While studying audio engineering at college Miles Blue Spruce and Taylor Bradshaw aka Real Horrorshow decided to make music together and you should be happy they did. Their recent effort Scarlet is a genre-bending collection of songs that doesn't sound gimmicky but rather loose, fun and unpretentious. They like to mix it up between organic instrumentation and electronic into an inventive concoction of sounds that serve as canvas for the singing/rapping hybrid. Perhaps the most engaging aspect of the music is the contrast between the guitar and saxophone. On multiple occasions Spruce rips up a sax part that melds with Bradshaw’s guitar. Take for example the first track “Packrat,” which immediately establishes the symbiotic if unexpected relationship between the two instruments. The vocal content during the verse veers towards rapping but feels fun even somewhat self-deprecating. The lyrics are ambiguous almost like a silly non sequitur in which you could interpret the meaning in multiple ways. The vocalist sings, “Heart attack like a packrat sleepin' on a rack that’s purring from the voltage running through Saw the rawness of your sawdust thawin' out my jaw, just slurring, ready to resume.” When the chorus hits it is catchy and is on the verge of being memorable. It’s a swift transition from the verse that is done with ease. “Desert Crimson” has a Mediterranean vibe that gets meshed with pop sensibilities. It's a delightfully original track that as it progresses layers in synths and other electronic elements. The singing style is again unique as it is strategically placed within the song. I loved the singing but the sax is arguably the star of the show on this song. “Judge Trial Jury” is a percussive heavy song with a fast BPM that was somewhat reminiscent of the band Islands. They experiment with vocal harmonies as they layer specific words and phrases to emphasize their impact. The closer “All The Same” is an upbeat, fast-paced song that ends the EP with more energy than it started with. Scarlet is a solid effort from the duo, which firmly places them as ones to watch. In the meantime Scarlet should keep you satisfied.
0 Comments
These days anyone with a decent laptop and proper software can make electronic music. Therefore a certain scrutiny should be taken whenever an electronic artist releases a new record. The electronic artists in question here is the LA based duo Killing Thursby that pride themselves on playing real synthesizers and creating original samples, which they did for their latest five- song self-titled EP Killing Thursby. Though the pair wears their artistic influences plainly on their sleeves, New Order and Depeche Mode they are not. The albums second track is the aptly titled “Transparent.” Musically the song is a masterful meld of deep moog-inspired synths and samples that explode like starbursts. Though like many of the other tracks on this record, it is lyrically challenging to say the least. I’m all for repetition though these guys take it a little too far on this one. After about the hundredth time repeating the words, “You’re beautiful/You’re transparent” it became very apparent to me that Killing Thursby could use a bit of work in the lyrics writing department. “Amanuensis” has video game sounding-synths and intermittent drum beats that sound like shattering glass. Although it builds up over time “Amanuensis” fails to take flight though it seems at times like it wants to. Halfway through there is a breakdown where and the drums begin to pound like hammers but then the synths return and the song continues on just like before. The song “Saint Nowhere” is an empty ode to an empty place. The synths here are some of the albums best, deep and dark they radiate from the speakers like heat. The song closes with single deep dark punches of synth that resound like a loud noise through an empty room. The album’s final track is the Depeche Mode inspired “Dead Letters.” With its spacey synths and fuzzed out feedback the track is also one of the albums most danceable and fun. All around Killing Thursby is a solid record, and despite some flaws, Killing Thursby doesn’t need to be put out of their misery just yet.
