Hailing from their formative years in early 2017, Pray For Sleep dropped their debut single in June of that same year. The track, "Bittersweet," pulled off an impressive feat by snagging two consecutive victories in the Battle of the Buzz competition shortly after its release. Encouraged by this positive reception, the band dove headfirst into their songwriting endeavors. Fast forward to December 2017, and they had compiled enough material to launch an EP, arming themselves with the ammunition needed to make a lasting impression on the local music scene in Columbus.
Taking a listen to one of their recent tracks, "Shade," I couldn't help but notice its precision and atmospheric elements. The song delivers a solid punch with moments that really hit hard, while the hook brought back memories of the band Linkin Park. It's an intense track that grabs your attention and doesn't let go until the final note. Another standout, "Scream Back," carries a garage rock vibe at times, yet manages to switch to heavy territory with finesse. The varied vocal styles caught my ear, and credit is due to the mixing engineer for their adept work. Then there's "You Can't Make Me," a track that can be best described as explosive. The guitar work with its rhythmic intricacies adds a cutting edge, and the infectious hook is hard to deny. The robotic vocal effect was an interesting touch that seemed to fit well. In a nutshell, Pray For Sleep has got the goods. Their performance is solid, and I have no doubt that fans of rock and metal will find plenty to enjoy here.
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Brad Kleinschmidt, an enigmatic sonic craftsman hailing from the heartlands of Indiana, has been unfurling his musical tapestry over the past couple of years. Like a seasoned alchemist, he weaves together threads of rock and folk into a sonorous concoction that beckons the listener into his sonic realm.
My auditory journey commenced with "Secrets," a track that envelops you in its melancholic embrace, inciting contemplation while simultaneously spanning vast sonic vistas. The magnitude of its sound evokes imagery of grandeur, as if reverberating within the expansive confines of an arena. Kleinschmidt's vocals glide with precision, while the melodies linger in the mind's recesses long after the final note has faded. Then came "Fire & Ice," a more subdued offering that exudes a tender warmth akin to being nestled beside a crackling fireplace. The song's evocative guitar artistry is well done, enveloping the listener in aural comfort. As the song's narrative unfolds, it wraps around you like a cozy blanket, embellished with a cascade of melodies that intertwine effortlessly. Notably, the decision to forgo percussion allows the guitars to sculpt the dynamic contours of the composition. However, it was "Author" that truly seized my senses, emerging as a beacon of singularity amongst the auditory voyage. A tapestry of exuberance, the track radiates joy with its infectious melodies, instantly gratifying and profoundly satisfying. Kleinschmidt's vocal prowess shines here, soaring high and resounding with an unmatched resonance, culminating in a harmonious apex. I implore you to delve into the opulent opus that is his full-length masterpiece, "Head Trash." In doing so, you shall embark on an auditory odyssey that will undoubtedly linger in your senses, leaving an indelible imprint upon your musical psyche.
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The Co$t of Life is an electronic pop and rock solo project led by Jason Irving. The endeavor mixes Irving’s love of electronica, ‘80’s pop and synthwave, punk and rock to create something that a lot of us out there can appreciate. The sound is very airy and this definitely called in my mind ‘80s music. Irving went on to play in pop-punk band Surburbia’s Finest and to teach English in Japan. With his solo endeavors, Irving reaches out to his audience in an up-close-and-personal stance, talking about subjects close and dear to his heart.
