Last year Marcus Kihn released Lascivious, which we reviewed here at The Equal Ground. The record was beat heavy with a prominent low end. Vocals were sparse as were the guitars. It was a sweet combination of trip-hop, electronic music and even new age. Kihn is back with an album entitled Forward Gaze, which is far removed from Lascivious. In fact if you didn't know it was the same artist you probably wouldn't come close to guessing it was Kihn. Forward Gaze breaks out acoustic and electric guitars, lot of lyrics and songs that have more in common with folk, Americana, funk and pop rather than trip-hop. It’s a bold deviation but Kihn has the tools and talent and pulls it off. The songs on Forward Gaze are the kind that gets stuck in your head. You might catch yourself humming some melodies without knowing it or having to listen to a song on repeat. The bottom line is Kihn delivers a batch of catchy songs while flirting with multiple genres quite successfully. The album kicks off with “Living More,” which is one of the highlights on the album. Kihn combines accordion, guitar, vocals and bass into a comforting, warm cocoon of sounds. There is certainly some melancholy but also a good amount of solace, which makes for a winning combination. The song sounds like a distant cousin to “Norwegian Wood.” “She Came Back” is a pop song that has traces of the Beach Boys and surf rock. It’s an upbeat song with stacked vocal harmonies, solid guitar riffs and organ. The third track “Monkey Man” is a sensual, lush yet slightly funky tune while “Run” reaches epic heights that can draw comparisons to Pink Floyd. The album ends with a sparse yet emotionally heavy song entitled “Slow Down.” Kihn strums his guitar lightly while singing lyrics that yearn for change. He sings, “always worried/never happy/what's the point of hanging around.” Forward Gaze is a good album showcasing another side to Kihn’s talent. I hope Kihn hangs around for a long time and keeps making music as good as this.
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Forming in 2009 Mama Would Be Proud is a band consisting of Christian Baraks (bass, keys, design, floor tom) Evan Douglas (vocals, effects), Ben Littlejohn (bass, effects) and Stephen Roberts (guitars, drums, vocals, keys, bass). Their recent effort Ways To Feel Awake is a cathartic lo-fi album that feels immediate and pure. The music tips its hat to art rock from the last decade but the most obvious bands would be Animal Collective and Bright Eyes, less so because of the music but more so because of the vocal style and delivery. The vocals are quite good, dynamic and passionate but I also heard a bit of Panda Bear and Connor Oberst in there at times.
The first track “I Can’t Compete” is an honest, sparse song revolving around a guitar, bass, some light atmospheric elements and an exceptional vocal performance that’s all covered in more than a healthy amount of reverb. The lyrics are pessimistic but it’s all about the delivery. Douglas sings “The ugly duck: they laughed at the quack 'til it shut him up there ain't enough love to lift up what we cannot touch So I'd get better, but I don't feel better.” The song starts to climax when Douglas repeats “I don't feel better” with more intensity as if he is revolting against the statement with existential angst. The second half of the song is an ominous blend of atmospheric elements that emphasize the feelings of confusion and sadness. “Bonfire” is a party compared to the first track while “A Son's A Sun” takes advantage of layers of white noise, which add to the dynamic vocal performance. “Can You Hear The Rain?” was a highlight as the music is in a constant state of flux. It’s disorienting, warm, beautiful and impactful. It starts off unassuming, relatively straight and then delves into chaos as he repeats the title of the song - fantastic. “They Tell Ya” was the first song I thought to myself that this is a bit like a Flaming Lips song sung by that dude Youth Lagoon. On top of that the song contains the perfect amount of melancholy, solace and emotion. Ways To Feel Awake is a bit of grower. On my first listen the songs hid behind the lo-fi production and mounds of reverb but by my third or fourth spin I started to realize how powerful this record actually was. The songs are there and it seemed like the more you listened the more it revealed itself. The band has put a lot of time and effort into crafting music with an emotional resonance that is deep. Really good stuff - check it out. Some people are just born with the desire to make music. It’s in their blood and through various bands, up and downs and everything in between they just keep going back to that one constant. In the case of Ady Bennett it seems as if he developed that desire and it hasn't left. At the age of six he started to learn the piano and two years later he started singing. As a young teenage he picked up the guitar, drums, bass and harmonica. Bennett was in a band in college that had some success. They released a couple of albums, played a surplus of shows and generally did the things you do in a band before going their separate ways. Bennett took the opportunity to write and record his own music, which ended up as a full-length album entitled Breaking Out. Breaking Out is an eclectic pop album that contains commercially accessible tunes, which will appeal to fans of bands like Paramore and Panic At The Disco. The songs have a lot of upbeat energy and contain a rich variety of instrumentation. At the center is Bennett's voice, which is the anchor that carries the songs. The album first track “Face!” is a dance-fueled number that sounds like a mix between LCD Soundsystem and Green Day. I know that sounds a bit odd on paper but it works quite well. Bennett implements a simple drum beat and synth bass that sounds like it came from the song “Trials and Tribulations.” It is a good opener overall with a solid hook. The second track “Made Up” is one you can make a case for as the “single.” It has all the elements you look for that would appeal to a mass audience. The fourth song “Tonight You Belong To Me” is a cover, which is a very welcome change of pace. It’s a sparse song containing just Bennett’s voice and guitar and sounds more akin to a folk song from the 1940’s. Bennett delivers an excellent vocal performance in which he strategically layers harmonies. He might want to do more of these stripped back tracks in the future because it fit him quite well. The highlight on the album for me was “What Will We Be Famous For?” Bennett toys with Spaghetti Western guitar which sounds like it could be in a Quentin Tarantino film. On top of that the song is just well written and catchy. Bennett has some talent. The biggest issue I feel at this point is his style blends top 40-rock pop with tidbits of hipster approved indie rock. The fact that he doesn't indulge in one camp could possibly ostracize both. That being said, it could also appeal to both.
