Calum Bowling is an artist from the UK who recently released I Wanna Ramble I Wanna Whine. The album is his debut effort that was done completely DIY style. Suffice it to say he made a very professional sounding album. Of course you need to have good songs and delivery for everything to work. Bowling also delivers in that department.
He makes rambling music that has hints of a couple of genres including folk, rock, Americana and blues. Up first is the title song “I Wanna Ramble I Wanna Whine” which is a knee stomping, harmonic infused song which was one heck of an opener. There are hints of early Beck on this track. “It’s Gonna Rain” has a slightly different feel to it. I thought the percussion was inventive and worked really well against the tremolo guitars. I couldn't but help think of Tom Waits on the chorus. Something about his delivery when he sings “It’s gonna rain.” “Morning Breath” was a standout. The chorus in particular is fantastic. I’m not completely sure what he utilized in order to get such a cool tone on the chorus but it was effective. It’ sounds like a violin that cries in the background. I have to admit I’m a sucker for slide guitar in the vein of Jack White and Led Zeppelin and that's what I got on “If I Had Wings.” The whole song is just guitar and vocals which felt like a nice change of pace from the more full compositions. Bowling doesn't disappoint as the album progresses. The other highlights were “Kamikaze,” Pendulum” and “Walk Alone.” Bowling is a young guy with a boatload of talent. Considering this is his self-produced debut the musical world is his oyster. Enjoy and follow.
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The Red Fences is an alt rock band from San Jose, CA comprised of Dana Kelley (vocals), Amadeo Donofrio (percussion/vocals), Jef Tyler (guitar) and Jeff Croall (bass). Donofrio and Kelley have known each other for years and it was only a matter of time before they released an album. The California Sea is an eleven-song album that is ultimately what you might label as alternative but quite diverse in terms of delivery and execution.
The band gets going with “Wooden Faces” which showcases the range of Kelley's powerful and sultry voice. It’s arguably the catchiest song on the album and fairly straightforward. I thought it was a good opener that displayed their fundamentals. The next song that stuck out to me was “Home To The Night” They really nail the misty Mazzy Star type vibe here. Donofrio and Kelley sound good together and I was glad to hear her voice was more prominent in the mix on the chorus. They don’t rock out too hard on this song but it was one of my favorites. They pick up the pace with a fun summertime jam entitled “King Of No Tomorrow” while “Dreaming” contains a good amount of attitude. “You're Gonna Miss Me, Baby” was a song that came straight out of the ’90s alternative era. I have a nostalgic heart for these types of songs. As the album progresses there is a good amount of rocking ahead. The writing is steady and I can't say there were any lulls. The California Sea is a solid effort from top to bottom. I wouldn't say the band is breaking barriers but I gotta hand it to them that they got chemistry. Recommended.
Royal Trash is the solo project for Portland based producer Tony Dutcher. His album The Hidden Corner put down the guitar in favor of synth and drum machines. It’s a complete bedroom lo-fi effort. I have to admit I wasn’t always a fan of the vocal delivery and treatment but for the most part though the music was what made the songs work.
Up first is “Room With A View” which contains a jagged synth bass line, atmospheric pads and a simple drum beat. The chorus on the song is really what dragged me in. It’s catchy and I thought his vocal delivery excelled here. “A Raindrop” has a sterile, digital feel to it. Besides the guitar, it sounded like virtual instrumentation. I think I wanted more dynamics from the drums. Like on the previous songs I thought the chorus was what really brought the song home. “Hello Moon” was a highlight. The song has a good amount of energy along with a number of infectious hooks. On top of that the juxtaposition between the arpeggiated synths and pads has some of his best layering. He follows “Hello Moon” with another standout entitled “It’s Alright” which could be the single. After providing some synth funk with “The Low Point” he closes with the most experimental and atmospheric song entitled “These Ways.” “These Ways” is definitely not the most accessible song but I was glad he took some chances. It took a little warming up and I thought it was a “grower.” Dutcher has some good ideas and I encourage him to keep pushing boundaries and getting more proficient in advanced production techniques. Overall, I think this is a solid foundation that he can build upon.
Looking for Satellites is an electronic duo act from Spain comprised of Mario del Castillo and Pedro Puentes. They recently released a five-song EP entitled Zero which contains songs from 2000-2009. According to the duo the songs “show part of the evolution of the electronic sound concept that the band experienced during those years.”
Up first is “Trance” which is the highlight. The song does sound a little dated but not in a bad way. I was reminded of a couple of my personal favorite acts including Primal Scream, NIN and The Chemical Brothers. The song is four minutes long without an ounce of fat on it. There is a familiarly to the sounds but I thought the juxtaposition of elements worked. “Bezalel” was where I thought the NIN vibe was especially strong. I think it was that trudging forward lead synth. “Pinkerzap” puts the meaty industrial synth in front with the percussion playing a more supportive role. It’s a hypnotic, atmospheric track. “B Dance” is more conducive for the dance floor. The beat hits heavy and dark and you could argue has some similarities to Burial. They close with “Xscape” which felt like an MDMA fueled club burner. The whole EP goes by fast. I was listening for their “evolution” and I can’t say it was easy to spot. That's not meant in a pejorative way but the songs sound like they were weaved from a similar strain, even a similar time period. Overall, this is a solid electronic album. There is some inventive ear candy along with strong hooks to make it worth your while. Recommended.
