Milk Bar Gang is an alternative art pop rock duo formed in Melbourne in late 2021. Bianca Cao is credited with vocals, art and dance, while Felix Chapple handles keyboards, guitars and digital recording on Garage Band. They create all music, videos and artwork at home in their living room, though the videos do go out “on location.”
The band’s ethos is creative play and originality, with influences that include Sparks, David Bowie, Velvet Underground, Talking Heads and early eighties. Cao’s vocals have been compared to Julie Cruise, Nico, PJ Harvey and Suicide. The band’s goal is to “write strong songs that stand on their own in their simplest form, but can be interpreted through the production process to create a mood of interesting sonic textures. The general theme of Open is alienation in a commodified culture.” Production and engineering was by Felix Chapple. Since the band was nice enough to create videos for all four of these songs, I’m going to cheat a little by watching them while I review. “Ozzie Ostriches Dream” is a jangly dream pop tune that, based on the lyrics, seems to be about fighting to be free of consumerism. Bianca Cao has a lovely, understated voice. Felix Chapple’s backing tracks are diverse and immersive, with some nicely jarring guitar chords. The video has lots of imagery without being too slick or sophisticated. “Here is your home all black and chrome / Hollywood style, ready to go / Keeping it clean, all safe and sound / There's so much dirt on top of your mound.” “Love is Sick” is more uptempo, and has a percussion track that suggests (but isn’t really) a chorus of snapping fingers. It’s not technically soul or disco but has that same feeling. This time Chapple really lets the guitar wail, like jagged samples that he fires at will. “What you seemed” starts as a sideways blues construct (fittingly portrayed by a man playing acoustic guitar outside, in front of a pile of bones) but musically turns into more of an early Pink Floyd psychedelic pop tune, with Cao’s vocals being almost a recitative. There’s a surprising bit of jazz piano as well, and the concluding immersive keyboards are impressively spacey. The final track “Angelina Luna” has a chunky beat featuring a jaggedly strummed electric guitar. I got small whiffs of Peter Gabriel and Kate Bush. Like Bush, Cao does a sort of ballet dance in the video. This may be my favorite track, as the Sparks and Bowie influences are also pretty strong. It’s electro-pop from a parallel dimension. There’s no denying the creativity of this couple, and I imagine that this short collection is just a taste of what they’re capable of doing in the future.
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Middlebrook is a group of musicians bonded by their collective roots in punk, rock, grunge, Americana and all genres in between. Middlebrook can often be found delivering their music to enthusiastic crowds at Long Beach area breweries, bars and rock clubs. The band consists of Long Beach native and journeyman musician, Mike Temple (lead guitar/cigar box guitar/slide guitar). East Coast transplants include Tim Curns (drums/harmonies) and John Miller (lead vocals/rhythm guitar). While unknown at the time, Curns and Miller both spent time playing in the San Diego music scene in the mid-2000s to early 2010s. During that time, Miller was nominated for two San Diego Music Awards (Best Acoustic-2008) as a solo performer and as a member of Bad Science Fiction (Best New Rock Artist-2009). Throughout his music career, Miller has opened for acts such a Foxy Shazam, David Shaw (The Revivalists), and more. Rounding out the quartet is the namesake of the band, Sean Middlebrooke on the bass guitar. Middlebrooke is a multitalented musician that has served as guitarist and bassist for several southern California bands over the last 20 years.
