Three Story Buick is from Fargo, ND/Moorhead, MN and is currently composed of the founding members Paul and Dom. They recently released their debut self-titled album Three Story Buick which is a seven-song album. The band mentions it is “a straightforward hard rock album with influences of early heavy metal along with a groove vibe. Vocal style is more attitude than melodic.” Regarding the themes they mention ”Most song subjects deal with what we would refer to as the real evil in the world that we can all relate to. The songs were written to allow the lyrics to be heard.”
They get going with “Hate Contagion” and this song sounded to me somewhere between Van Halen and Motörhead and Ugly Kid Joe. It’s steeped in nostalgia if you happen to grow up in that era like I did. The song moves forward with menace, there’s just enough affection in the vocals and it’s covered in attitude. I was impressed with the drumming on “Outta Control.” The band launches into a Black Sabbath style riff. It’s a nasty song in the best way possible. There are a bunch of killer riffs with this song and the vocals were killer. I loved the guitar solo on this song and the chorus where he sings “the world is spinning out of control.” They had more success with “The Spell” and a couple of things about this song had more of a punk flavor to it especially on the chorus. Something about the vocal delivery made me think of several English punk bands from the ’70s. “Ashes” has a lot of energy and has some of my favorite riffs. This has a classic ’70s feel. There’s a good amount of tension and release. The band slays. “Denial” was a cool song. It’s fast and changes BPM. NOFX and Rancid came to mind with this song. “Hot Rod” has more of an ’80s flavor. It might be the catchiest song on the album. It’s also the longest song coming in at almost seven minutes. The close strong with “ShtBrd” and oh man the drumming on the beginning of the song was incredible. This album is a blast from the past depending upon when you were born. I have been alive long enough to remember this type of sound was a lot more popular. I’m glad Three Story Buick is keeping the flame alive. Take a listen.
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Rainbow Death Rocket is back with a new release entitled A Thousand Words.The band consists of two members Q and Adam. Q handles all the music while Adam is the singer. This is a rock album that is primarily focused on hard rock and metal. The album is around an hour long and full of pulsating grooves and riffs.
They open with “Dead Man’s Blood” which is a rocking song. There are fuzzy drones that pulsate and you just know something is about to happen. It does when the drums come in and snaps the groove into place. The song is catchy and the vocals sound great. I loved the guitar work around the two-minute mark. It’s an awesome opener which sets the stage for the rest of the songs. “Sometimes (That’s All I Want)” is a highlight. The harder distorted riffs work well against the texture and tone of the vocals. It’s a dynamic song with a serene breakdown that leads to a more aggressive and metal section. The song deals with a lot of things including suicidal ideation. “Resurrected” is a banger. This song reminded me more of ’90s grunge bands. Alice In Chains came to mind. There are some very cool effects on this song including a warping noise that seemed to be some sort of modulation. The vocalist hits it out of the park. “Maswac” comes a little closer to a band like Queens of the Stone Age. That being said I’m not sure how much ’80s metal influenced them but that was in there too. There’s some great work and a rolling bass line that makes the song dynamic. I also thought the background effects which sound like ethereal vocals were really well done.The guitar solo absolutely shreds. “Wanna Be” has a different emotional resonance to it. It was one of my favorites on the album. It’s pensive, melancholy and has a chorus that absolutely soars. “Running” has this feeling like it’s building with a menacing energy. The song is explosive and some of the riffs are so cool and again felt like a throwback to when metal was in its prime. One of the more pop-oriented tracks is “Everything You Ever Knew” which is one of the more pop oriented songs. It might be the catchiest vocal melody on the album. There’s some very cool guitar work on this song as well. “Killing Time” contains this incredible rock opera like sound while “Last Days” is another banger with that lead guitar tone you don’t hear as often anymore. As the album starts to come to a close I thought there were a number of highlights. “Tomorrow Goodbye” was great with the closer “A Thousand Words” being a highlight. This is a great album and even better than their debut. Fans of some of the aforementioned bands will want to check this out.