Frill is a solo artist with her second EP entitled I'm In Heaven I'm In Hell. The EP contains six tracks that revolve around guitar and her vocals. This is her best release yet.
It opens with “animal” where she combines an array of white noise from her guitar with subtle vocal harmonies. There are some beautiful moments especially during the verse where she lets the guitar strings ring out. The lyrics are a little hard to distinguish but I enjoyed the delivery. Her vocals on “better off dead” are more prominent and she takes the distortion off her guitars. I was reminded of PJ Harvey here and had a greater appreciation for her vocals. Frill goes back to the shoegaze type fuzz on “does it look like I’m here” which felt more like an interlude. The title track also goes by in a flash which felt more like a vignette. As for “creepy shit” you could say it's all in the title. The song is haunting and very atmospheric. “We already have” is an extension of that vibe and recalls a sound I would associate with Julian Barwick. The EP closes with “outro bye bye” which is a fuzz infested sendoff. While there is no doubt Frill is coming into her own there are still aspects such as production which could be taken to the next level. There is absolutely nothing wrong with bedroom projects but it's hard not to appreciate what a knowledgeable producer can pull off. I’d say the production seemed about the same as her first effort entitled Touch Me, I'm Sick. I don't want her to underplay her vocals. “Better off dead” gave me a good sense of the tone and texture of her voice. That's the number one weapon in her arsenal right now and she shouldn't be afraid to put it upfront in the mix. With this release Frill continues to lay her emotions bare for all to see. Recommended.
Rough and Regal is a duo based in Toledo, Ohio consisting of Mike Santry and Ryan Brink. This particular project started earlier this year and they already managed to release a five-song EP entitled Getting Our Feet Wet. As you can see they paint this picture literally on their album cover but I surmise it’s a reference to making their first EP as well.
The duo makes fun, light, indie rock. They reminded me of a now defunct band called The Unicorns because of the catchy hooks and the playfulness you can hear within the music. Great band and I recommend Who Will Cut Our Hair When We're Gone?. The production is lo-fi and there are aspects on this end which can certainly be improved in the future. For example utilizing a compressor properly on the vocals would have helped out and the general drum sound needs work. The other thing to point out is the overall difference of volume on certain tracks that was noticeable. “Gravy Train” is about 2 - 3 dbs louder than “Air Buds.” This is an aspect that is handled in the mastering stage. Basic knowledge of how to utilize a limiter could help rectify this issue. Overall, I still give them kudos for doing a good job with what they had and the songwriting does shine through. The duo opens with “Air Buds” which is one of the highlights. The vocal melody is really catchy. There is a bit of slop as far as timing goes but it for the most part works. The vocalist makes references to a couple of movies like “IT”, “Beetlejuice” and “Misery.” I laughed when I heard about Stephen King being on drugs. Up next is “Cuts” which is another song that worked quite well. As I was listening to the song another band came to mind - Pavement. I wouldn’t say Terror Twilight era Pavement - more like Slanted and Enchanted era. “Slight Chatter” was my personal favorite track on the EP mostly because of the energy they brought to the table. It would probably translate really well live and has an infectious nature about it. “Don't Know Anything” is subdued, lacks percussion and is the most contemplative and thought provoking of the songs. “Gravy Train” tells a full on story. I have mixed thoughts about this song. Overall, I think the band has a lot of potential and should keep at it. You can tell they are at the embryonic stage of their development but they have an ear for catchy melodies and that's a good start. I hope to hear more in the not too distant future.
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Kim Imber is a songwriter from Australia who has been performing and writing songs for about twenty years. His latest album is called Imberesque which contains ten songs and to my ears is a mix of rock, pop and folk.
His style is pretty straightforward all things considered. Imber sticks to mostly major and minor scales and writes palatable melodies which are easily digestible. Up first is “Dance Upon The Moon” which is a catchy and festive song. I have to admit it took me a little while to get used to his vocal style which didn't jump out at me. Lyrically, there was a mystical almost Door-esque quality. He sings, “When you dance upon the moon it’s like, sweet music in tune you can wing it, you can swing it, you can, booty too when you dance, upon the moon.” The next song that stuck out to me was “Freedom For Everyone” which felt motivational and positive both in terms of the music and the lyrics. He sings, “hold on to that dream stay strong we sing your song freedom for everyone.” “You'll Be In My Dreams” contains a captivating drum beat while “With Love” has a sing along type quality to it. “Empty Man” was a little more melancholy than the other songs on the album was a nice change of emotional pace. The last two songs however “Somebody To Hold” and “Nothing's Gonna Trouble Me Today” ended the album on a more positive vibe. You get the sense that Imber is a spiritually minded guy after spending some time with the album. It comes across in the music and it feels authentic. Imberesque is a DIY effort. The production was solid for DIY but I can’t say it has all of the polish and sheen you get with a professional studio recording. Overall, Imberesque certainly has some inspired moments. It didn't always hit for me but I appreciated Imber’s raw talent and message.
