Jam In Between is a five-piece band based out of Chicago with rock, blues, funk and R&B influences that recently released a six song self-titled EP Jam In Between. Jam In Between formed in 2016, and is known for playing live around the Chicago area. To my ears they sound like a live band. They have that type of upbeat energy that you hope to find if you want to unwind on a Saturday night with a cold beverage in your hand.
They mention “The name Jam In Between comes from the signature style of placing instrumental jams in between structured music in their original songs, as well as physically putting jam in between various objects.” The band begins with “Six Dollars” which is the single. They lean into a bluesy song with a rock foundation. The female vocalist is dynamic and can belt it out. I also thought the instrumental aspects were rock solid. The bass doesn't take a back seat here which is in the pocket with the drums. Great opener that is a solid introduction to their sound. I always appreciate some bass and drums work when it locks onto a tight groove. That’s the case with “On and On.” The guitar keeps things on the funky side but the blues feeling remains. For the most the song has a lively groove but still feels chill and relaxing which is a fantastic combination for live music. “One Good Reason” is the arguable highlight. The groove is fantastic here and what sounds like electric piano panned hard left melds really well with the guitars. Once the chorus comes the band does some solid rocking out. The drummer fits in a good amount of fills but doesn't feel like too much and the vocalist nails the hard to reach notes. “Hummingbird” is a bit of a slow burn that builds with intensity as it progresses. Something about this song felt more aligned with classic rock. The feeling I was getting was in the spirit of a movie like Easy Rider. It felt like a song where you wanted to hit the open road. “Sunday Scaries” is a romp. The song has the perfect amount of attitude that has been vacant within rock. It seems to be about not looking forward to the work week. They close with another hard rock blues song “Seamstress.” This time sounding similar to a band like The White Stripes. Jam In Between isn’t reinventing the wheel here and tips their way to blues, rock and soul without too much deviation into experimentation. On that note this is a purebred rock album that has a sense of familiarity. The songs are a blast to listen to. If you’re in Chicago, which I happen to be, I would say this is a band that will be on top of my “go see live” lists. If you can’t do that I encourage you to spend some time with this EP. Recommended.
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Austin Moxie James is an eighteen-year-old musician from Houston, Texas who recently released smoke will befall you. The artist got his start early making music and the death of a childhood friend was the catalyst for this release.
“Smoke…” is the opening song and revolves around some very solid guitar picking. James lets out a slight “hhmmm” that accompanies the guitar. Layers of guitar are added. James mentions John Frusciante is one of his influences and I picked up on that when hearing the lead guitar. It's a well done intro that establishes the tone. On “rain falls heavy” we are introduced to vocals. The song starts with loosely strummed guitar and vocals. It doesn't take long for the guitar to be more prominent. There’s also a ghostly vocal lead behind the lead which sounded great. The song is steeped in melancholy but also quite catchy. Great song. “purple mt singalong” is another great song and in fact a highlight to my ears. It’s stripped back and contains some fantastic guitar picking. The style sounded somewhere between Devendra Banhart and Donovan. I also thought the vocal delivery was dynamic and emotionally resonant. James sings “Oh purple mountain I hike you forever / Or till I run out of days / Upside down and broken / I see my presence fading / A failure in every way.” “i was a scarecrow in the garden of eden” is a soundscape with what sounds like elements like organ that have been reversed. It’s cerebral sounding and although nothing quite sounded like this on the album it worked with the feeling. “i only wanna be with you” is definitely the most single-worthy song and also a cover song. The song seems to embrace ’50s pop in a number of ways. It’s not only the chord progressions and vocal melody but also the lyrics. James sings “I don't know what it is that makes me love you so / I only know I never want to let you go / Cause you've started something / oh can't you see?” “time is nigh” is a subdued and intimate song. The Phil Elverum project Mount Eerie came to mind because of the distinct strumming style and melancholy. “never wake a sleeping cub” felt like the second part to “i was a scarecrow in the garden of eden.” The backwards effects are back but this time the soundscape is longer, more intense and builds with a distortion. “a ballad” displays more fantastic guitar picking and memorable vocal melodies which bring to mind Elliott Smith. “houston rocket” might contain the most advanced guitar picking yet and is quite beautiful and haunting. “hospital song” closes the album with a mix of emotions and a plea for salvation. I was eighteen back in 1997 and was already a musician. They were salient years helping me become a better songwriter. I, however, wasn’t writing songs this complex and emotionally resonant at that age. My point being James is already a very talented musician and hopefully this is just the start. I found this album emotionally engaging and was impressed the more I immersed myself. Recommended.