Upon first listen to Stella by AtmaNova my left field attraction to the musical shape of rhythm and time was immediately satisfied. AtmaNova brings in a mature level of, for lack of a better word, musical confusion. This is to say, that the spaces between phrases and patterns aren’t easily recognized and follow an unconventional formula a la progressive rock meets art alternative. And through it all, the listener never truly gets lost because just as the reins start to slack, the pulse is back whether that’s thanks to more solid backbeat or predictable progressions.
Needless to say, this band isn’t trying to do anything we’ve not heard before. Pioneering a different brand is always a great attribute, but doing it without vocals can be a stretch. If the music is good I’ve never had a problem with it – see Animals As Leaders. This isn’t quite as extreme as it is explorative. Let’s peel back the layers. Each track follows the classical practice of theme and variation, taking a musical idea and building on it through a plethora of elemental additions and chord alterations so as to give it new mood and intensity from start to finish. “The Desperate” begins with a wandering tease riff around 4/4 before settling into an edgy romp of Coheed & Cambria meets Rush. By the third cut, “Amygdale Hijack” things are sounding a lot more like Tool. The guitars are heavier and paired with upper neck harmonies, following a minor scale trend. The keys and progressions always sound tense and epic rather than dark and alienating. Certain moments felt almost anthemic but there are so many motifs coming and going, collapsing and regaining ground. It’s really a treat for analysis purposes. Further into the album, the listener is taken on much longer rides upwards to 13:32 on “Magnetic Drift.” These songs are experiences and manage not to fall out of present ears, at least not as much as I was expecting. AtmaNova make it such an art form the way they take a simplistic passage and blow it up into this wall of sound stirring with chaotic beauty and casting deep shadows from their towering stature. Minds will be engaged and volumes will be increased. Just set aside some time and let Stella take you far, far away. The three-piece band Skymonk consisting of Kelly Nash (vocals, guitar), Scott Roberts (bass) and Ben Evans (drums) is making their presence known. They started rocking out venues in Columbia, SC and also recently released a short yet good introduction to the band through a self-titled three song EP Skymonk. With this EP the band establishes themselves as a well-versed rock band but also hints at other possibilities.