The band’s debut Unwind is an independent project recorded at Hilltop Studios in Long Beach, California and mixed and mastered by Brent Clawson. Clawson has done work for acts like Bullets and Octane, Guttermouth, Candleboxs and many more. Unwind is what happens when four guys get together to rehearse and rock out on Friday evenings. Four guys that haven't given up on creating new music. Four guys who have other responsibilities in their lives...but still love to create music. While it flirts with punk and dabbles in country and Americana, Middlebrook is still a rock n' roll band, and this is a rock n’ roll record. For starters “50” has a fast driving, hard rocking rhythm – throw in some classic rock from the ‘70s, modern alternative, a little edgier Americana roots and I’d say, this song comes off with that kind of hard rocking attitude – and doesn’t let up one bit. “Hey, My Brother” is a bit darker, with more crunchy guitar action, too. Perhaps something like, if Molly Hatchet, Ram Jam, The Georgia Satellites (and other classic southern-fried/Americana rock) met up with KISS, Aerosmith, punk and grunge. “Your Love” has got great groove, and drum fills – and reminded me a lot of classic rock from ‘70s. “Mirrors” on the other hand, has a more rootsy feel, based in flavors of alt-country and Americana. The laid-back style, but emotional sounds from the guitars take on a smoky, mysterious quality – like some dark, western drama. “The Return” features a gritty, hard driving country rock sound, with elements of the blues. The band also plays a great guitar/bass/drum solo mid-way into the song. The album’s title track “Unwind” has a mellow approach and felt more like a grunge song with echoes of ‘80s classic rock. Screaming Trees, Soul Asylum, and maybe Semisonic come to mind here. “Count My Sins” is perhaps one of the most country-ish rock songs on the album. But I think the band taps into something Celtic/Americana here as well. With the band’s mention of whiskey and a quick step, danceable beat, they remind me of bands such as The Dropkick Murphys and Flogging Molly. Lyrically, this song is about counting your hardships and sins instead of your blessings. The vocal harmonies are some the band’s best on the album. Next up is “13 Days” and I loved the up-and-down guitar action, the shuffling drum beat and the overall attitude throughout this number. It put a smile on my face for sure and was one of my favorites on the album. It reminded me a lot of Molly Hatchet and ZZ Top – “let me rock n'roll you to the promise land” indeed!” “Kids” has got that jerky, drum/guitar shuffle that I remember being popular quite a bit in the ‘90s – some would call it the “hippie chic shuffle” but this song has more meaning that just a fun beat. It’s about remembering your life as a kid and how you didn’t know any better, acting like a fool. Eh, sometimes I think life was better being ignorant, not worrying about every little thing and just having loads of fun. Last up is “Out of Time” and this one has a catchy rock guitar sound. I’ve only heard a few Chris Stapleton songs, but I thought of him for some reason, with a harder rock edge and a little less country. Great track to end the band’s debut and overall, I thought the band delivered the goods with a strong, consistent first effort. If you like straightforward, no-nonsense rock, with echoes of grunge, Americana and alt-country, check out Middlebrook.
For a lot of people 2020 was a hard year for obvious reasons. One thing that came out of it was a lot of music. You don’t need to look much further than this site to see that. Wilderness Girl EP by Salt Water Medicine aka Peter Fong was one one of those albums.
Similar to countless musicians Fong used the creative process as a form of therapy in a sense. I feel this myself as a musician and often use it in a way to gain perspective. On his Bandcamp page Fong mentions “It's been a strange couple of years but music has always been there for me, a confidante, a sanctuary and a catharsis in a turbulent time both in my personal life and in the wider world.” The EP starts with the title track “Wilderness Girl” and you are greeted with a mysterious sounding ambient pad. It didn’t feel all that necessary to be honest but fades out and is replaced by clean guitar. Drums enter along with vocal harmonies. The song is fairly soothing but has a decent amount of energy as well. I thought the hook was catchy and felt like a straightforward but well written song. The theme definitely seems to be about a breakup and unrequited love. I was getting Red Hot Chili Peppers on the opener but more so on “Kingdom.” The song is a highlight and is more upbeat and I would say this was my favorite vocal performance. Fong seems excited and in fact does have some similarities to Anthony Kiedis. The songs starts with a powerful chord progression and thought the vocal melody melded really well with the guitar. Perhaps more importantly, the hook is memorable. Fong also finds unique transitions throughout the song which made it feel seamless and fluid. Up next is “Gone.” The groove feels a little out of the pocket in the beginning of the song. It doesn't lock in. Once the chorus comes the parts align a little better. There’s some solid lead guitar work and also a groove heavy bass line. The centerpiece is the last song “Gold & Suffering.” This song has a mix of alternative and classic rock. It’s also a seven-plus-minute song. There’s some of the best guitar work on this song and memorable vocal melodies. The real strength of the song is the grooves it has. Once you get around four minutes in you get to the heart of the song with a lengthy jam session. It’s the best instrumental work on the album. Wilderness Girl EP is a complete DIY effort and the recording quality and production is solid for a recording. The vocals could have used a little more treatment at points but I thought the dynamics were handled well. This is a solid EP. Fong isn’t reinventing the wheel here but the songs are well developed and delivered. I thought the songs also had a good amount of emotional resonance. The music was coming from an honest place and that's what you feel when listening. I hope to hear more from the artist in the not too distant future. Recommended.