Carter Will is a solo artist based in the Chicago area. He starting playing guitar in 2018 and began songwriting in 2020. Soon afterwards he released Impressionism. The album is straightforward, mostly consisting of minor and major chords and vocals.
“Route 59” is the opener and Will strums a couple jangly chords and slowly speeds up as it progresses. The melody sounds like nursery rhymes in some sense. It’s familiar and one where you can sing along the first time you hear it. On “Friends and Followers” Will strums a little harder with some distortion on his guitar. It is more or less a rock song minus a rhythm section. “Couldn't Drown Me” was a good one. It reminded me of early Neutral Milk Hotel. “Morning of Regret” revolves around being hungover, regret and connection. It’s a catchy tune with solid lyrics. The Neutral Milk Hotel is back with “The Fox” with a slightly out of tune guitar and solid dynamics. As the album progresses a lot of the songs blend together because of the simplicity of the songs. There are some slight deviations in tone and texture. For instance, “My Attica” contains some tremolo as well as one of the more defined hooks. The title track “Impressionism” might be a highlight. I thought the melancholy and emotional resonance of the song worked really well. There’s some yearning in his voice on this song. “Arrow Of Time” and “Only One” were highlights. The closer entitled “Here For You” was a more melancholy tune as well but also one of the high points of the album I first picked up a guitar back in the mid ’90s when I was fourteen. It took years of constant practice and dedication to improve my skills. From my own experience it seems obvious Will is just starting out but still has a solid grasp on songwriting. On that note there’s a lot for him to explore in terms of the musical landscape. This was a solid first effort with well written songs that while very simple have some heart and honesty to them that makes them attractive. I look forward to hearing more in the not too distant future.
Neobeatglory is a music project by writer Garret Schuelke, founded in August 2021 in Grand Rapids, Michigan. The artist makes music using public domain sounds and recently released I Hate Living in the Future.
As far as I can tell the songs are from various bands. The first song is entitled “Gimme Some Intrusive Thoughts” and is an ascending punk rock riff. I’m not sure why the vocals were so loud compared to the music but that was the case. Up next is “We Need More Dead Fascists” and there is a similar situation here. The music is buried compared to the volume of the vocals. Schuelke isn’t really singing, it’s more spoken as he makes a declaration about current civil matters. “Fuck Scabs” says it all in the title. “Hi, Momma” is basically him narrating a story. He says “I go downtown to check my P.O. Box and find two letters waiting for me. Both are from the State, both regard benefits, and both say the same damn thing.” There are points in the song where the volume suddenly increases. “Obituary by the Time Clock” is the first song where the music felt like it was mixed at a proper volume with the vocals. The music is chaotic and lyrics are again sort of spoken word. “Prime Candidate to Become a Ghost” is a neo-metal song with a robot like voice while “My Home in Indiana” contains a fast punk song while Schuelke more or less tells a story. The song revolves around the story of the war in Iraq or at least one man's interpretation of it. “The Harshest Winter You've Ever Had (DoogleRock Cover)” contains some dark pads and an attempt at some sort of singing. There are some whispers and spoken words. “Like The Romanov's” and “Hard Times Come Again No More” continue with a similar style. This release felt very political and angst ridden. It’s hard to comment on the musicality since the songs were from the public domain. This felt like one man's thoughts and perspective about the climate in our society as well opinions about the past and where we might be in the future. When looking at it through that lens there is a lot to appreciate here.
Shawn Semchuk (vocals/guitar), Nevin Buehler (bass) and Eric Regnier (drums) are Small Kitchen Radio. They started back in 2011 but like most bands members left, changes were made, etc. The band from Saskatoon, Saskatchewan, Canada is back with a recently released EP entitled Parts.