We will be reviewing singles from the artist: “Search The Night,” “Just Me & You” and “Anchor or Line.” First off is “Search The Night,” where some electronic beats, synths and chiming of bells brings across a very Eastern vibe. Next, Irving’s vocals come in in a breathless fashion. I was instantly reminded of ‘80s music. Irving mixes electronic and rock vibes. On “Just Me & You,” some more ‘80s electronic riffs and synths come in here. The retro sounds really spoke to me. I loved the bouncy beats and happening vocals. Irving’s wife joins him for a compelling duet. The electronic beats sound very busy and there were tons of fuzz factors evident here. This proved to be an enjoyable performance from the husband and wife. Last up is “Anchor or Line,” where some finger-picking on the electric guitar sounds out here. On this track, Irving mixes a rock sound with a hip-hop vibe. Irving spits out his verses in quick succession. His rap style sounds like a force of nature, just like a cyclone. In the mix, Irving belts out in a revved punk rock fashion. The blend of rock and hip hop recalled in my mind Linkin Park. It definitely made for a great listening experience. Irving knows the sound he is going for and goes at it with his heart on his sleeve. He throws himself into his music and you can tell he gives his all when it comes to his music. The electronica and pop rock sounds felt very refreshing to my ears. I have a feeling his genuine approach will really speak to audience members. This was a great intro to his sound and I definitely look forward to seeing more great tunes from him soon!
A couple years back I reviewed Turn Over! Go Under! by Swimwear Department. The band is back with a new full-length entitled The Poolest of the Mall. The band states they get comparisons to B-52s and DEVO but to my ears they are even more aligned with a band like LCD Soundsystem.
The album opens with “We Need a Place” which is a forward moving song that is both dance worthy and nostalgic. It’s a fun song and undeniably infectious. The vocalist sings “We need a place for the kids to go, / So we can take a break / Not a break if we’re worried sick, so / We need a place that’s super safe.” Back when I was a kid in the early ’90s this place was often a public pool so it fits nice with their general theme. There are multiple vocalists and they don’t hold back on the unbridled enthusiasm. Overall, a great opener and indicative of what else you can expect. Up next is “Swim-up Bar” which is a killer song and paints good times on a summer day. I loved some of the heavy transitions and growling bass work. There’s a cartoonish feel to the song between the lyrics and some of the quirky synth sounds. I wouldn’t say silly but hyperbolic and exaggerated. Once I got to “Cool Mall Stroll” I definitely felt this album was most relatable to people born in my generation. There was a time when kids would hang out at the mall. We would mostly cause trouble but also hit the arcade. “Belly Flop” has no deep hidden meaning. It’s indeed about a belly flop which hurts if you’ve actually attempted one. The song is fast and probably the most surf rock influenced sounding song so far on the album. The LCD Soundsystem vibes come full force on “Clothing Optional.” I again loved the bass work on this song. That combined with the synths and exuberant vocals creates a winning combination. The band kept up the momentum with “Submarine” and “Shop!” and there’s enough variation where the limited theme still feels alive and well. “Malled to Death” might bring back some trauma to those who had to experience going to the mall with their parents. When you were a kid going to the mall with your parents instead of your friends was a different experience. This song felt like the feeling you get when all you want to do is get home. I loved the groove on “The Lifeguard” which is steady and evolves with airy synths. They close with a subdued song called “MeMall” which forms a heavy cloud of nostalgia. This song felt more like he was reflecting on his past experiences as an adult. Similar to a show like “Stranger Things” the nostalgia will appeal to a demographic of a certain age. The album doesn't reflect on these times in a melancholy way but takes you back to the experiences themselves. It conjures the memories you may have had and allows you to explore those carefree days you may have long forgotten about. Nostalgia can be overdone in music but this album treats it in a novel way that allows you to relive those moments not just remember then.
tricktheriddle is an aptly-named band from New York, New York who apparently wishes to remain a tricky riddle to the outside world. Aside from their chosen genres (alternative, punk and rock) and a band photo, there seems to be not a speck of info about these guys anywhere on the internet. However, they’ve just released three new Spotify singles which we’re reviewing today: “peptalks,” “Vomit” and “When It Pours It Drenches.”