“Is this fun yet?” – well, I guess it would depend on what you’re playing. For the Pacific Northwest band from Portland, fawn, fun for them comes in different musical shades. An emo-rock quartet that is loud and distorted, and layered together with many genres, including punk, pop punk, rock and alternative. The band’s new EP, Is This Fun Yet? was recorded and mixed with the help of a local friend and mastered by Matthew Vanderbough in Nanda, Idaho. As you’ll find out, Is This Fun Yet? is raw, energetic and full of life. The band strives to make music that is real to their lives, music that speaks their thoughts and feelings. Their hope is that their musical efforts will shine through on their debut.
The first track “Scumsucking” is about scrounging around at 3 am for some cigarettes, or even just one cigarette that you don’t even want anymore. From what the next couple of lines implies, you come into work at 8 am and realize that you’re already late. One part of the lyrics reads as if someone is going through nicotine withdrawal, but then the mention of it being “cold in the garage, but it’s colder outside” suggests homelessness, maybe? Anyway, I try not to read too much into lyrics in general. Overall, the band’s raw energy was fantastic in this fast paced, two-minute opener. Next up is “ITFY” and it features a softer edge, taking on a more pop punk style. Plenty of low and high bass melodies, deep drum grooves, catchy guitar riffs and one hell of a guitar solo are some of the highlights to this track. Lyrically, the words suggest reaching a resolve or plan of action – “I think to keep us safe / we’ll have to go this way / I think to keep us sane / we’ll have to leave this place.” I like the chirping birds at the end of this track, too. “Lost Astronaut” starts off with hard rocking, low rumbling beat and lots of heavy guitar distortion. This song is about being lost in one’s head and thoughts, not really caring what others think, just asking them to “let me fall” because “I’ll figure it out one day.” The solo break to this song was awesome – a lot of power and emotion coming through. Moving on is “Cherry Trees” and it begins with a haunting, but soothing sounding vocal track. Then the band jumps into a catchy, rock guitar riff, a faster drum rhythm and some “whoa-ooh-ohh” backing vocals. In my opinion, this is perhaps fawn’s most emotionally charged song on the EP. Whether it’s a song about breaking up with a lover or cutting ties with a family member or a friend, or maybe even the person you used to be – giving yourself come slack and taking your own advice is usually a good thing. At the end to this tune, you’ll hear a car driving off, some wet pavement sounds, or what sounds like shoes on wet pavement, and that familiar beeping sound of a dump that warns you “hey man, I’m backing up!” The band’s last song is called “12th St.” This track takes on a darker sound. The band also plays at a much slower pace compared to the rest of their songs. Lyrically, there’s a lot of mental anguish with this one and musically, it reminds me of bands like Bush. I thought after listening to it, it was fawn’s finest moment on the EP. If you’re in your twenties, or the memories are still fresh, I think you’ll relate to the words here. At first, I thought Is This Fun Yet? was going to be music from a band that had a sarcastic take on life, like, cracking a joke or two and calling it a day. There is some of that on this EP, but what I found more was a quartet who has substance and direction. Hopefully, more substance will come forth on a full-length album.
Over the course of roughly a decade, San Francisco, CA composer Devin Farney has had numerous accomplishments. Not only does he have a smorgasbord of studio albums on Spotify, but he’s also had his music featured on over 100 different TV shows and films. As impressive as all of that is, it’s nothing compared to his most recent full-length, Is/Was.