The band mentions “The songs are all very much hard rock, blending influences from Rush, Foo Fighters, Soundgarden, Queens Of The Stone Age, Bush, Primus, Pearl Jam and Green Day.”Suffice it to say this is a rock based EP. The band gets rolling with “Living In The Amber Lights” which is sort of bluesy riff with a Queens Of The Stone Age like approach to the delivery. It’s a catchy tune that’s fun and doesn't seem to take itself too seriously. There are a number of solid, crunchy riffs. The band sounds tight and I felt it was a solid introduction to their sound. “Galvanized” is next. This song was a little more emotive. I really liked the vocals on this song but the whole band holds it together here. The energy and vibe has a ’90s edge to it. I would argue even a little late ’80s. I thought the guitars were treated well. Great song but it didn’t really have a clear hook. There’s a lengthy instrumental section where the band flexes some of their technical skills. “Like Home” is sort of a ballad, at least aesthetically. The song felt tender but still rocks. I thought the guitar work was dynamic, sometimes punctuating certain moments. Semchuk declares “You feel a lot like home.” “Small Guy Big Nose Old Man Hat” was a highlight. This song was a blast. It begins with feedback as if they are about to rock and they sure do. The groove is fast and prog rock inspired. They quickly move to the verse with a syncopated rhythm. I thought the vocals were top notch as well. This song has some of the best riffs. That being said this is another song that doesn't have a chorus or hook. “Lost & Found” very much had a ’90s alternative vibe. The song has a lot of solid riffs and is a straightforward song but also arguably the most single worthy. “Bang On Lulu” is a punk song. It does sound a little out of place as this song seems to be somewhere between The Ramones and Dropkick Murphys. The recording quality was on the lo-fi side. I thought a little more fidelity at points would have worked but overall it worked for the raw rock songs. This is a solid release with inviting songs that I think fans of the aforementioned bands will appreciate. Take a listen.
Friday Night Is the debut EP by Seattle punk-pop band Trash Day. The band features veteran musicians Lazy Larry (vocals/guitar), Lesi (guitar/vocals), Dave (bass) and Other Larry (drums). The group had a promising start playing Seattles’ 2019 Punktoberfest and Wreck The Hall Ball, but like many bands they got derailed by the pandemic. They resurfaced in early 2022 to record this EP, which was engineered and produced by Johnny Sangster at Crackle and Pop! studio in Seattle. For influences they mention Mission of Burma, Social Distortion and Fidlar.
“Trash Day Theme” is this group’s “Hey Hey We’re The Monkees” and is funny in that it mentions both the band name and the EP’s title. It’s fast pop-punk as promised, centered mostly around the guitars and the faux-English vocals. Of course all the familiar references surfaced in my mind: Dead Kennedys, Ramones, Dictators, etc. It’s got the thrash and power of punk but with clean, on-the-dime performances. “Honest Truth” continues in this vein, with perhaps a bit more distortion along with great vocal harmonies that conjure X meets bubblegum. Halfway through, it feels like a totally different song kicks in, which is an invigorating trick. The tempo imperceptibly speeds up for a full-blast finale. “Outa My Head” starts more like ‘70s rock crossed with ’80s new wave. The choruses have some of the sweetest male-female harmonies, and by now it’s clear that this band excels at mid-song surprises. The vocal prowess continues in “Brand New Me” which features a wild Minutemen abandon. I love how this group never lets the energy flag, while still delivering clear and compelling guitar and vocal melodies. “WTF” ends the collection with the same power and authority as before, along with the kind of chorus we all want to shout in everyday life: “What the fuck?” Weirdly I was reminded of The Who when the backing vocals kicked in, exactly the kind of band the punks were supposed to bury. It goes without saying (but I’ll say it anyway) that these guys have again provided inventive killer riffs and plenty of changes to keep you guessing. Creative high energy punk: what could be better?
Jeremy Small-Hawks aka smallhawks, grew up in Cornell, New York, and now resides in Blacksburg, Virginia. On his latest record Under the Sun, Small-Hawks gives listeners a taste of his sound. Upon pressing play, I was met with the warm but sparse sound of the ukulele and percussion on “Carseat.” Once Small-Hawks’ vocals came in, I was immediately sold. Altogether, what Small-Hawks has here is a stripped set of acoustic songs that will definitely grow on you.