The first song “peptalks” is credited to Luke Vichnis and has a classic quiet-loud alternative structure. It starts with a spidery electric guitar line that sounds like it was purposely distressed in the digital realm, like an old cassette about to give up the ghost. The first surprise is the vocals: though sort of half-spoken, they’re nicely melodic and pretty much continue unabated throughout the entire song. Filling out the track are slices of power-chord fuzz guitars, bass and single notes on some kind of synth. The lyrics are both cautionary and a cry for help: “The world gets big and it’s hard to notice / When something’s out of focus / Keep screaming until they notice / But they never notice!” “Vomit” and the next track are both credited to the band and come from a four-song EP titled Untitled II. It has some truly creepy artwork showing a monk puking up an otherworldly snake. Like “peptalks” it starts with digital distortion (could this be a band trademark?) then roars into “Smells Like Teen Spirit” territory. Though the riffs and arrangement feel familiar, they’re performed with confidence and are impossible to ignore. Again the lead singer has seemingly pages of lyrics that never let up, and the guitar is allowed a short and simple solo. I love how the track builds to a climax as more vocals and guitars are thrown onto the pile. “When It Pours, It Drenches” is also from Untitled II. Of the three tracks, this may be the most hardcore, with the verses totally drenched in fuzz guitars. The beat is more deliberate with wailing, ghostly lead vocals that are nonetheless perfectly balanced atop the backing. In fact that’s something these guys do really well, as I was expecting a total noise-fest from start to finish. Whoever is producing knows exactly how to keep all the band’s elements separate yet still working in lockstep. This track also features some eerie, eastern-sounding guitar effects peeking out from the far corners. Wish I knew more about these guys but their music speaks volumes! Most excellent alternative punk rock!
John Wroath, a name that resonates with the true essence of musical creativity, returns with his latest single, "I'm Just Saying." This track marks another noteworthy milestone in Wroath's artistic journey, capturing a spirited and infectious energy that harkens back to the timeless allure of The Clash.
From the very outset, "I'm Just Saying" immerses listeners in a world where rhythm and melody intertwine seamlessly. The arrangement, spearheaded by a full band, showcases a masterful balance of elements. The bass and drums, confidently positioned at the forefront of the mix, lay down a solid foundation that compels the body to move. Meanwhile, the guitar, like a live wire, injects kinetic vitality into the composition, electrifying the sonic landscape. A surprise awaits in the form of a harmonica, which makes its appearance later in the song, adding an extra layer of intrigue to the musical tapestry. Wroath's instrumental choices weave a rich and textured atmosphere that keeps the ears engaged, drawing the listener deeper into the sonic narrative. Yet, it is Wroath's vocals that truly elevate "I'm Just Saying" to remarkable heights. His delivery is dynamic and soulful, an embodiment of raw emotion that resonates with listeners on a visceral level. With an infectious swing in his voice, Wroath captures the essence of the song's spirit, infusing each line with authenticity and heart. The chorus, a resounding hook that lingers in the mind, showcases Wroath's mastery at creating memorable and impactful melodies. Through repetition of the song's title, he creates a captivating mantra that becomes an anthem of self-expression and affirmation. "I'm Just Saying" stands as a testament to Wroath's artistry and his ability to craft music that transcends mere entertainment. It's the kind of song that beckons listeners to leave their worries behind, inviting them to join a sonic celebration where joy and euphoria are the order of the day. In conclusion, "I'm Just Saying" is a remarkable addition to John Wroath's musical catalog, a testament to his artistic growth and creative vision. With its blend of infectious rhythms, evocative vocals and an undeniable sense of fun, this single is a must-listen for anyone seeking a musical escape that's both invigorating and soul-stirring. So go ahead, press play, and let the melodies of "I'm Just Saying" wash over you, carrying you on a journey of sonic delight.
Intensity! I needed to get that word written first, because that’s the strongest feeling I get from the new album The Saddest Champion by The First to Fight. Every note played and every word sung on this collection sounds like the band has five minutes to live, with no intention of wasting even a single breath!