After listening to Farney’s earlier work, I find this to be an improvement in his discography. Whereas his earlier works are still pleasant to listen to, it’s easy to see why they would be used as soundtrack music. There’s always been strong hints of potential that hasn’t yet been fully realized-- that is, until now. Perhaps it’s because on this album Farney’s organic production sounds crystal clear, or maybe it could be due to his crafting some of his tightest hooks to date, but this project ticks all the right boxes! With this LP, Farney says he wanted to make something heavily indebted to traditional ‘60s pop in the vein of The Beach Boys and The Beatles, but with a modern twist. He describes it as an album where “the sonic warmth of the ’60s meets the sonic depth of the ’20s.” Moreover, while Farney plays all of the instruments here, including Hammond, Wurlitzer, upright piano, live drums and live percussion, he also invites two Bay Area vocalists to duet with him: Courtney Jean and Amity Rose on the songs “Stay Sane” and “I’m Sorry (You Feel That Way)”, respectively. Is/Was opens up with soaring vocal harmonies on the two-minute long “When Can I See You Again,” which is brief, but longing and ends abruptly. “My Kind of Person,” ushers in a wistful acoustic guitar riff as well as the typical electric bass, drums, organ and piano combination. I immediately thought of The Beatles when listening to this intoxicating number. “Forever Home” is what Farney calls “a tongue-in-cheek ode to pet adoption.” This one’s much peppier than the first two tracks and appears to be written from the point of view of a dog about its owner. While I can’t help but compare this one to The Beach Boys, I swear that the drum beat in “Forever Home” sounds as if it was lifted from a different ‘60s pop band. It is a clever song with infectious melodies. The two tracks that follow, the ballad-like “Get Back to Life” and the acapella “A Lot of Wine,” are great additions to Farney’s ever-growing discography. Sixth track and lead single, “Heart or Soul,” features a jaunty organ riff and more witty lyrics (“I’m going to see Jesus / On a highway / Or an acid trip”). Charming, hook-laden and humorous, Farney couldn’t have chosen a better lead single than this one. After the two memorable features on “Stay Sane” and “I’m Sorry (You Feel That Way),” we get to a song that should be released as the next single from Is/Was, “Normal Feeling.” This track, with its jazzy organ and doo-wop style rhythm serving as its main backdrop, even features a slide whistle! Its upbeat nature along with Farney’s knack for writing clever hooks makes it another highlight. The thirty-seconds long “Smorz” may not seem all that impressive at first, but knowing this pop mastermind’s classical experience will change that. In fact, Farney says that it’s a psychedelic spin on a classic Chopin piece. It’s a blip for sure, but for those who love classical composers, “Smorz” delivers. Finally, we reach the last two tracks, “Thoughts and Prayers,” where Farney has never sounded more like Simon & Garfunkel, and “Flirting,” which is a decent enough song to close an album like this. Still, I can’t help but think this would’ve benefited from a stronger hook, as it’s easily the least interesting track on Is/Was. Is/Was is absolutely a must-hear album! The immaculate production complements Farney’s hooks extremely well, and at a lean 33 minute runtime, the album never overstays its welcome. I don’t often listen to traditional pop and rock, but after hearing this record, I’m thinking I should change that. Strongly recommended.
urfriendgrace is a singer and producer who is based in New York/New Jersey. The artist has been writing songs ever since she was young, but only officially embarked on her independent music career in 2019. urfriendgrace’s music on her latest album hopeful nocturnal is a smattering of alt/futuristic R&B grooves with her delicate and elegance vocal stylings as its driving force. While listing several of her influences as Aretha Franklin, Alicia Keys, Kaye Webster, Caroline Polachek and FKA Twigs, I think the artist is able to exemplify these artists without neglecting her own unique voice.