The band The Racing Pulses is a trio comprised of singer-songwriter Kristian Iliev (guitar) Mathieu Evans (drums) and Pierce McVeigh (bass) and they recently released a self-titled three song EP The Racing Pulses. It’s a fairly straightforward rock/pop album that delivers accessible songs, which don't require a whole lot of explanation. Don’t confuse my previous statement with thinking that the material isn’t worth your time. There’s nothing wrong with a pop song without a whole lot of gimmicks and tricks as long as it’s well written. The same thing can be said about The Strokes, Blur and The Arctic Monkeys all of which happen to be stellar bands. The Racing Pulses kick off the EP with a solid, catchy tune called entitled “Mrs. Supernova,” which will inarguably get stuck in your head. The song sounds like a cousin to “Song 2” from Blur. The main riff will draw comparisons but Iliev isn’t quite as dynamic or intense as Damon Albarn is. Iliev has a relaxed cool about him that makes it seems like he doesn't have a worry in the world. That being said, I did kind of want to hear him belt it out. “Surreal” is another solid showing from the band. The bass playing is particularly well done as the drums hold a steady beat and the main guitar riff revolves around simple but effective chords. Iliev’s lyrics are thoughtful and self-reflective. He sings, “alone in the night/lying awake/try to explain all of this pain/empty spaces in my mind.” The EP closes with “Mermaid,” which is an upbeat song that is another testament to the band’s ability to write a catchy tune. The Racing Pulses EP is a decent showing but it feels rather light. It doesn't eclipse nine minutes hence it’s rather hard to really sink your teeth into the band’s abilities. I hope to hear a full length that shows a bit more versatility from the band.
Have you ever heard of UFO Space Rock? Yeah me neither until I listened to Brent Steed. As far as I know the genre is self-proclaimed and basically consists of ‘80s type metal mixed in with airy synths. That and Steen sings about UFO-logical & parapsychological matters with thank god some irony. This in a lot of ways sounds like Spinal Tap if they were into aliens instead of Stonehenge. The album entitled Horror Avenue N. 7 opens with a short intro called “Horror Avenue.” It’s a little less than two minutes long and according to Steed is about “a politician is giving a hypnotic speech to the subjugated population when he breaks off due to what appears to be an alien invasion.” It’s not musical but is a bit funny and ominous. The first song is entitled “Space Kravboy” that further explores the narrative by describing the thoughts and actions of humans against the alien creatures. I would say the music sounds a bit similar to the intro of a Japanimation series. Hey, there’s an idea. It’s a relatively fun song where Steed sports a guitar as his weapon of choice. “Mother!” is an ironic cry for help because he doesn't know who he should believe between the sects or his guru Che while “Down On Me” revolves around electronic beats and sounds like nothing else on the album. ”Liar” is the all too familiar tale of an acid rebel attack on everybody that wants to sell you lies by the tower of power. Steed refuses to arm himself with anything other than a guitar to fight off the rebels. The drums are steady and represent something awesome. You might think that a song entitled “She’s Just a Punk” is pretty self explanatory - Wrong! It’s about “a light story that points out in general who would have access to a social circle trying to pander to the rules of the insiders but rejected instead” duh! Steed pulls off some 101 style ‘80s guitar leads. Steed is full of ideas. However I wish a couple more of them were musical. Besides “Down On Me” and “Into Your Heart” the songs sound pretty similar. That being said, this album is oddly enjoyable and has a unique charm that's hard to pinpoint.
Singer/songwriters as we all know are a dime a dozen. One can find these lonely losers quietly crooning their lovelorn laments of lost jobs and one-night stands everywhere from subway stations and corner bars, to city squares and open mic nights. Hell, one can even hear them while lunching at their local Potbelly’s Sandwich Shop. Knowing all this full well, Boulder, Colorado’s Shane Tully took to the helm of his own ship and set sail several years ago, setting his sights on stardom. His first EP, the four-song Forward to the Rain, is a blend of well-crafted folky pop tunes infused with spacey sounding melodies that radiate and echo out into the void well known by lonely singer songwriters. Forward to the Rain wasn’t recorded alone. Tully hired a session drummer and bassist to back him up and musically the money was well spent. The album opens with the strangely titled, “Crocodiles, Infantiles.” Here Tully classically coo’s his “ooh’s” over majestic pop melodies that form like fog. By the time the track is over one immediately notices that Tully has mastered his musicianship. The second track, “Forward to the Rain” displays more of Tully’s beatific balladry, and the song sways like trees in the breeze, combining finely strummed acoustic strings and hints of perfectly placed piano. The hauntingly hymnal “Eastern Way in the Western World” laps lusciously like waves and contains the audaciously alliterated lines, “The freeze-framed finch finds A worm which leaves my Family's tree hungry.” Not sure what it means but it sounds cool. The fourth and final song is the happy and head bobbing “Amsterdam Ring!” The song sweeps you along on a melodic pop journey, as plush and poppy piano dances with precisely plucked acoustic guitar, as cymbals are accentuated in all the right places. Forward to the Rain is a pretty and precisely poppy first effort. Get out your umbrella and give it a listen.
