Jim D'Angelo aka Don't Blink is back with a new release entitled My Sketchbook Songs. On his Bandcamp page he mentions “I thought of this collection of songs a a group of sketches, I wanted a basic sound, so I used only a Fender Strat and a Les Paul and limited keyboards for a live feel.”
I definitely heard that in the songs. There’s a lot of space in these which lets them breathe. That being said, the signature sound of Don’t Blink is unmistakable. The first song is “Unthinkable” which is a delightful number that’s optimistic and has a number of great grooves. I loved the guitar work in particular with these songs and the vocals sounded great. D'Angelo sings “Yeah, ya know we love each other / Yeah, we couldn't keep it undercover, our love is a trance, it's a modern romance as these days slide by, everybody wonders why, it's your love that holds me tight, gets me through the night yeah.” On “Falling Off The Face Of The World” brings up a lot of questions. It seems the love he found might not be as solid as he thought. This song had some great instrumentation. There are a lot of inventive effects and the song felt kinetic at times. Things get gloomy with “Dancing In An Elephant Graveyard” which is a great name for a song. There’s a misty and psychedelic flavor to the song and I thought the way there was this sense of yearning that was created with both the music and lyrics. The general themes seems to be about how memories change over time. “Even Angels Walk ( Sometimes )” is a super solid with a formidable bass line and impressive dynamics while “Monster” is a little more experimental and has this jaunting feeling. I felt like the music was replicating the theme of the music which seems to be about a breakup. “Running Yellows” is arguably the best tune on the album. It's got this off kilter funk vibe that will make you dance. “Flurries And Constellations” is another song with this unique timing that displays his technical ability. Last up is “Will There Be Forgiveness” which is a mid-energy song that felt emotionally resonant and heartfelt. The songs on this EP are around six to seven minutes long. That’s nothing new for D'Angelo but he makes it an adventure. This was one of my favorites from him.
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Mister Pablo, the dynamic Latin fusion ensemble hailing from the vibrant heart of New York City, ignites a musical journey that seamlessly bridges cultures and languages. Blending English and Spanish lyrics, their explosive melodies beckon listeners to both revel in the rhythms and unleash their dancing spirits under the moonlit sky.
At the core of their sonic tapestry lies the pulsating anthem "New York Tango," a triumphant masterpiece that not only clinched the prestigious Best Music Video honor at the International Filmmaker Festival of New York but also garnered an impressive array of thirteen Official Selections for Best Music Video across global film festivals. This accolade-laden opus stands as a testament to the band's undeniable prowess in captivating both auditory and visual senses. Comprising five remarkable talents, Mister Pablo skillfully traverses a kaleidoscopic spectrum of genres, from the electrifying cadence of rock and the soulful whispers of R&B to the spirited dance of salsa, the laid-back grooves of reggae, and the sultry embrace of tango. Their artful arrangements effortlessly meld these diverse influences into a harmonious mosaic, uniquely tailored to their Latin-infused identity. This is most evident on their recent release “En El Espejo.” The song starts with a full arrangement of sounds but they quickly lock into a solid groove. I liked the vocal harmonies which also subside for the lead vocals. It’s a funky and dance-worthy song. I liked the way the song built its energy and found its way to the hook. One of the most beautiful sections of the song arrives a little after the three- minute mark where you hear a guitar solo (sounds a bit like Santana) which finds its way back to hook and then keeping the energy up extends to the outro. My impression after listening is that this is the type of group you want to experience live. If you can’t do that, turn this one up and enjoy. Recommended.
Hailing from London, blindsight consists of Tom Baldwin (production) and Ruby Kane (vocals/production). The band got its start when Kane heard some music that Baldwin created under his hip hop production alias ‘sandmansdead’ and wanted to collaborate together. The result is their first EP Channel Normal, which contains huge electronic riffs, a haunting vibe and an overall great sound in the dream pop and electronica vein. Kane’s vocals are above all fantastic and she brings a cosmic sound that will have you reminiscing such acts like Evanescence and Kate Bush.