hopeful nocturnal gets started with “toma” that starts out with some chill synths and keys. This track takes its time in evolving without absolutely no rush to it. Once urfriendgrace’s vocals came in, the haunting sound of this number really came to effect. The artist’s vocals were delicate, paced with yearning and emotion. Piano, synths and lush background vocals are included on “rare cereal toy.” urfriendgrace sings in a falsetto. The smooth R&B vibes on this track really made for a great listening experience. “seltzer! (ft. LUKAZ)” starts off to some wonky and funky beats. I was definitely getting some blues and funk here. This felt like a nice change of pace coming from the artist. I was also getting some lounge vibes here. This made for another relaxing and ear-pleasing listen. Once LUKAZ easy-going rhymes come in, you really get a sense of his compelling flow. More synths come in for an other-worldly vibe on “venus.” Next, some futuristic hip hop beats arrive. urfriendgrace’s vocals sound very subdued here. Her singing could be barely heard over the mix. To my ears, this felt like a sultry track where the artist is able to up the heat factor with her sexy vocal styles. Some more atmospheric synths come in on “grace’s interlude.” A piano melody adds to the haunting sounds. With the slow sound of piano comes urfriendgrace’s spoken confessions over voicemail. The vibe here felt intimate and immediate all at once. Smooth electronic riffs sound out in the background as urfriendgrace’s melodious vocals grows on you on “icanthealyou.” There’s just something so resonating about her vocal powers that I couldn’t help but be pulled in by her moving vocal harmonies. On “gateway,” some percussive beats come in adding a lively feel. Some monotone-ish piano also enters. Together with the artist’s stripped back vocals, this made for a simple but emotional delivery. On “crazy,” the artist does a 180 with this acoustic song that made for a stripped back sound that I felt will reverberate with a lot of us. Shimmering keys arrive along with some synths on “nyny.” This made for an atmospheric listen. urfriendgrace’s vocals were once more soft and compelling all at once. The artist chooses to conclude her album with this stirring release. The artist describes the album as “quite ethereal and childlike in sound, structure, and theme.” While that is true, I think that the record feels for the most part like a lullaby and this can definitely take on a “childlike” sound. These tracks all have a quiet quality to them that I feel a lot of listeners who are looking for something relaxing and soothing to mellow out to will find this worthwhile of exploring. There’s an innocent and childlike wonder to these tracks that I feel will speak to a lot of people! Without a doubt, be sure you give hopeful nocturnal a listen today!
Since the mid-2010s, I have noticed that there have been a considerable amount of American bands hybridizing two very different styles of early '90s rock music: grunge and shoegaze. Whereas grunge spawned from Seattle, WA, the origins of shoegaze (or shoegazing, as it was originally known) came from either the UK or Ireland. While there were some modest “grunge-gaze” successes before the age of streaming, their sounds either leaned towards the grunge part or the “gaze” part. Ultimately, this meant that a band like Catherine Wheel were labeled as shoegaze whereas a band like Hum were lumped in with grunge.
Unlike the past generation, however, the modern wave of grunge-gaze bands (i.e. Superheaven, Teenage Wrist, Narrow Head, etc.) blurs the lines between grunge and shoegaze much more than it has ever been done before. Siilk is definitely one of those bands. A ‘90s grunge nostalgia act subconsciously rooted in shoegaze, these Kansas City, MO rockers deliver the goods with their first set of tracks. The six songs from their self-titled debut EP Siilk were all produced, recorded and mixed by Justin Mantooth at Westend Recording Studios, with mastering done by Mike Nolte. I’ve got to say, as much as the band deserves praise for sounding this tight, these guys definitely deserve credit for the EP’s sleekness as well. “Worms” immediately establishes the big wall of sound that the band is going for. This track, like many others, is thick with waves of distorted, sustained power chords. The vocals may be a tad too buried in the mix throughout, but the chorus to “Worms” is remarkably pretty alongside rich bass lines and brawny drums. “Stagnant” continues the trend of crunchy guitars swelling with reverb. Unlike “Worms,” though, this one is faster, shorter, and more Nirvana-esque than what comes before it, featuring a rhythm reminiscent of Nirvana’s biggest hit, “Smells Like Teen Spirit.” “Pulling me in” may just be the heaviest (and best) of the six songs Siilk has to offer on their debut, with its crushing atmosphere, drop C tuning, and, at times, unclean vocals. I’d argue that the tones it presents are the closest they get to sounding like nu metal, a genre that Siilk claims they were slightly influenced by. The melancholy of “Pulling me in” bleeds into “Reveal // Renew,” launching into more Teenage Wrist-like melodies mixed with echoes of grunge. At this point of the EP, Siilk expands on this combination of grunge and shoegaze a little bit with “Moonraker.” It begins with a brief drum machine beat and ends with samples of some movie dialogue. While I’m well aware that this EP is only their first offering, a lot of songs sound the same. It would be nice to have some more variation. Finally, it closes off with a song called “Serene” that starts out gentle but gets louder and grittier later on and showcases lots of angsty lyrics. With Siilk, distortion and reverb are definitely the band’s calling card. Jordan Tyler’s vocals aren’t all that unique, even for grunge-gaze, but he more than makes up for it with his superb work on lead guitar. On one hand, for those who expect something more than the standard grunge-gaze template, Siilk won’t always deliver. On the other hand, however, I have no doubt that those who do fall under this niche will very much enjoy what they have accomplished with this EP.