Space is a never-ending font of inspiration for artists of all kinds. So few people have experienced it, but the concept of an infinite silent expanse evokes such a broad slate of emotion that it seems almost universal. It can be peaceful or terrifying, embodying the wonder of the unknown or the fear of complete isolation.
Flat Moon, a Brooklyn group, has joined the ranks of so many musicians that explore the thematic territory of space with the release of their record Luminary. An instrumental concept album concerning the Apollo moon missions, in particular the code for the Apollo Guidance Computer and the team that wrote the code, Luminary is nonetheless instrumental with tonal synths and guitar suggesting the electronic equipment on the craft. The band also generates a rich, staticky backdrop and long drones to demonstrate the depth of space it traverses. “Fresh Start / Restart” opens the record. It's a beautiful droning piece with acoustic guitar and vast textures, setting the stage for the rest of the record. Interestingly, it seems to lead directly into the second track “Controlled Constants,” which recontextualizes the guitar into a more somber electric piece with very barebones drumming. This opening suite establishes the way in which Flat Moon moves between organic instruments and synths. The fact that the band chose to avoid virtual instruments is really evident, as the ebb and flow of the parts never seems jumpy or canned. “Burn Baby Burn” has a nice character, moving from thrumming 16th note bass to a cavernous sound that breaks into jammy territory. The record doesn't get too close to traditional rock music, but this track is probably the nearest it comes—the minimal groove sits nicely alongside the more esoteric moments. “The Lunar Landing” is also a major standout for me. It’s got a post-rock vibe with a huge shoegaze wall of sound. The broad and hopeful chords drop away for emotionally immediate clean guitars and a light snare pattern, then returning to the huge waves of fuzz. Playing with rich guitar texture suits the band well, underpinning the melodic movements with depths of sound. Once “Time of Free Fall” rolls around, Luminary is ready to untether itself from the norm. Droning strings emulate the endless movement of zero-g, though these drones slowly and softly become tonal. It’s similar to the glacial effect of Sigur Rös, taking a vast ambient soundscape and pivoting into more traditional melodic territory. After minutes, reverbed acoustic plucks from guitar add a rhythmic element, and it all fades to nothing but room noise. It's a fitting way to close the record, making the journey seem to extend beyond the boundaries of its running time. Ultimately, Flat Moon has delivered an interesting album in Luminary, straddling ambient and melodic sounds to evocative effect. Though their specific concept does not come through as clearly as I would like, they truly understand how to convey the complexity of space, which makes the project unquestionably successful. Hopefully this is not the last trip they will take.
Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating Golden Teacher No Luscious Life 3.8 Jame Murray Heavenly waters 3.8 Izzard Alone Together 3.7 The Shorelines Somewhere In Time 3.5 Corrington Wheeler Seeking Light 3.6 Catchlight Live With It 3.7
When your record is called CABBAGE and bears on its cover a head of green cabbage against a black background you better either be joking around or know damn sure what the hell you’re doing. James Cox a singer/songwriter who has lived in many rural places during his life, including Rocky Mountains, the Great Pacific Northwest and the Southeastern United States and currently resides in the Mississippi Delta, and the main man behind CABBAGE, is luckily the latter.
He cites among his musical influences Elliott Smith, Radiohead and Jeff Buckley, and one can hear each of these artists in some way, shape or form on this record, from its hushed and radiant beauty to its precisely wielded instrumentation. After the title opener, a short and sweet episode of found sounds and knocking around, comes the sweet slow burn of “All the Beautiful Things” which is haunting and beautiful at the same time. The song opens slowly like a flower in the phase of blooming. Cox’s melody unfolds like petals. He is a patient vocalist, a la Buckley; the words are spoken plainly and then kissed out into the air with an eerie sweetness. Next on “At the Altar” Cox starts out with an alt country soundscape that is upbeat and forceful. But this track is seven-minutes long and this is only the first of a folio of spaces this song will inhabit, as it reaches a powerful peak and then slowly becomes shrouded in a hazy mist of jazz drums and stand-up bass, interlaced with howling fiddle, and some sonic treatments that turn the song into something completely different. Later on “The Gardener” Cox opts for a more direct approach of heavy rock guitars and sooth-saying vocal repetition “A reminder of what is coming.” As it progresses the song becomes a fugue of rock a la Radiohead’s Ok Computer, and it sounds as though actual sparks may be coming from the shredding guitars. This then transitions to the relatively ‘80s Britpop sounds of “Under Cover of a Bald Shining Night,” which also serves to show the many sides of Cox’s abilities to create rock n’ roll in all its different forms. And for the closer “Winter Crop” Cox takes it on solo-acoustic and howls it out like he means every word. Like I said earlier if your record is called CABBAGE there better be something significant behind it. In this case there certainly is. James Cox is not being hokey anywhere on this record, and those who are willing to sit down and listen will be greatly rewarded for it.
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