Channel Normal opens up with “Intro,” where some synths and percolating beats arrive at the start of this track. Gradually, the clanging rhythms arrive for a searing feel. The vibe was overall very haunting and I enjoyed the great atmosphere of this song. On “Walls,” Kane’s vocals come through. Eventually, some happening beats enter for a great sound. The sound reminded me in a lot of ways of Evanescence. I loved the sound of keys and beats here. Some more airy synths come in for an expansive feel on “Visions.” Next, Kane’s auto-tuned vocals arrive for a robotic feel. The beats were very smooth. Kane’s vocals offered a nice contrast to the pulsating rhythms. Some flute enters for a delicate and happening sound on “Night Affair.” Kane’s vocals are loud and clear, which I liked. The contrast of flute and keys made for a melodic sound. Some more beats and synths on “Cemetery Outlet” gives this an atmospheric vibe. Kane’s smooth vocals are like a soothing elixir to the soul. I had to say, I enjoyed the harmonious and melodic vibes thoroughly. The electronic riffs and beats open up for a truly ambient sound on “Jake’s Story/Glorious Chaos.” Some synthetic keys light up the vibes for a lush sound. Throughout all of this, Kane’s smooth vocal harmonies sound cool and compelling. On “intheoceanofnightyouhavelostyourvision,” some more cool beats and smooth vocals will send chills up and down your spine. Baldwin’s vocals are auto-tuned and the distortion is on high here. The haunting vibes were truly out-of-this-world. On “regardlessyoutoowillcrumbleandfall,” Baldwin’s vocals arrive and the beats and electronic riffs come in in support for a unique sound. The ethereal and airy vibes really spoke to me. It definitely offered up a great listening experience. Some xylophones gives off some unique instrumentation on “shadowsareintheair.” Kane’s vocals sound delicate and crystalline. She sings with feeling here. The keys and beats produce a nice buffer to her vocals. This proved to be a great way for the band to close the EP. I think blindsight really has something here. They bring to the masses a polished production and captivating vocals. Together the two components are truly unbeatable. From the ground up, they’ve definitely produced something that will have a lot of us turning to it again and again. Overall, this was a great intro to their sounds and I can’t wait to hear more from them soon!
Chuck W. Chapman hails from Greenville, SC, and is a versatile artist, excelling as a singer/songwriter/guitarist. His musical prowess encompasses a unique fusion of rock n’ roll, skillfully blending elements from the ’70s, ’80s and ’90s. His signature style can be described as a captivating mix of powerpop, arena rock, and pop punk, adorned with catchy hooks that inspire sing-alongs. Not limited to music, Chapman is also a published horror author and holds an IMDb registration as an actor, adding further dimensions to his artistic repertoire.
Chapman recently released Burn It Down. It’s a pretty straightforward rock album that felt like to my ears it had an influence from the ’70s and ’80s. The album opens with “Drowning In These Tears” and the energy is there right off the bat. It’s the type of song that gives you a rush of adrenaline. I loved the ripping guitar solos but everything sounds like the lead vocals. Up next is “Young & in Love” which has a bit of Americana quality not too far from John Mellencamp. I’m a sucker for palm muted guitar on a verse and that’s what you get here. The song pops and the hook is memorable. Great song. Chapman keeps the energy going with “After The Fall.” The guitar work on this song is next level. I love a bit of attitude on a rock song and that;s what you get here. “Sadie Hawkins Slam Dance” is a fun and poppy tune. It’s one of the more instantly catchy songs. I felt like I heard it before. It has a timeless quality. “Words Get In The Way” felt like an ’80s ballad to me. It was nostalgic and brought me back to my childhood. Chapman continues to bring the goods with “Oh Aaliyah (feat. Alex Kane)” and “We Got Mona Lisa.” There’s another classic sounding ballad with “Play That Song.” I thought “Torn” was a highpoint. It rocks, it’s emotive and memorable. Last up is a fun Americana rock tune called “I Want More.” Chapman isn’t reinventing the wheel but he is keeping the spark alive of great rock music. That’s not easy to do but he pulls it off. Recommended.
Lucio Barbarino is an artist from Dennis, Massachusetts, who recently released The Blue Evenings. According to his Bandcamp page he more or less did everything DIY style including the mixing and mastering.