Currently based in Greenville, South Carolina, the earliest iteration of the band started in Salem and was described as “like a pipe bomb: an explosion of attitude dressed as a down-and-dirty vendetta wrapped in shouting and slipshod guitar work.” Except for the “slipshod” part, this could also describe them now! But the band feels they’ve developed a more mature outlook and deliver their music with more integrity, as reflected in these new songs. The band members are Doc Figh (lead singer/rhythm guitar), Cameron “Spaceman” Price (lead guitar) and Joel “Chopper” Green (bass). Their Bandcamp tags list alternative, post emo and indie rock as their genres. Though The First to Fight remind me of a lot of ’90s bands, the strongest connection for me was Sebadoh, for whom I carry a large torch. Overall, the effect of listening to this album is like stumbling into someone else’s primal scream therapy session. Exhilarating, but you do wonder if you should even be listening to such personal stuff! The opening of “Limes” is a bit of a left curve, featuring slightly detuned acoustics or maybe even a ukulele. A simple but charming chord pattern slowly welcomes bass and nicely syncopated drum fills (who’s playing those?). Figh’s lead vocals are almost spoken and have an amiable, everyday quality not unlike Daniel Johnston. The lyrics describe a chance meeting with an ex-lover, and the moment Figh sings “You can take that fractured smile / And shove it up your ass” the heavier guitars join the mix. A sort of Fuzz Chorale appears and Figh shifts into his preferred, shouting-style vocals. If this was the only First To Fight song you ever heard, you have all their salient artistic touches in one place! “Just Sorry” wastes no time getting right into the meat of the song, which is built from jagged, rattletrap guitar chords very much like Sebadoh. Figh also jumps right into his more intense mode of vocalizing with a bit of Eddie Vedder in the choruses. Structurally and melodically this is a killer song in the classic alternative mode, though it strains a bit at the edges of compression. The drummer kicks progressively more ass when the song reaches its climax. “Passion In Blue” features some thrilling quiet-loud dynamics and more intense vocals by Mr. Figh (let’s just assume that they’re ALL like this from now on!). He even found time (though barely the audio space) for some nice, heavily stacked vocal harmonies. “Fine” is a sort of personal mental health manifesto which amps up the dynamics considerably. My note here, in all seriousness, is: “If I could die and go to heaven borne on a celestial ship made of molten guitar riffs, I hope it would be these.” There’s a quiet, Elliott Smith-like acoustic opening for “Shakespeare In White” before roaring into something close to Speed Punk. There’s a big surprise in the middle, when the song has supposedly ended but actually starts over with a slow, dramatic build: “When I was younger, I was told I could have the sun / Now that I’m older I’ll take every sorrow one by one.” The conclusion is louder but more deliberate rock before a final reprise of the main theme. “Cherryhill” features a hook that reminds me of the classic pop song “Never My Love” which is funny because it probably came out 100 years before these guys were born! The guitars here are especially thick and trebly and Figh appears to have entered confessional mode, with one of his most heartfelt performances yet (and that’s saying something!). “Almost A Win” has a spacey, dreamy opening perhaps created by feedback through echo. The song proper has a cool, off-center beat and thick but carefully constructed guitar riffs, again similar to Pearl Jam but with a vocal intensity that weirdly reminded me of Peter Gabriel. “Pure” is another track that starts out with mellow chords and introspective vocals like Lou Barlow, then slowly builds power with a shovel brigade of guitars and massive vocal choruses constructed with surprising architectural integrity. In fact they’re so proud of the vocals that they do one of those quick “vocals only” snippets at the very end, and I’m sure the pals who joined in appreciated that! “Winterplay” features Ryan Lara and Mean Joel Green (I’m assuming on vocals) and it’s a late-in-the-game hit with a snappy, radio-friendly structure and ace playing and singing. And I almost dropped dead when I heard an actual guitar solo in the middle! There’s 13 tracks here and though I didn’t mention them all, I personally don’t think there’s a lemon in the bunch. If you prefer gut-wrenching Intensity in your alternative rock then look no further! Bravo Guys!
Last Planet is a self-proclaimed “groovy alternative rock band from Oakland, California” that is on a very aggressive recording schedule: they plan to release a single on the first Friday of every month for the rest of 2023 while also prepping a full length album! Their most recent songs are titled “Ruined,” “Little More Time” and “Whiskey Breath.”