Hailing from Brisbane, Australia, Nwah.Yell is a French Australian music producer & composer who is bringing his take to prog rock, alt rock, electronic music and more. His debut EP Between One and the Other is an eclectic and cosmic ride, filled with soaring melodies, guitar and electronic embellishments. Nwah.Yell mixes digital fare with live instruments to give this recording a blend of both worlds. Filled with huge emotions and a startling sound, Nwah.Yell has something that will elevate the senses.
Between One and the Other opens with “Encore,” where some eerie sounds reel listeners in. Next, some synths and keys add to the ambience. Out of the ether comes Nwah.Yell’s vocals. It felt very spoken word to my ears. This felt like a cross between metal, hard rock with prog rock elements. Nwah.Yell sings in a slightly French accent that adds something exotic to the sound. The dramatic music felt powerful. Reverb-drenched guitars roll in for a radioactive sound on “Yellow.” Here Domi Prince’s delicate and crystalline vocals come in for a compelling sound. I was reminded of ‘60s and ‘70s music and also of The Beatles. Their psychedelic sound will definitely be a hit for classic rock enthusiasts. The sound of the sax was another nice addition. On the title-track “Between One And The Other,” synths come in for a retro feel. I was feeling an ‘80s vibe here. There was a smoldering feel to this piano-based ballad. The combined vocal harmonies felt dynamic. There was more of that cosmic vibe that I was talking about before. What sounds like xylophones come in at the start of “Magpie” as well as some wind instruments. Next, an energized and sultry backbeat and guitars enter. The music felt very electric to my ears. The track was filled with a dark energy that I felt was a good way to close the record. Nwah.Yell takes command in this set of songs with his showmanship. You can tell he is pulling all the stops with his half-spoken/half-sung performance. The music itself is extravagant, with electronic riffs and radioactive guitars. Nwah.Yell incorporates a theatrical aspect to this album that will appeal to both Broadway and non-Broadway fans. Pulsating with both a contemporary and classical touch, be sure you give this a spin today!
Paul Pawelec has been playing guitar since he was 12. A rock artist from Guelph, Ontario, he has contributed to several thrash and rock bands in the past. Scared of Character is his very first EP as a solo artist. Though an instrumental album, you can tell that Pawelec is having a lot of fun on this record as he struts out with his guitar with style and makes it sing with complete flair. What comes across is something not too technical, though he does gun for the prog rock, post-rock and classic rock genres, what he has here has the ability to reach out to professional artists as well as listeners who aren’t so knowledgeable about these aforementioned umbrellas. It really feels like Pawelec has a feel for his instrument of choice as he rocks out to total abandon. There are also tons of mood and feeling here.