How can you not respect a two-piece band that rocks out? Every since the White Stripes became a global sensation the idea of having a duo composed of drums and guitar has become more accepted and ubiquitous. Enter In Orbit a two-piece hailing from Perth, Australia, who make the most out of their minimal setup. The two members Cissi (guitar) and Tarik (drums) recently released an album entitled Innerspace that has its foundations in ‘70s garage rock. Perhaps the most notable aspect of the recording is that they don’t implement a bunch of guitar overdubs, synths and other instrumentation that would be almost impossible to pull off in a live setting without additional musicians. The recordings are true to form and represent what they would sound like onstage. They immediately get gritty and dirty with the opener “Cure,” which is one of the highlights on the album. A circular guitar lead is grounded as a kinetic drumbeat establishes the tempo. Once the vocals enter there is a tinge of ‘80s hair metal that sounds great on the band. Not unlike the White Stripes the guitar parts have memorable, meaty fills that tear and scream at the seams. “This Is” is another solid track that further establishes the band’s ability to write a worthy tune while “Still Of The Night” features some nasty palm muting techniques and visceral drumming. “Innerspace” is a unique instrumental track that features dueling lead guitars. The guitar work is technically impressive but does not rely on that togain your attention. They are concerned with the creativity and artistic merit as opposed to just showing off. They close with “Time,” which is the longest and heaviest track on the EP. Innerspace is a raw and immediate EP that deserves some attention. Check this out.
A Buffalo, NY band, called The Naturalists, enter the grunge scene with their guitars blazing and fiery vocals. The band is made up of guitar and vocalist Craig Perno, bass player Zach Russell, and drummer Travis Perno. Each of them has a different musical background, but the same passion for music. The Naturalists effortlessly blend their instruments to form a rock-grunge sound that gives an ode to the legends of the genre, but a distinct enough one to give them their own style. Some of the band's influences are Manchester Orchestra, Queens of the Stone Age, and State Radio. Their latest EP Volume Unit addresses feelings of longing, regret and fear with intense vocals, humble lyrics and artful guitar playing. The four tracks on the album all fit within a similar story frame. They dig into the deepest, dark corners of the soul to relinquish some demons. "Long Walk" and "Lucy's Dream" uses a bit more energetic, upbeat instrumental work. But both songs discuss the misery of something broken, whether it's a relationship or spirit. "Hypoxia" offers the most intrigue because of the haunting, mysterious lyrics. The song channels the danger and darkness of an urban legend type story. The "Feel of Falling" with its long instrumental breaks and transitions does the best job at highlighting the guitar skills of The Naturalists. All the tracks on Volume Unit follow a similar musical pattern. The guitar and drums play in the background with a sort of organized chaotic clumsiness but once the guitar solos kick-in, it's a slick, hypnotic sound. "Hypoxia" and "Lucy's Dream" especially have a hazy, gritty and badassery instrumental sound. Throughout the four tracks The Naturalists play with the intensity of their last performance, but with the joy of their first. It's whimsical meets passion. The Naturalists' Volume Unit album starts off with a punch of adrenaline and just builds from there. It's an EP comprised of a very clear narrative with surprises along the way but never loses its focus or angle. It's a fun, zealous and thought-provoking album that just scratches the surface of the band's capabilities.