In this captivating opus, one is entwined with the essence of humanity, as the album's organic resonance graces our eager ears. At its core, the artistry of songwriting pulsates like a beating heart, its raw authenticity unfurling through every note. While this album may eschew the allure of cutting-edge production, it harmoniously finds its place within the tapestry of sounds. Drawing inspiration from the golden era of ’50s pop sensibilities and the soulful embrace of ’60s folk, the songs reverberate with nostalgia and a timeless charm. Here, the magic lies not in flashy embellishments but rather in the sublime fusion of pristine recording and virtuosic musicianship. This album to my ears is very organic and human sounding. At the heart of this album is the songwriting. There’s very little in terms of cutting edge production but it would sound out of place here. For instance, I picked up on ’50s pop sensibilities with a lot of songs as well as ’60s folk and all you really need with that in my opinion is a good recording and exceptional musicianship. The opening song “really close” is under a minute but a great intro. It has an orchestral quality and takes you into the general direction of the album. The ’50s and early ’60s pop I mentioned is apparent on “Alright.” One of my favorite songs was “Wasteland.” I just loved the vibe which is a little dark and has this sense of isolation. The bass is killer here and I loved the memorable vocal melodies as well. Great tune all around. “Coal Black Coffee” is fantastic and somewhere between Django Reinhardt and Tom Waits. The finger snaps sealed the deal for me. “Make Believe” felt like a song a young couple might dance to at prom in the ’60s. It’s heartfelt, full of emotion and the vocals are nailed. Another high point for me was “Anna” which was the first song that reminded me of ’70s folk in the spirit of Simon & Garfunkel. The very next song “Exactly What I need” is also a standout which is lively and makes you want to put your dancing shoes on. The closer “Ramble” is so warm and comforting. It’s one of the emotionally resonant vocals performances and all around great song. Not since Lord Huron has an artist captured ’50s and ’60s nostalgia so effortlessly. This album stands as a testament to the enduring power of genuine artistry, leaving an indelible mark on the hearts of those who dare to listen. Highly recommended.
Cosmosaurus, an alternative rock band rooted in Nanaimo, British Columbia, is composed of Hayden Lister (vocals/guitar), Kim Lister (vocals/keyboards), Atana Mae (guitar), Graham Shonwise (bass) and Jordan Becker (drums). The group came together in 2018, brought together by their shared background in the jazz music program at Vancouver Island University. Drawing from diverse musical influences, each member contributes their unique touch to the band, resulting in a captivating fusion of funky rhythms, layered textures and irresistible melodies. With two skilled vocalists, they create a mesmerizing blend of tight harmonies and striking contrasts, defining their distinctive brand of progressive introspective funky space rock.
The band recently released Odyssey. I thought the album was very well mixed, balanced and kept my attention throughout its duration. They open with the title track “Odyssey.” It’s a bright song and has a lot of energy that should give you a burst of adrenaline. They fit a lot of music into this five-minute song. It’s dynamic and I especially loved the outro which is kinetic. “Puppet” is very unique. It felt like an Americana song but fused with cosmic energy. I felt it to have very original sounds. The song’s pops and vocal melodies are memorable. There’s also a killer guitar solo on this song. The band continues to impress with “Slipping Through My Fingers.” This one is funky but also has elements of classic rock and is quite soulful. I got the impression that it would translate great for a live audience. “If I Could Fly” seems to have a different vocalist but the transition felt seamless. It’s another killer song. There are catchy melodies, great grooves and some moments just soar. “Keep A Light On” might be my personal favorite. It’s soulful, cosmic and the most emotional resonant song. There are a couple of sub-genres in here including a tinge of ’50s pop. Similar to some of their other songs there are moments that soar. “Obscured” is great as well but then you have the almost ten-minute epic entitled “The Forgotten.” I could write an entire review on this song alone but will say this is a roller coaster ride from beginning to end. They close with “Empty Castle” which starts off intimate but builds to epic heights. This album is huge sounding and the musicianship is incredible. Two thumbs up.