Under the Sun begins with “Carseat,” where atmospheric synths come in. Gradually, sounds of the ukulele embrace a warm vibe alongside some percussion. I greatly enjoyed Small-Hawks’ vocals which had a touch of indie to it. The vocal harmonies paired with the simply rendered but moving music made for a powerful punch. I loved how stripped-backed the vibes were here. More warm acoustic sounds come in on the start of “Morpheus.” Small-Hawks hums lowly in the background of this track while the acoustic guitar accompanies him. I was immediately getting some Sleep At Last vibes. I thought this track sounded a lot like a lullaby. There was something peaceful about this song. More ambient synths come in on “Ellie’s Song.” Small-Hawks’ vocals here sounded very airy. I was reminded of ‘80s music. This proved to be another quiet track from that artist. On “Hemlock,” some keys and synths light up the sounds. The mood was inviting. Next, some synthetic strings come in, highlighting more of the sounds. This proved to be a pure instrumental interlude. Alongside some mandolin, Small-Hawks’ quiet vocals comes into great effect on “Hazel (ft. Emmett Munterich).” I thought this was an emotional powerful song as the artist sings with feeling. The instrumentals were loose, making for an easy-going sound. To the sound of the typewriter and some spoken word comes the moving piano ballad “Invincible (ft. Lord Adam W. C. Costello).” The piano is played softly in the background and becomes part of the ambience of this extremely atmospheric finale. Feeling very intimate in vibe, once you listen to this record, you’ll get the sense that Small-Hawks is playing just a mere six-feet away. Packed with mood and feeling, I could tell right from the start that Small-Hawks is a talented artist that will have you returning to the tracks again and again. Don’t miss out!
Walking Phoenix is an Americana/indie-alternative rock band, hailing from the Fargo, ND/Moorhead, MN area. The band formed in March of 2020 when Jaeden Alverson (vocals/guitar) and Evan Wood (guitar) teamed up with Dan Schuster (drums). It wasn’t too much later Tor Kjartansson (bass) joined to complete the band.
The band went on to release American Dreams which is a fifteen-song debut album. They mention “We draw inspiration from lots of bands/artists such as: Hippo Campus, Kings of Leon, Jack White, Bros. Landreth, John Mayer, Rival Sons, Led Zeppelin, Backseat Lovers, etc.” The music to my ears goes down easily. It’s fairly upbeat rock that will sound good at an outside festival or a late night bar. For the most part it feels like the band is having a good time and wants you to as well. They start with “Intro: Embers” which goes out of the gate with a lot of energy. The band for the most rock hard for a couple of minutes with a lead guitar leading the charge. They simmer down with “Good Intentions” and sort of loosen up a bit at the same time. Alverson delivers the vocals in a very carefree fashion and invites you in to have a good time. The band sounds in the pocket, dynamic and well rehearsed. “Listen” starts a little more intimate with a soulful interplay between the instrumentation and vocals. The bass sounds great and keeps the energy moving. As the song progresses a couple of memorable moments including the guitar solo and hook. The title track “American Dreams” is another solid song and one of the more single-worthy ones. There’s a warmth to the song and a mix of nostalgia, reflection as well as gratitude. The chorus pops on this song and is clearly defined. The band keeps the energy up with “Butterflies” which splashes fuzzy guitars with a vibrant rhythm section while “Out Of Sight” is an emotional resonant Americana influenced song with warm acoustic instrumentation. “Pamela” was a highlight. I loved the groove and energy on this song. It’s also one of the catchiest songs on the album. The vocals hit the bullseye here and the chorus is repeat worthy. Vampire Weekend came to mind. There are some more standouts as the album progresses. The violin on “Seven Sins” was a pleasant surprise that meshed well with their music.”Bum Dope” sounded like the fuzziest rock which has a good amount of attitude. “Gasoline” contains some well done builds. The most traditional ballad is “Where Lovers Go To Die” which they knock it out of the park.They close with “Outro: Ashes” which has the same energy as the intro. My only slight critique is the intro and outro sounded like a post-rock band where the other material doesn't. That being said, the band sounds great on their debut. The song writing and delivery was top notch. Recommended.