The next time you want to hear an album with pristine production just pop in Back To California by Rayburn Brothers Band. Everything from the guitars to the drums to the vocals fit perfectly in their own pocket. Production and recording quality are important factors when assessing an album but above all else it needs to have substantial songs, which have some sort of emotional impact. I’m happy to say that Back To California also succeeds in that department as well. The songs often combine elements of rock, country and pop in an accessible - dare I say -commercial appeal. There's a distinct country twang within the vocals while the guitars, bass, drums, etc. often blend various genres creating an appealing array of sounds. The album starts off with a song that doesn't waste anytime getting into the heart and the soul of the music entitled “Go Down Easy.” It’s an immediately likeable song that combines bright electric guitars, organ and bass. The verse was catchy but the chorus is even more infectious as the vocal melody feel familiar while original. The second track “Te Propongo” is a change in pace and contains an almost mariachi style guitar, a mix of Spanish and English lyrics as well as a surplus of vocal harmonies. It creates a chill, relaxing atmosphere and ended up being one of the highlights on the album. There are thirteen tracks on this album and it was hard to find one that didn't seem radio friendly. Take for the example “The Wave,” which has a near perfect blend of nostalgia, hope, optimism and melancholy or “Lonely Train,” which has a vocal melody that seems conducive to a sing-a-long. On “Laura’s Dream” Rayburn Brothers Band display that they don’t need more than an acoustic guitar to create an impactful sound. Closer “Do What You Do’” is subdued yet somehow festive and upbeat. Back To California is an enjoyable album and will resonate most with fans of bands like the Eagles, Jimmy Buffet, Santana and Neil Young. Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Album Artist Rating Worldline Compass Sky 3.8 Mandala Shallow 3.4 Nap and the Secret Wands Booze 3.1 Idlemuff A Test Of Faith 3.3 Katrin The Thrill Earth Is Calling Us 3.5 Bad & Broke Bad & Broke 3.1 Ace Shocka Wav 3.2 Cinder Ghost The Witch's Son 3.7 Garuda Glyphs 3.4 Elstow's As The Sun Falls is a great atmospheric, psychedelic folk record.
Gorgeous, heavenly vocal harmonies meet sparse and spacious acoustic guitars with an aurora of organs and a bare whisper of percussion. Jared Shaw and Chel Browne sing together as if they floated in the womb together and all is lusciously captured and laid to tape, swathed in cottony reverb. Elstow began in the Jared Shaw & Chel Browne's apartment in Sydney, Australia, in 2012, brought together by a love of '60s sounds like Simon & Garfunkel and The Mamas & The Papas. They have since expanded to a quintet, and have expanded their influences to include '60s revisionists like Mazzy Star or The Brian Jonestown Massacre. In many ways, however, Elstow have already surpassed their influences. First of all, the original troupe of '60s folk-inspired art could be cheesy as hell, let's be honest. There are moments of sublimity to be sure but there are moments when you want to drop your head in your hands and wish that you had some of whatever the people making the music were on. As for the latter, recreationist bands are almost like Civil War re-enactions, taking pride in their authentic anachronisms. It's admirable, and impressive, but it has very little to do with the modern world, except for our record collections. Instead, Elstow have created a folk-inspired music for modern times. I'm pretty sure they sing "wake me from this cyborg dream" on album opener "Hope, The Island,” although it sounds like it could be Pentangle singing. This is modern folk that any/everybody can relate to. "Hope, The Island" also speaks as to why folk music is essential in the first place. It seems to naturally conjure pastoral images of place, whether it is the Appalachian Mountains or the Mississippi Delta. As life gets busier and more complicated, these mental landscapes are essential to maintain any kind of peace. It's like an island that you can go to whenever you need. As The Sun Falls is perfect from start to finish. It's almost painfully short, a slight five tracks. I wish it could be three times as long. The instruments are restrained and purposeful, never flailing, everything in its right place. This creates a solid bedrock for Chel Browne's angelic soprano, and Jared Shaw's warm, cedar-y tenor, to dance and soar, midair. Fans of Fleet Foxes, Bon Iver, Iron & Wine, Sandy Denny, Jose Gonzalez or Mojave 3, here is your autumn jam. Open up the windows; watch the curtains blow. Let As The Sun Falls take you to a graceful, beautiful place. |
Critique/insightWe are dedicated to informing the public about the different types of independent music that is available for your listening pleasure as well as giving the artist a professional critique from a seasoned music geek. We critique a wide variety of niche genres like experimental, IDM, electronic, ambient, shoegaze and much more.
Are you one of our faithful visitors who enjoys our website? Like us on Facebook
Archives
May 2024
|