Scared of Character begins with “Impossible,” where right off the bat, a radioactive guitar hits with a pulverizing feel. The sound is adamant and definitely in-your-face. Pawelec seems to be the master of the guitar and his expertise on the instrument shows. The rock music was immediate and comes in energized from the get-go. The guitar sounds monotone-ish on “Looking For Water,” making for a robotic sound that felt heavy and prog rock in vibe. I think the musicianship shows a more technical side to the artist’s talent here. Pawelec he is definitely a stellar guitarist. “At What Costs” is a very dramatic piece. The sounds were immediate and definitely larger-than-life. I couldn’t get enough of what Pawelec had going on here. More doom metal vibes come in on “He Watches.” I thought this number was a little more ominous and darker than his other tracks. It made for a moody listening experience. There was a mellow vibe to this recording that made the guitar sound very island flavored on “Try To Forget.” There were more of the guitar embellishments that Pawelec is so good at. The drum machine adds its own voice to the composition. More adamant and in-your-face instrumentals come in for a full-on vibe on “Non-stop Back Talk.” The vibes here seemed more aggressive with a harder rock edge to it. The artist chooses to close with this moving send-off. Pawelec gives instrumental music that extra kick with his all-out performances on Scared of Character. Audiences will definitely be reeling from his energized and enthused execution that fuses melody and prog riffs for a sure-fire combo. This is a good start from the artist and I look forward to seeing more things like this in the future.
Roomtones is an independent Brooklyn-based rock band formed in 2017. EP is their first official release, and it was produced and recorded by Martin Bisi (Sonic Youth, Swans, Herbie Hancock) in his notorious BC Studios. The four songs that make up EP take on a ‘loose concept’ involving flashing reminiscences of living in New York City in the early days of the COVID-19 pandemic. EP revolves around themes of loss, memory, aging and regret. The band composed of Dan Jacobson on guitar and lead vocal, Bill Jock on guitar, Jeremy Duvall on drums, and Eric Ruben on bass, counts The Modern Lovers, Alex Chilton, Lemonheads, R.E.M., Field Mice, and Pavement among their influences. Roomtones is interested in what's left, left of the dial. (For all you die hard Replacements fans, that’s a song off their 1985.… oh, forget it). The band’s bio states, EP is “to die over.” I’ll let you listeners be the judge of that.
“Down Along the Line” has a fresh, crisp sound and was meticulously produced as far as I can tell. The vocal harmonies along with the general melody of the song, was a pleasure to listen to. In terms of being the opening song, it felt like it just merely got my feet wet – not something that grabbed my attention all that much. Comparison wise, I could hear influences of Pavement, the Lemonheads and other bands of their time. Lyrically, the song is about the singer’s hatred toward psychedelic drugs – “When you’re coming up, I’m going down.” To put things bluntly, the artist states, “the so-called ego-loss that everyone was after with a hit of LSD on their tongues, turned out to be just another form of bloated narcissism.” Turns out that bad experiences, (which the songwriter apparently had one, or two), can form negative opinions of any drug. Ecstasy, alcohol or even any religion, can offer a similar result if you are only wanting a great experience but one that doesn’t turn out in your favor. Anyway, back to the music… “A Dream” takes on a harder, more rocking edge, but there are also softer moments in between the lyrics, too. Perhaps it’s just me, but the fact that Roomtones is from New York and this song takes on a more classic, post-psych rock feel, I couldn’t help but think that maybe the band was channeling Lou Reed here. I liked this number a lot more. Lyrically, it’s about a quarantine dream the singer had and how the ‘existential covid crises’ became universally relatable during the pandemic. Like, everyone having this ‘crises’ happen at the same time. The next track “Drawing a Blank” I liked even more. Roomtones notes that this was the song everyone was telling him should be the single and I would agree with, everyone. The band takes on the soft college rock/poetic Brit pop sound of the early ‘80s here. If you’re familiar with the earlier albums of R.E.M. (I’m talking Chronic Town, Murmur and Reckoning) as well as the earlier sounds of 10,000 Maniacs (The Wishing Chair) and the Smiths’ first album, then you’ll like this song. There is also a video on YouTube for this song. Roomtones’ last number is “Forever Almost,” and it starts with a cutting and tense guitar riff. If you like catchy rock tunes, this is your song. In my view, this last track takes the best of the classic rock sound and couples it with a post-grunge/rock style. Oh yeah, and there’s some twangy lap steel in here too – just to throw you off. In fact, this song was the artist’s attempt to write a country song, without it sounding like a country song. Something he admired about R.E.M.’s early work. I’m trying to think of a classic band that this song reminds me off, but anyway…. the way this song was written, especially the way the drums were played, remind me of Dinosaur, Jr. The words are about a band the songwriter used to be in that fell apart. He says, “Every good country song is about a broken heart – this one just pretends it’s not about a broken heart.” All things said, I thought each song on Roomtones EP had its own unique style, each one taking on a different sound, and expressing a different feeling. Even though conceptually the four songs center around the covid pandemic, it offers the listener a nice broad sampling of styles.