Making Days is a prog/indie rock band based in Carmel, New York. The band composed of Mike Kudrenetsky (guitar), Omar Ramirez (vocals), Sean Conran (keys), Drew Suter (bass), Andy Marine (drums) and Brian Beanland (guitar) started making music together in the summer of 2020 and recently released One Foot Follows which is a five-song EP. They explain “This album is forward movement captured in audio, which is why we named it One Foot Follows. The lyrics came from a place of acknowledging when it's time to move on, and knowing you've done all you can, hoping one day it will resonate. It comes from pain, but does not revel in it, instead laying that pain to rest.”
The album starts with “Real World Again” and you are greeted with guitars and drums. There is a lot of atmosphere from the reverb which gives the song a dreamlike feeling at first. It doesn't take long for distorted guitars to cut through. The vocals are well delivered with a good amount of emotion. There are also some pretty slick lead guitar skills with this song. In addition to that the song is dynamic. Take for instance the lush breakdown around three-and-a-half minutes in. The song dissolves back into a dreamstate towards the end. “Like You Belong” rocks. The song contains some exceptional playing from the band. I found attention on the guitar work but the rest of the band is just as impressive here. The vocals are dynamic and Ramirez even goes into falsetto at points. I thought the band established themselves with this song by flirting with various styles from metal to hard rock. There’s also some experimentation that sounded great. “Excavator” is more of a ballad. The dream like canvas is back but this time around it’s there throughout the verse. As the song unfolds it fights emotional impactful crescendos. The lead guitar takes over at times with the rest of the band concentrating on syncopated rhythms. “Violent Jazz” was a cool song. There’s an almost rapping style at points. I would have never guessed it but Rage Against the Machine came to mind at points during the song. The vocal style is varied and the band goes through a number of rocking grooves. They close with an epic song entitled “Too Comfortable.” It starts off sounding like a post-rock band. The music sounded a little like Mogwai at points. I thought the hook was powerful on this song. They lead up to it with lush vocal harmonies. The song takes all their strengths and creates some moments that are bursting from the seams by exploring a lot of sonic possibilities. Making Days are off to a great start. The band sounds experienced and tight with these songs. Perhaps even more importantly, they have a signature sound. Hopefully, this is just the start. Take a listen.
After high school Graham Bokram aka Orange Bear decided to pick up a couple of instruments and start making music. Bokram who is only twenty years old has released a self-titled EP Orange Bear. It’s his first attempt at making music and he even did all the recording and engineering. Bokram mentions “My goal was to limit myself to just guitar/bass/drums to make it easier for myself.”
“In A Rain” is the opening song. It begins with a 4/4 beat, clean guitars and steady bass. Right off the bat I was reminded of Tame Impala and Local Natives. The music is groove based and a little psychedelic. It’s also quite lush and atmospheric. After the first song I was impressed and excited to hear what else was around the corner. The aesthetics remain similar to the opener on “Skipping Stones.” It’s a delightful song that is quite catchy, upbeat and sort of carefree in a similar way I feel when listening to Real Estate. The dynamics are well done and the guitars work together. At the center of the song is the catchy vocals. The energy is similar on “There It Goes” however the chorus and hook is well defined. The lush and psychedelic qualities come together especially when the song rises with airy vocal harmonies. “Sun Kissed” felt like the first song that deviated from the others. The song starts with a kinetic interplay between bass and drums. There does seem to be a synth on this song as well. It has a cosmic quality with a sense of tension to it. The song really leads to a specific movement where it explodes around the one-and-a-half-minute mark. This felt a bit like music you might hear in a montage in a movie. “Zoo Lights” is a stripped back song focused on guitar. The song felt a little long for what it was but still a pleasant song. “I'll See You Around” returns to the style of the first three songs. This song is arguably the most catchy on the release. “Evening At The Lake” is free of a lot of the reverb that was on the previous songs. The guitar work is well done and the song feels warm and inviting. It felt like a strong closer. I started to make music when I was fourteen. It’s now almost thirty years later and I’m still at it. I remember my trajectory and it wasn’t fast. Bokram seems to have really excelled quickly and has a lot of natural talent and ability he’s tapping into. For someone who has been making music for such a little amount of time I was more than impressed. This is a great start and I thought this was a solid EP. I look forward to hearing more in the not too distant future. |
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