In the year 2021 Conor Alexander wove his emotions into a four-track EP christened Alright, a collection of songs birthed from the depths of his heart during the years 2016 to 2018. Early in the year 2022, this creation found its way into the world which we reviewed here at Pitch Perfect. With creative fervor igniting his spirit, Conor Alexander wasted no time delving into the depths of his artistry. As the days marched on, he found himself entangled in the magnetic pull of new musical endeavors. He unfurled his The Magnetic People, a full-length album that resonated with the essence of human connection. But Alexander's musical odyssey knew no pause, and as the sun dipped below the horizon of the new year, he returned to the studio, a place where dreams transformed into melodies. And from this sacred space emerged three non-album singles, “The Painter,” “Lucky Number” and 'I Think I'm Going Bald.” Yet, the fire within him was unquenchable and soon the world would be introduced to Kerenza which we will be reviewing today.
The album opens with “Molly's Mustang” which sounds like an opener from the steady kick drum to the way the guitars emerge. It’s a lively song that’s a blast to listen to. Alexander sounds enthusiastic not just in the way he sings but the way he plays instruments as well. “Smile, Lovers” is a fun one with a little ’90s punk mixed with alternative that creates a solid mix. Alexander sings “Do you want to make it out alone / Do you want to make it out alive / Do you want to make it out a little worse for wear but still with someone by your side.” The kinetic and exuberant feeling continues with “On the Line.” I really loved the light and playful “Where Is Your Man?” which reminded me of Vampire Weekend. “Come Back” is delivered in a similar way and is very catchy. Weezer came to mind when listening to “Cigarettes, But” and “Driving, 3am” had this circular feeling to it with the near constant arpeggios I found hypnotizing. We get a bit of reflection and melancholy on “I Get It.” I loved the closer “Alone Without You” which contains some of the most memorable melodies and is actually very joyful sounding despite the name. I loved the horns at the end of this song. Alexander displays a lot of styles of this album and nails it. If you’re unfamiliar with the artist this might be a great place to start. Take a listen.
Josh McCullough moved to Ypsilanti, MI, in 1995 to pursue his studies and never looked back. Embracing the city's unique blend of urban and small-town living, he found his passion for music flourishing over the last 10-15 years.
Ypsilanti's vibrant music scene offered him a plethora of opportunities to perform and connect with like-minded individuals who shared his love for music. Growing up amidst college music, McCullough was surrounded by several independent record stores located within close proximity to each other. These stores exposed him to a diverse range of incredible sounds and perspectives on music. During this time, he developed a deep affection for grunge, alternative and indie music, often attending performances by well-known bands in various venues around Columbus. In his undergraduate years, McCullough picked up the guitar, and while he admits that his skill level hasn't improved significantly, he recently decided to take a leap of faith in his mid-40s and put his accumulated musical experiences to the test. He felt it was finally time to share something original with the world and make his mark in the music industry. McCullough recently released Aimless which is a five-song EP. The EP starts with “So Long Now” which revolves around major and minor chords strummed on the guitar and vocals. McCullough is playing the song in a way that made me feel like a rhythm section would emerge. That’s not the case but still a solid effort. “An Adverse Wind” is strummed on an acoustic and works better as a song you would do solo. The recording is also more clear. McCullough sings “An adverse wind / seeps into the hole and down again / Spilling out just like a box / of razors, sharp / and full of pins / The rain comes in / leaking through the floor and down the drain / Peaking where the sun remembers not / or how / to warm again.” “With The Benefit of Time” is similar in emotional appeal with a pensive and melancholy foundation. There’s a good amount of reflection as well. “Leaving Over You” was another song that felt like it needed a rhythm section, however the closer “Hometown” is one of the highlights. These songs are simple but easy to appreciate. The Americana vibe works here. Take a listen.
Starting Up is Mark Harrington’s fifth digital music solo album release. Here, you see Harrington bringing to the masses synth-heavy music that sounds a lot like dream pop that comes from the ‘80s. Beyond this, Harrington also works his magic in the pop arena with great beats and rhythms. His music incorporates the best of what indie music has to offer. There’s no doubt about it – Harrington brings his unique storytelling to these one-of-a-kind tracks.