Three Mandareens is a band that met in college and is currently based in Norton, MA. The young band who formed in 2020 recently released a full length self-titled album Three Mandareens. Their music mixes elements of rock, jazz and emo.
“Wiper Blades” is the opener and deviates from a more standard verse/chorus/verse type of structure. The focus seemed to be more on finding grooves. There’s the essence of prog rock in the song. There really aren’t vocal hooks. The thing that kept most of my attention was the instrumental work in the song. I would say the technical skill is one of the things I was most attracted to. The band increased the BPM on “Casket.” They flex their technical skills on this song. The band is really tight and in the pocket. I have to give some extra kudos to the drummer on this one. The band sounded a little more like a jam band on this song showcasing their dynamic. It’s a fun song with a kinetic energy. “Fruit Man 4” plays into prog/math rock especially with the circular guitar patterns. The band deviates from 4/4 with ease and finds a number of killer grooves. It’s fast and as soon as they lock onto something they aren’t afraid to change things up by slowing things down or speeding things up. “Boomerang Generation” felt a little more vocal centric. I found my attention focused more on the lyrics and there’s also more of a hook on this song. On top of that the band rocks hard, getting into post-rock territory with a side of emo. The band continues to showcase their skills on one of the more jazzy songs entitled “Mayo Pop.” Some of the riffs and grooves reminded me of less bass heavy Primus and they even feel like hard rock at points. “Snack Pack” is another fast-paced one with jangly chords while “Memory Foam” embraces math rock with some emotional resonance from the vocals. As the album progressed I thought there were a number of highlights including “Didja” and “Cardboard Collider.” The band's strength lies in their ability to create a near endless amount of hypnotizing grooves. I liked the vocals as well but it didn’t feel as salient as the other elements most of the time. This is the type of band that would sound great live. When I was their age I remember seeing like minded bands perform live and those were usually the most fun. College bands come and go. This band is talented so I hope they remain intact and continue to make music. Recommended.
Calamity, the debut album by Butterfly, is intended to feel like “an adventure through something awful and seemingly meaningless.” In which case, why listen? For one thing, these ten tracks offer an alternative to a weekend with dense Nietzsche texts on existential nihilism. Call it the Cliff’s Notes version, assuming that Cliff was overlaying the nightmare of an amnesiac protagonist trapped inside the Internet.
As the story goes, the leading character hooks up with friends and – minding the absurdist weight of his journey – obtains a desire to exterminate the world. This occurs against the backdrop of a noisy-cum-melodic style that leans on expressive dynamics. That Butterfly claims to have been subjected to “the destructive trauma of social collapse” while honing the LP is more of an interesting asterisk. We’re either being hoodwinked by sheltered millennials or escorted into bona fide despair. Either way, the product stays appetizing because it emphasizes uniqueness. And if that entails dipping a toe into the molten core of Hades, metaphorically presented, then so be it. The first cut, “Me Knowing Tomorrow,” sets the pace for everything to come. Namely, it is both breathy and nefarious, with vocal effects falling somewhere between the wail of a succubus and the protestations of a synthetic girlfriend. “The Song of I,” rather, is propelled by a funky, bass driven riff. This time, the aura leans toward “death by vacuum cleaner,” with the industrial buzz at each chorus akin to ear excavation via needle gun. Yet, paradoxically, this is all very fun. In fact, it rips, like an awesome lobotomy. Subsequent tracks adhere to a likeminded blueprint; although each one claims its own slant. The disorientation of “Void Prince” is familiar in the way that a great dub-step track might’ve blown us through concrete 12 years ago. “Mega Bytes” stresses aggression, “No Likes” is a punk-ish, cymbal-fronted middle finger, “Nemesis” harkens back to Nine Inch Nails as covered by the Deftones, while “Winning” trades on instability through simplistic piano and lyrics about breaking one’s own shoulder, willingly. And who hasn’t ever tried to do that? The final song, “Machine Learning” even hints toward a danceably eccentric groove. Think lawn seats at an outdoor Beck concert, arms in careless flail. “I’m dead / have fun,” we're instructed at the close. It’s unclear whether this reeks of cautionary sarcasm or requires an obligatory fist pump. Nonetheless, closure is achieved. By selling vertigo to the masses, Butterfly crafts a soundtrack to lapsed medication and the consequences thereof. We've moved well beyond pouring too much sugar into coffee, and instead seem a notch away from having one’s head wedged into a psychedelic paint shaker for 22 minutes. The album does weave a tale, but its lyrics aren’t heavily decipherable, having to compete with an overbearing (but deft) sound board of mechanized whirs. Said differently, Calamity sets more of a tone than a narrative. Sure, this can get repetitive, but the inimitability of the noise propels things forward. Chalk it up to aggro-momentum. And leave Nietzsche for the squares.