Last Planet’s signature sound features soulful vocals over modern rock, while their music ranges from introspective grunge to upbeat pop rock. They were formed when two songwriting musicians (Cort Young and Albero Berul) met while working at the Guitar Center in San Francisco, and currently features six members: a vocalist (Rai Ahmed-Green), two guitarists (Albero Berul and Ben Hicks), bass, drums (Lyman Jerome Alexander II) and sax (Loosh Pixley). Their influences include The Red Hot Chili Peppers and Soundgarden, as well as modern bands like Arctic Monkeys and Glass Animals, with a dash of R&B by way of Jill Scott and Adele. The band describes the first track “Ruined” as being about “an emotional upheaval in the collapse of a relationship.” It begins with a tentatively picked amplified acoustic and quickly creates a smoky, smooth jazz vibe with its staccato 7th chords and organ. While checking out the band’s Instagram page I became very familiar with the powerhouse vocals of Rai Ahmed-Green, the kind of singer who can wrap her dulcet pipes around anything at the drop of a hat. Though Ahmed-Green’s the undeniable focal point of the song, the sax frills of Loosh Pixley add lots of film noir coloring. As the song builds power there’s subtle overdubs of both vocals and sax, and the middle section features a sweet guitar solo in a bluesy, B.B. King mode. By the conclusion the song is ready to burst with all the added sounds, but never loses its studio-perfect sheen. “Little More Time” is described by lead singer Ahmed-Green as being about “when you’re in a relationship and you haven’t grown quickly enough and someone’s leaving out the door. You just wish you had a little more time to prove that you’re changing or growing in the way they need.” The single’s cover image is quite striking (as are most of Last Planet’s graphics). This song also begins with a folky acoustic riff and Ahmed-Green’s quiet, questioning vocals. Very suddenly the electric guitars blast in, making this the hardest rocking moment I’ve yet heard from these guys. The verses are sung behind a unique texture built from acoustic guitar, prominent bass and a sharp, creatively mixed percussive pattern. There’s also some kind of ghostly sound holding everything together, which makes me wonder how this band comes up with such great-sound songs with only 30 days each? Ahmed Green’s insistent chorus chants of “just give me a little more, a little time” are quite effective. The final track “Whiskey Breath” was written about “the feeling of losing yourself in the trance of a night out. We wanted to make this song feel like an intoxicating daze.” This song features another bluesy structure with sharp staccato chords, wailing lead guitar and shuffling percussion (whoever has been producing deserves credit!). Ahmed-Green throws herself headfirst into the lyrics seemingly sung after a night of partying, with reality still way out of reach. The chorus is thick with vocals and Abbey Road-style guitars. If you’re not hearing this song in headphones you’re missing the amazing moments where fragments of vocals and weird noises pop up and skitter across the stereo field like errant UFOs. Having seen live videos where the band can clearly play without too may frills, it’s a surprise to hear them morph into such an interesting “studio band.” At the end I can’t believe just over four minutes have passed! For me to say this band is going places is almost redundant, because they’re already chugging down the road to success at full speed. Hop on now and check them out!
Frankie V and the Lonely Club plays the type of striking blues and rock n’ roll that will have you reeling straight from the beginning. Consisting of Frankie V. (guitar/lead vocals/songwriter/backing vocals), Mike Lencioni (drums/lead vocals/backing vocals/songwriter), Johnny Valentine (bass guitar) and Rich Sylvester (keys/backing vocals/lead vocals), the band’s energy is palpable right from the start on their debut album Frankie V and the Lonely Club. Their gigantic sound, filled with the smoky blues will definitely show you a good ole time. I couldn’t get enough of this and I’m sure you’ll feel the same way too.