Harmonies and Cigarettes is the first commercially released album by Australian singer/songwriter Roger Henshaw, who sings and plays guitar and keyboards. He had some help on backing vocals (which I’ll note) and recorded at John Roy’s Recording Studio in Mannering Park, Australia. He didn’t send too much background info, so let’s get right to the songs!
“Step by Step” is described by Henshaw as “a little bit 1960’s and a little bit 1970’s. It’s meant to be fun and has a good pop hook!” I definitely hear the ’60s in his twangy electrics and stellar harmonies. Kim Humphreys is credited on lead guitar. It has the feel of many a one-hit wonder you could buy on a K-Tel compilation LP, though I can’t think of just one band. Bernice Hickford is credited on backing vocals. The animated video is fun, but has a few bizarre images that are definitely NSFW! “Love is Here” is a love song (no big shock there) which Henshaw says has “a catchy riff reminiscent of The Monkees.” Indeed, you could almost call it “Soporific Valley Sunday.” For that matter, it also sounds a bit like “Ticket to Ride” by the Beatles, and features stellar backing harmonies by engineer and producer John Roy. The title track “Harmonies and Cigarettes” is an intimate folk tune based on acoustic guitar, bass and piano, along with Henshaw’s tentative but heartfelt vocals. He says this is the only song recorded in his home studio (using Apple Logic Pro X) and it feels wide and expansive, with a full drum kit and a small string section. It was written as a gift to his guitar playing partner of many years, “taking us back to where it all started in Dawson Street.” “Do You Remember” is a “pub rocker” Henshaw wrote for an old girlfriend (whom he doubts remembers him). It’s anthemic and jumping, with clever lyrical and melodic switch-ups that somehow cross ’60s bubblegum with the adventurousness of Queen. “Waterfall” is based on a dream Henshaw once had, and features Kim Humphreys on guitar. This track has the breezy feel of a Dire Straits song (and Mark Knopfler’s soloing), and again features nice backing vocals by Benice Hickford. “Good Memories” is the other song with a video, and this one is shot in a more traditional style. Henshaw says he wrote this song for his late mother “in a style she would have loved” which to me has a cajun flavor thanks to the accordion, banjo and Humphries’ terrific slide guitar. The superimposed photos of Henshaw’s eternally young mother are quite moving. Henshaw ends the album with “a good old fashioned pop song” called “Fooled Myself” which was originally released in 2010 but has since been remastered. It’s a great track with terrific lead and harmony vocals, compelling hooks and thick, expansive synth strings to tie it all together. Robbie James of the Australian band GANGgajang contributes ace backing vocals and harmonies. These songs all seem to have sprung fully formed from an era long gone, and it’s an era and style I continue to love. If you’re in the mood for great songs without taxing your brains too much, please give Mr. Henshaw a spin or two! |
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