band's interpretation.
The first track is “Heart of the Matter” and its words are universal in nature – like they could apply to any situation that calls for action right now. For Kingdom of Mustang, it could be about personal relationships, or perhaps some social or political issue that effects more people beyond their circle of friends. Whatever it may be, the guitars are bright and jangly, and vocal harmonies harken back to early pop bands like the Beatles and the Byrds. “At the Hi Lo Ha” finds the band reflecting on a place that brings back good times and fond memories – a happy little tune! Next up is “Jeannie When You Killed the Stars.” This one has more mystery and figure of speech behind its title and words. The music has a mysterious feel to it as well, and I really liked the low-end bass lines, drumbeats, string arrangement/additions and guitar solo. Great number! “South on the Crescent” reads like two friends or lovers saying goodbye for what could be their last time – at least that’s my guess. Likewise, the music has a sad tone to it and reminded me of some of the soft rock ballads of the ‘70s. I sense that lyrically “Yesterday’s Blues” is about trying to come to terms with one’s life, taking stock and refocusing your energy. Another way could be just telling yourself “There’s no use crying over spilt milk.” A faster, upbeat tune here with some great vocal harmonies, too. “Each Time that You Break Down” reads like a relationship that’s coming to a bad breaking point – if it hasn’t done so already. Another song with a faster rhythm, good vocal harmonies and quick chord changes among the band members. I liked this one a lot and, in some ways, it reminded me of Big Star and/or R.E.M. “It’s a Perfect Day” tones the pace of the album’s tempo down a bit and features a greater presence of keyboards. The instrument arrangements here reminded me of McCartney and Wings. Next up is “Until Saturday Comes” and lyrically it offers more mystery. It starts off with acoustic guitars, congas and a heavy melodic bass guitar. I guess you could say this is the band’s more experimental / hippie-ish song, without being too hippy. I thought the vocal harmonies were fantastic and I really liked the lines “There are no horizons / Only places in our minds that cannot die.” A lot of imagination in this song for sure – not to mention, Saturday must be a special day for these guys. “Lemonade and Innocence” suggest two friends who grew up together, got closer to one another and now, they’re getting married (“I hope the bells will chime”). Just a thought in this song that features heavier drumbeats and an electric guitar. Style-wise, I thought this one sounded like a mix of Tom Petty, Big Star and R.E.M. “Nothing at All” is another low-key number with a slower rhythm, contrasted with a melodic bass line and nice backing vocals. “Railbird Elegy” was a hard one to figure out, lyrically anyway. I couldn’t tell if it was a song about betting on a prostitute at the Charles Town bar or speaking to the ghost of someone (a “she” in this case) at the same bar. After all, an elegy is typically a poem for someone who’s dead written by someone expressing deep sorrow. At any rate, it’s a somber song musically – featuring a piano melody, deep bass grooves and more great vocal harmonies. The band’s style and tone remind me again of something from the early ‘70s. Last up is “All You Know is What You Know.” The words imply a bad break up or perhaps even a divorce, (“So give the boys my very best”). The band’s sound here is more reflective of a country ballad, without too much twang, if any. If you listen closely, it sounds as if there is a harpsichord (aka keyboards, I presume) playing during the chorus part. How many bands do you know put that into their instrument line up, then throw in some strings and top it off with a soulful guitar solo? A great ending track and solid third effort overall from these Virginian rockers.
Vancouver-based Silk Static demonstrates he is equally skilled in getting together an authentic live sound as he is with electronic arrangements. On his very first recording under the banner titled Germination, the artist juxtaposes instances of intense grooves and jaunting rhythms that will get audiences moving in no time. Self-described as “humanized computer music” and “anti-purist,” he isn’t satisfied with just one genre but intends to blur many in one, creating a sound that is altogether both accessible and unique in vibe. A five-track collection that sees the artist layering a sound with both natural and synthetic riffs, producing a textured and nuanced piece of work compelling enough to seem “multi-dimensional, eclectic and slyly psychedelic” in today’s contexts, this is what good trap, EDM and future bass should sound like.
Germination gets going with “Bloom Tender,” where electronic riffs sound out gearing up for some explosive sounds. Played loud and fierce coming in with some heavy rhythmic beats, the music arrives in waves with a trap and deep treading bass line sounds. The vibes feel very sweeping, definitely establishing an expansive and epic soundscape in the process. Great for the dance floors, I can definitely see this playing at a packed rave. On “Chaos Warp,” the airy and glitch-y synths arrive. Once the rhythmic bass enters, the vibes become very heavy and demanding. The beats do not abate but only grow in traction and volume, nearly overwhelming the listeners. The bass lines are sweeping. Next, some percolating beats settle into the groove on “Optimum.” Gradually, the sound embraces a smoother sonic landscape, joyful melodies and cool cascading riffs. The sonic patterns at this point have the ability to elevate moods and atmospheres. On “Negative Ions,” the breathy vocals make for a startling sound at first. Next, the beats just build and build for something with a tribal air. As the vocals enter with a ghostly visage, the music is all-consuming. The title track “Germination” starts off to a more pensive vibe. There’s a melancholy to the melodic riffs that makes it feel more somber. Next, the ambiance grows for a very smooth soundscape. The music feels like silk ripples cascading down on your skin which really fit into the whole artist moniker. The music keeps to its flux by the very ebb and flow of the music. Silk Static makes a great finish with this closer. With a fixation on duality and polar opposites, the artist’s compositions are a mix of ambient vs. upbeat and organic sounds such as flutes, vocals, or even trees rustling vs. a synth-based sound heavy on the bass. These dueling aspects within the music creates a creative complexity making it seem more than just trap or dance music but elevates it into something with more depth. Germination comes alive with sound waves that listeners are meant to immerse themselves with using headphones or a good stereo system. Silk Static is a project that successfully merges the natural world with the man-made on this broad and varied record. A good mix of both worlds, this is a solid debut from the artist and I can only hope he doesn’t stop here. Looking forward to more great things from the artist. |
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