Webster is a musician, artist and multimedia creator from Salt Lake County, UT who recently released Tourniquet. The EP contains four songs and the artist mentions some of the influence came from bands like Radiator Hospital, My Bloody Valentine, Bush, Perfume Genius, Hovvdy, Soccer Mommy, Tree River, Adult Mom and Strange Ranger.
The EP starts with “No Light” and you are greeted with guitar and vocals. It sounds like there’s a filter on the music at first with a lot of the low end vacant. That does change somewhat as other elements are introduced. An expressive vocal comes through with distorted guitars and some of the shoegaze and alternative style starts to emerge. There’s also some spoken word while a hypnotic guitar pattern emerges. The song has an interesting structure and revolves around a unique subject. They explain “The first verse was written after I had read an article about Eared Grebes on the Great Salt Lake, and how if the lake continues shrinking, it may reach a level of salinity in which the Eared Grebe could no longer continue to exist. Helplessness in the face of a looming environmental crisis was the guiding feeling of the opening.” The lyrics are well done. “Hope is not a flower, it's a bramble bush. My roots will grip the decaying soil. My spikes will grow long and deadly Despair will not dull my sharpened edges.” “Scanlines” revolves around piano and vocals. It’s a shorter song that’s under two minutes long. The vocal delivery is sort of somewhere between spoken word and more traditional singing. On top of that the vocals are treated differently at points from sounding like ghostly reflections to something more full. “Isolation” starts and has the most overt shoegaze vibe. It reminded me somewhat of My Bloody Valentine but with a metronome like drum machine. The song is arguably the most catchy of the four and I thought the groove was welcoming and inviting. It’s very ethereal and gets more dream-like as the song progresses. The song feels uplifting once you get a little past the two- minute mark. Last up is “Newer” and it starts with an ominous sounding pad that emerges from the void. I wasn’t sure where this song was going but liked the cinematic beginning. A crackling guitar starts to take over and this starts to feel like the most depressing song of the four. The lyrics are reflective when they sing “I've been renewed I've been living out what's in my head the past few days Isolation and the time spent looking inward / Transfigures us in frightening and mystifying ways.” The concept of isolation comes up again in this song. As the song progresses it feels like some light emerges from the darkness. The lead guitar helps bring about this change but sort of settles back into where the song starts. It was an interesting way to end the album. This song felt the heaviest of the four. The vocals were sometimes playful and almost tongue in cheek at points. At other times they felt more reverent. I liked this juxtaposition. This EP is full of great ideas. The mixes were sometimes a little lo-fi for my taste but overall I thought it worked. There’s a lot to appreciate here and hope this is just the beginning. I hope to hear more in the not too distant future.
Sam McCracken (guitar) and Liam Small (drums) are Cherry Tide. They formed in August 2019 in Glasgow, Scotland and recently released a self-titled five-song EP Cherry Tide. It’s an instrumental EP and the band states the “EP comes from use of effects and overdubbing, with layering, modulation, delay and distortion.”
The EP begins with “Deeper Shades” and revolves around distorted guitar and drums. One of the first things I noticed was the drums were panned hard left. It felt like an unusual move considering this was a minimal song and the drums felt like a primary aspect. The song is more or less a variation on a riff. There’s a good amount of thrashing, rocking out and unbridled distortion. “Miserable” starts with a ball of white noise that’s got a phaser effect on it. The drums try to create some consistency. The song slowly adds some other elements. A little after two minutes the drums get more intense. They are loud in the mix and they don’t really lock in the pocket. The transition to punk/garage rock was abrupt and the phaser was intense. I wanted to hear more of the melodic changes but overall a very cool soundscape. The band continues with “Overdose” which is the arguable highlight. I liked the energy and urgency on this song but I thought it also needed some kind of lead instrument. The guitar work mostly sticks to minor and major chords while the drums lock in and provide the momentum. “They Stand” was another contender for the highlight despite the song feeling that it was a little out of time. The song leans into an ambient and more mystical flavor. A very lo-fi Tool song came to mind. Great work here. They close with the ten-plus-minute “The Long Walk.” It’s more or less a ten minute jam session revolving around power chords and drumming. The song felt improvised but still had a number of notable moments. As an engineer myself I found this to be a lo-fi EP. I wouldn’t say studio lo-fi but home recording lo-fi. The bass drum and snare should have been panned center on these songs in my opinion. The duo has good ideas, can rock but as I mentioned a lot of times I was looking for a lead element in the song to keep my attention. I liked the punk rock ethos here and think this is a solid start. From what I heard there’s a good amount of potential and I think with a couple adjustments the band should be well on their way.