They kick off the EP with an upbeat well-written rock song entitled “Stop Looking At Me.” The music on the verse reminded me of The Smiths as the bass line contains fills you might hear from Andy Rourke. Nash’s guitar line is fairly straightforward revolving around a couple of simple but effective chord progressions. The verse is solid but the chorus is the hook. Nash sings “Stop looking at me that way You're just telling me lies Stop looking at me that way.” The song is not particularly innovative but is well written and immediately establishes that the band has chemistry. The second track “So Low” has a ‘80s rock vibe but veers more towards the sound of The Replacements than hair metal. Nash’s voice sounds good throughout but I thought it sounded especially strong when he seemed to be perfectly within his range during the verse. They close with a track called “Matchless,” which trades their electric guitars for acoustic and then relies on more tom drums than before to create an almost tribal atmosphere. The song has some resemblance to something you would hear from Rusted Root. I liked the festive energy and that the band wasn’t afraid to create something with a rather drastic deviation from the previous material. The EP is a good start but doesn't contain enough music to get a complete assessment of the band. Some of it felt a bit dated but some of it felt inspired. This is a case of wait and see but if I was a betting man I would say there are good things to come. So there’s a pineapple in the tub. Who put it there? Faux Fantasy knows, but they’re not telling on their album entitled Bouquet. Faux Fantasy’s sound isn’t as odd as its album cover, but don’t expect a cookie cutter style either because this is some atypical synth pop if I’ve ever heard it. The songs are smooth and paneling like a pleasant drone down a hallway with understated nods to a rhythmic pulse. The dynamics are well executed and help keep the songs from being stunted by monotony. The production is well balanced matching the overall arc of this record. There isn’t a clear standout or a track that falls behind; every musical turn falls in line with the same calm heartbeat and creative approach. Synth pop is inherently associated with the ‘80s, Depeche Mode being the closest appropriation in this case. I love the effortless delivery of vocal, almost careless with inflection and borderline monotone. It fits better than a stunning performance because the canvas of sound has no distraction or anything out of place. If you’re music is floating like a cloud don’t try to catch lightning. There’s no storm on Bouquet, just the relaxing wash of scattered showers. “For Forever” and “Grandad the Cannibal” use ethereal harmonies and melodic lines to create an otherworldly feeling, expanding our horizons on how chill music can provoke thought. “The Season’s Prettiest” sounds a little like College with a touch of Desire. It’s just missing that heartstring emotional pull that works so well with vibe music. Faux Fantasy never quite had me engaged to that level and my impulse tells me they need to refine their sound just a little so they can have more impact especially since atmospheric music can easily drown in similarity. From the title alone, I knew the most upbeat song would be “Feet Don’t Fail Me Now.” It relies on a steady eighth note pulse on the bass and simple back beat drums, but it has plenty of movement by comparison to anything prior. The guitar leans on a slightly more funky tone in the bridge section, but it’s short-lived and soon removed from the mix making room for the all too familiar echoing of vocal and synth. If you’re looking for more variance, this is the wrong place. Faux Fantasy knows what they do well and they don’t stray. Become A Fan
The Vanas come out the gate with their EP Raw like alternative rockers with a taste for folk and dance. That’s a winning combination especially when you have vocals like Jefferson Airplane and the production sensibility of someone very attuned to light rock. The sound has a great weight even without high gains or multi-layered tracking. The songs are easily digested and have an underlying sense of pop, but it’s just dressed up in hand me downs and hasn’t perfected its walk yet. This is alternative for the introvert. Ashlyn Lequire’s voice is the highlight of the album and makes each song unique and rich, which is no easy feat when you’re game is gently rocking vintage revival. What’s not so highlighting, is the fact that I was only able to hear a sampling of each track thanks to some glitch in the provided MP3-sharing site. Nonetheless, I can make do with the material that was showcased. If anything, let it be a teaser to the full cuts, which I’ll leave up to you guys to encounter. Fun fact, you’re gonna want to hear them. Each song borrows just a little blues and capitalizes with the aptly named, “Blind Blues.” The guitar is perfectly dirty and grungy while the drums stay sloshy on the hats and find a good balance between swing and a shuffling 6/8. As usual, the vocals are attractive and enticing even when describing a broken heart feeling like “floating off a river for all eternity.” For a small taste of the band, this four-track EP does a fine job. The other standout track for me is “Gotta Get Lost.” It feels loose and relaxed and yet still subtly driving like a jazz record. In a response to its predecessor, “Lost” takes what was great about “Gotta Get Lost” and livens it up with a surf rock vibe. The guitar accents the verses with bends and quick interval descents, although they would serve better with a little more grit behind the tone. If one thing needs to be taken from this, it’s that Lequire’s performance is more than alluring. She’ll have her way with you and these guys are just getting started.
Forming in 2012 Cascading Elephants are a duo from Baltimore, Maryland comprised of two guys only known as John and Ben. Ben is the guitarist, vocalist and synth programmer while John is the drummer and bassist. On their recent full-length album entitled Crowded they cruise through nine songs that could be labeled as synth pop. They fill the songs with a range of synths but it never feels overcrowded. They implement arpeggiated synths, pads, leads and more into lush compositions. The programming isn't anything you haven't heard before but contains enough engaging sounds that you won’t be bored. Despite a lot of synths throughout the album these are still vocal-based songs, which rely on the lead vocal to impart the emotional weight of the song. The vocalist Ben seems to have a love affair with auto tune and it's not subtle. He doesn't use it as a corrective post-production technique but he uses it similarly to the way Daft Punk uses it. It did seem to overstay its welcome and I wouldn't have minded hearing his vocal without it. The album kicks off with a track called “Intro,” which contains the most guitar you will hear throughout the record. It’s an all-instrumental upbeat track lasting about a-minute-and-a-half long. Next up is “Turles (F.R.),” which is one of the highlights of the album. The vocal melody is catchy and I enjoyed the ‘80s style arpeggiated synth. Ben’s voice is manipulated with not only the auto-tune robot like effect but also with delay. “Never There” has an R&B type vibe that sounds good on the duo. The vocals have some soul and I enjoyed the thin yet effective digital percussive programming. As the album progresses there are a number of other highlights such as “Waiting For You” and “Distract Me.” One issue with Crowded was the production. It wasn’t anything major but a couple of times the mix sounded a bit flat and not very dynamic. Additionally, the vocals sometimes felt like they were too separated from the rest of the instrumentation. Crowded’s biggest strength is that it is a fluid and cohesive statement. They established a style and deliver it.