Starting Up gets started with “It Came To Me In A Dream,” where some synths and keys come in alongside some beats. Harrington mainly uses spoken words on this track. Some shooting synths flit in and out. This song reminded me a lot of ‘80s music. Harrington’s vocals were filled with sass and attitude which I enjoyed. More synths and beats come in for a moody feel on “Twin Flame.” There are some ominous vibes here. Once more Harrington’s vocals are a low rumble. This felt like an extremely moody song. Again, Harrington uses spoken words for an atmospheric appeal. More keys light up “The Kids At The Coffee Shop.” Here, there is less spoken word and we get more of Harrington’s bare vocals, which I happened to like. I think Harrington’s natural vocals sound very nice and I would love to see more of it on this record. Some percolating beats arrive at the start of “Bathwater Baby.” Next, the electronic beats gain traction for a great vibe. Harrington’s vocals are filled with character antics here. It felt like a quirky and humorous song with a very tongue in cheek feel. “First World Problems” had a great island flavor to it. The tropical vibe really spoke to me and I could feel myself jamming along to the great vibes. Again, Harrington’s vocals are a low rumble. It made for a very ambient vibe. Some melodic synths and keys arrive for a searing sound on “Who You’re Working For.” Once again, Harrington’s vocals are a low rumble so much so that I could barely make out the lyrics, which left me wishing for better fidelity. On “Broken Umbrella,” some hand clap percussion and keys light up the sounds for a moving vibe. Flitting in and out of this recording are Harrington’s vocals. This seemed to be a vibrant pop track. Next, some hip hop vibes reel you in as Harrington adds in his dynamic rap style. On “Lucky Pennies (30th Anniversary Version),” some beats and acoustic guitar struts in for a highly dynamic vibe. I was loving this alt-take. It made for a very inviting sound. Harrington sings with feeling which offers up a nice vibe. Some bluesy guitar riffs alone accompany Harrington’s moody vocals on “Paddy, Come Back To Wuhan.” There was a ton of reverb here, which made for a fuzzy appeal. I thought this was a busy and noisy track but also thought this was a moving way for the artist to send us off. Harrington has been around the circuit for a while now. In the late ‘80s, he played in the electronic rock trio Heik and the Shakes. He also co-founded the Toronto Experimental Artists artist-run cassette label with filmmaker Ed Sinclair in 1988. Now, with his solo endeavors, Harrington brings you some great tunes that I’m sure a lot of you out there will be relishing in. If you like what you see here, be sure to explore more of Harrington’s back catalogue on his Bandcamp page. You’ll definitely be better for it!
Wyatt Reed (vocals/guitar/piano), Jan Kaghazwala (vocals/tambourine/maracas) and Jon Lewandowski (percussion/congas/djembes) are The Wyatt Reed Experience. The band from Cleveland, Ohio, has been entertaining with their live concerts but also have released some music.
One of the first songs I listened to was “A Good Day To Sing” which is an upbeat and very positive sounding song that puts you in a good mood. From the very first notes, it exudes an infectious sense of positivity and uplifts the spirit, setting the perfect tone for what's to come. The song's vibrant and upbeat melody is a ray of sunshine, brightening the listener's mood and filling the air with a joyful aura. It's the kind of tune that you can't help but tap your feet and nod your head along to, embracing the contagious energy it brings. What truly struck me were the lyrics, which carried a beautiful optimism reminiscent of the legendary Cat Stevens' style. The words paint a vivid picture of hope and dreams, weaving a tapestry of positivity that leaves a lasting impression. It's a reminder that even amidst life's challenges, there are brighter days ahead and reasons to cherish every moment. “I Don’t Know” was my personal favorite song. It's a brilliant fusion of '50s pop sensibilities, a touch of alternative vibes and a rocking spirit. The dynamic duo of vocalists adds a captivating dimension to the song, drawing you into their world. But what truly sets this track apart is the fantastic guitar work that shines throughout. The guitar strings come alive with passion and skill, delivering an impressive performance. And just when you thought it couldn't get any better, the addition of handclaps brings an infectious rhythm that's impossible to resist. And that's not all. Another gem is "Havin' A Ball." From the very first note, it embraces you with its warmth and invites you into a world of summer bliss. The song evokes images of carefree days by the beach, and one particular line mentioning Jimmy Buffet beautifully encapsulates the laid-back vibe it exudes. So, if you're looking for a band that can transport you to different eras and evoke vivid imagery, this one is a definite must-listen. Recommended. |
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