Indian singer/songwriter Arnab Sengupta of Sydney, AU has just released his third album Leap of Faith. He describes his style as “a crossover of jazz and pop, with shades of funk, R&B, rock and classical, brining a fresh approach to contemporary songwriting.” The underlying theme is “the journey of personal discovery and self-expansion.”
Sengupta is an alumni of the acclaimed Berklee College of Music in Boston, and currently works as a vocal coach and session singer. In putting together this album, Sengupta sought the help of fellow Airgigs session players, along with musicians he met through Berklee. Guitar and keyboards were recorded at Sengupta’s Sydney home, with the vocals tracked by engineer Zak Karolic. “Face in the Crowd” quickly establishes Sengupta’s voice as high and elastic, somewhat like Stevie Wonder. Melodic and compelling, often multi-tracked, you can easily see how he became a vocal teacher and backing singer. Musically the drums are at triple time, with the genre landing somewhere within jazz rock. It’s structurally sophisticated and jumps unexpectedly all over the place, a bit like Zappa’s Grand Wazoo jazz ensemble. The cheesy keyboards are a little surprising, especially when combined with real horns. “This Way” is based on a smoky organ vamp. Sengupta sings in a somewhat lower register this time, but again with a Stevie Wonder lilt. The interplay between the keyboard and guitar, panned left and right, makes for a mellow and inviting arrangement, with an active baseline in the pocket behind Sengupta’s vocals. There are great solos on both guitar and saxophone, and the vocal overdubs build quite thrillingly toward the end: there’s more singing in just this one song than in many entire albums! “Alone but not Lonely” starts with a melodic and complex jazz guitar intro. Weirdly, there are also vinyl record pops and tics: not the kind most artists use for a short retro feel, but actual pops that distract from the music. Was this song mastered from a record? At any rate this is one of the more “operatic” cuts, with Sengupta singing to the rafters like an off-Broadway show tune. “Drudgery Train” is both a jazz-folk guitar masterwork and a fun vocal tune that would fit nicely on a children’s record. As before, Sengupta has melodies and singing ideas to burn, sometimes with vocals matching the guitar melodies note for note. The title track “Leap of Faith” takes a leap into Prog territory, with off-beat rhythms, audacious chord changes and wild, all-out vocals. The electric guitar matches many of the vocal melodies. This is a track that starts big - or even HUGE - and just gets bigger. Sengupta’s intentions here are anything but modest! That it all holds together is a continuous miracle. “Perfect Line” has cocktail-jazz piano and standup-sounding bass. Sengupta sings in his higher register, and by this time it’s no shock that he matches the instruments perfectly in pitch and tonality. “Set in Stone” ends the album with more jazz-prog melodies, leading to a final, torch song vocal from Sengupta, capped off with some scatting. I’ve been throwing the word “jazz” around in regards to this music, but as Sengupta stated at the beginning, it’s really a fresh approach to songwriting, and totally worth checking out!
Mt. Seaside is a Swedish band that consists of Benito Skarp, Adam Thybeck and Jonatan Björkman. Their music encompasses a sound that ranges from emo music, ‘80s pop, country and classic rock with their latest release Sorry, Something, Summer. For the most part, their music sounds very ambient with some spoken word vocals thrown in. With lyrics that paint a picture of the four seasons, the band says that the songwriting comes from a very personal place and you can see that immediately with the band’s opener “Christmas” where the protagonist talks about the death of a lover and meeting up with their mom and lighting a candle for their lost one. From the get-go, the poignant storytelling will definitely leave listeners feeling moved.