Spiritual Plague takes post hard rock and mixes in strings for an even more powerful tone along with choral sounding vocals amidst soaring progressions and strong lyrical repetition. They find themselves between Skillet, Alterbridge and Anberlin. Their album Volume 1 is a solid effort in breathing new life into rock and it succeeds in some respects. The strings and piano play a great part in Spiritual Plague’s sound, filling up the spaces with more melodic sensibility. The guitars do a fine job, but some songs use outdated tone and effects, which hampered their credibility. However redemption was never more than a track away. Consistency would be the biggest fix especially for the opening tracks. Between “Hearts” and “Should’ve Been” Spiritual Plague work on grounding their foundation of hard rock, soft verses, string complimenting and grandiose vocals. Aside from not quite nailing a single-worthy track putting these guys on the same stage as any big rock act of today would make a lot sense. I’d urge them to snatch up some national tours with the likes of Theory of a Deadman for example. By “Your Life For Mine” I was hoping to escape the formula of strong riff and opened up verses but to no avail. These guys would benefit from holding on to that opening riff sometimes and really bringing it home come the chorus. As it stands currently, the songs on the whole are a little too early 2000s. “Transparency” is a good example of Spiritual Plague moving toward that epic sound that comes so easily for them. The chorus extends into some deep lyrical content and then falls away briefly before slamming back with the heavy half time. I can’t help but hear this song in a faster tempo; all of these songs for that matter. I think it would be an interesting process for them to take a step back and review how tempo could really ignite some of their tracks. Not to say that’s an umbrella solution, but it is worth a shot. Sometimes it’s the simplest way to take a good song to a great song. To close things off we have “What If I Try.” The guitar is fierce from the start and this song sounds the most modern and cutting. I would recommend everyone to use this as basis for the band. The chorus has an excellent major key feel contrasting with the intense riffs that surround it. Bravo.
Kabob-O-Taj is the type of band that doesn't like to play it safe. Sure their recent release This Is A Tree has some catchy moments but the band isn't opposed to throwing it all in your face in favor of dissonance and non-traditional chord structures. Forming in 2009 Kabob-O-Taj stems from four songwriters from different musical backgrounds and influences. Who knew it would equate to a prolific album that refuses to fit into one niche. The band has more in common with free jazz than that a standard rock record. The first track “Smudging” is indicative of some of intricate timing and dissonance you will hear throughout the album. It revolves around a circular, hypnotic guitar progression that cuts in and out as drums refuse to give in to a steady beat. The music starts to distill in a bubbling epicenter of noise before transitioning into “How Much Is Too Much?” The song starts off adhering to a fairly standard poppy structure with a bright, upbeat vocal melody. At about a minute-and-a-half in the band starts tearing up ubiquitous time signatures and chord structures before reverting to the verse. The last half of the song is money as horns get introduced into the mix and it slowly dissipates and falls apart. “Vultures” has some moments that are pretty hardcore. The band thrashes and wails in their own kind of unpredictable way. Don’t cut this song short as the last twenty seconds sounds as if a psychedelic abyss is overtaking the band. The centerpiece is the seven-minute behemoth “Nowadays,” which is in a constant state of flux that contains enough changes it will make your head spin. “Dead Hands” was another impressive piece that toys with your ability to try to walk a straight line while listening to it. The timing is gloriously all over the place but always in sync. The closer “Metaphysical Fist-Pound” features more hypnotic guitar scale progression but the band now explores the potential of possibility by doing the opposite of what your brain tells you. My only minor, minor issue was with the production on This Is A Tree in that I thought it could have sounded better when they get heavy. There was little separation between the instruments. Certainly not bad but could have been a bit cleaner. Overall, Kabob-O-Taj s a technically proficient band that brings a unique style and flavor by pushing the limits of their instruments and ideas. |
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