Frankie V and the Lonely Club begins with “Bad Information,” which starts off with some big bustling sounds from the band. The male lead vocals are low and rumbling, but truly shows the vocalist’s range when he belts out the lyrics with feeling. There is a ton of mood and feeling to this track, which I thought was great. The background vocal harmonies also sounded great. Some guitar riffs cut in and out of this recording for a great sound on “Imogene.” Some horns enter the vibes. It made for a searing approach. The male lead vocals are filled with energy. I loved the revved vibes through and through. The dynamic sound was compelling from beginning to end. Just wanted to add, the keys solo was definitely happening. Starting off with some keys and sax, the vibe here reminded me of Bruce Springsteen and John Mellencamp on “Day By Day.” This song is in the ballad vein as the male lead vocalist belts out the lyrics with feeling and verve. The sizzling vibes reminded me of Latin music on “The Lonely Club.” The guitars and drums with organ accompany the male lead vocals. I loved how emotionally powerful the vocals and music were. I definitely felt carried away by the ebb and flow of the music. Some more Latin-inspired music flows through on “Zorro’s Last Ride.” The Spanish guitars and lively percussion really made the sound on this track. The guitars reminded me of Santana. I thought the musicianship on this song was great. This proved to be a purely instrumental interlude. Some drums and keys reel listeners in on “Since You Left.” The vibe was overall very revved, and once the male lead vocals come in, the dynamic sound of the band is clinched here. I loved the bluesy rhythms and great energy coming from the band. On “Hang Around,” more great vibes come from the band on this song. I was loving the pop feeling coming from this track. In a way, this song reminded me of music from the ‘50s and ‘60s, especially doo-wop music. This track was like a blast from the past. On “King Of The Ultra Cool,” the music was very sauntering. The slow burning vibes of this track was adamant. I liked how cool the music sounded to my ears. The guitars once more reminded me of Santana. It made for a smooth blend of sound. The male lead soulful vocals are like a balm to the soul as he sings with mood and feeling here. Some lively instrumentals and percussion light up the sounds on “No Shadow.” Next, this clears up as the keys, drums and guitars accompany the male lead vocals. The adamant and great energy made this a great send-off from the band. The band’s great energy will have you reminiscing about the greats. Such acts like B.B. King and Ray Charles will be on your mind as you listen to them. With commandeering male lead vocals that could go from a howl to a coo to a croon at the drop of a hat, the dynamic leadership Frankie V exhibits is obvious immediately. The band has been at it for over 20 years, playing together in one form or another, and they show no sign of stopping anytime soon. I look forward to hearing more of their great sound soon!
Hailing from the heartland of Utah emerges an artist known as The Playwright, and their recent musical offering, "Say things as you fear?,” invites us into a realm of artistic exploration. While grappling with definitions, the song finds its home within the realm of dark cabaret—a genre that beckons the curious and entices the daring.
The composition's core lies in a delicate dance between the piano and vocals, a union that births a symphony of emotions. It's not merely a melody; it's a narrative conveyed through each note, a story etched within the artist's voice. As the song unfolds, an undeniable theatricality weaves itself into the fabric of sound, a tapestry that evokes visions of a grand stage illuminated by a single spotlight. Picture this: a dimly lit theater, an expectant hush in the air and as the haunting chords of the piano resonate, a voice pierces through the silence—a voice that embodies the very essence of vulnerability and fervor. The piano, a faithful companion, sets the stage with its hauntingly perfect notes, establishing an ambiance that is both eerie and enchanting, like mist rolling in over a moonlit landscape. A touch of atmospheric elements completes the spell, adding layers of depth and inviting us to explore the song's labyrinthine corridors. But let's not be deceived by its brevity, for "Say things as you fear?" is but a fleeting glimpse, a mere fragment of a larger mosaic. It invites us to linger in anticipation, to yearn for the continuation of a tale that remains untold. This enigmatic quality only adds to the allure, leaving us hungry for more. In the grand tapestry of musical creations, The Playwright's offering stands as a unique thread, woven with skill and artistry. The intricacies of piano and vocals, the theatrical allure and the atmospheric nuances combine to form a piece that is both thought-provoking and emotionally stirring. As we turn our ears toward the horizon, there's a palpable sense of excitement—a feeling that this is but the beginning of an enthralling journey through sound, a journey that we eagerly anticipate traversing alongside The Playwright.
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