On “Christmas,” some synths start off this track alongside some guitars, bass and a drumming machine. There are also some spoken word vocals. The ambient music offsets the poetry performance, making for a compelling execution. The guitar solo on this song soars with feeling. I thought the music sounded very atmospheric, something great to relax to. Wall-to-wall guitars come in in earnest at the start of “Little Hand Says Its Time to Rock’n’Roll.” I felt that I could get lost in the sounds. The melodies sounded great. Once the vocals came in, the music came together to great effect. I was instantly reminded of emo/punk bands from the '90s and ‘00s. This really brings me back to that era. Some bluesy bass starts off “Sylvia.” Next, some spoken word vocals come in. The music in the backdrop is smooth and soothing at the same time. Next, the combined vocal harmonies come in. The sound was melodious and I felt myself lulled by the harmonies and melodies. The band heavily makes use of synths here. The band does a 180, going for an acoustic number here as the acoustic guitar and harmonica sound out on “19.” The lead male vocals come through, sounding emotionally powerful. This song definitely takes flight with mood and feeling. More reverb come in as some fuzzy guitars enter on “First Of Spring.” Next, some emo-inspired vocals arrive for a clearly contagious and upbeat sound. The singing is layered with some scream-o vocals, which gave this a somewhat heavier vibe. The keys and synths here are a great addition. Fast rhythms on the guitar come in on “Last October.” Next, the lead male vocals are executed in a rap-like sequence. Some beats and electronic riffs gain traction here. I was immediately getting emo/punk rock grooves on this track. The band chooses to close the album with this moving finale. Though the band says they never have played a show together and that they don’t have a drummer but are looking for one, I think they were able to accomplish a lot with what resources they have. Recorded in Skarp’s parent’s basement, this proved to be a home recording through and through, and the sound that comes across can at times sound lo-fi, but with this sense is a captivating raw element that will definitely point to the band’s live sound once they get the chance to show their stuff to a live crowd. The band’s atmospheric, cool tones and words makes this a worthwhile listen, so be sure you give this a spin today!
WILD JIM & COMPANY is a band from Phoenix, Arizona that recently released their debut album BACK HOME. They describe it as a western indie soundtrack. “It's a Spanglish folky cowboy expedition through the American Southwest. I took what Linda Ronstadt, Marty Robbins and Calexico did and made my own pop twist.”
The album contains eleven songs and certainly does feel like a journey. “Eiza” opens the album and this vast chant comes over you. It sort of sounds like an ancient ritual and is quite grand. The song takes a quick turn once a solo acoustic guitar comes into the mix with vocals. Other elements start to seep in including very soothing vocal harmonies. The steady kick starts to make the song feel like a sing-along around a campfire. I found it to be a very original sounding song and was excited to hear what else would lie ahead. “Lie To You” has a little more traditional structure. The song is upbeat, brings in the Americana spirit and is also quite catchy. There’s a good amount of instrumentation like guitar, bass and drums but the banjo was the cherry on top. The song locks onto some great grooves and feels very open and free at points. “Tengo Miedo” is sung in Spanish. I didn’t understand the meaning of the words but this is an infectious song. The grooves are rock solid but the vocal melodies were memorable. Sleek guitar patterns combine with eclectic percussion elements making for one great song. There’s clearly a different singer on the more melancholy “Back Home.” The distant and hazy dream of a song reminds me of Mazzy Star but the spirit of it has more of an Americana flavor. “Twywyhfb” might be near impossible to pronounce but is another well done song. The song, similar to the previous one, is very catchy. There are male and female vocals on this song and it gives an in depth encounter of being on a college campus and finding a romantic interest. “Canción Para Stevie” has a classic Mexican flavor to it. The song is dynamic and I loved the way it swayed back and forth between distorted bass and soft acoustic guitar. There are two vocalists again and they knock it out of the park. Interestingly, the song has a rock oriented alternative sounding chorus. “Morenci” is much more experimental than what came before. It’s a slow burn of soundscape. I felt like sipping on wine by a beautiful sunset when listening to “Racecar.” It’s a calming song but also like many others quite catchy. The album progresses with “I Do” which is sort of an Americana inspired ode to marriage while “Gonna Be Ok” is a fairly stripped back song. Last up is “Miner’s Lullaby” and is a sweet and tender ballad. On this song the male and female vocals might be the best sounding on the album. I loved this album. There’s a lot to appreciate here between the exceptional songwriting and delivery. Perhaps more importantly is that the album feels like a journey just like it intended. Highly recommended. |
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