Artaban, the electro sensation hailing from Luxembourg, embarked on their musical journey back in 2006, courtesy of the visionary duo Charles and Max Nilles. Their inaugural release, Landscapes (2008), birthed a captivating sonic fusion that critics have aptly likened to the offspring of Röyksopp and Boards of Canada. 

Following an extensive repertoire of live performances, sharing stages with luminaries like Modeselektor, Apparat, Foals, Wax Tailor, Sebastien Tellier and M83, as well as an impressive array of remixes and cinematic collaborations, Artaban's sonic voyage led them to unveil their second album, Flow, in 2013. This sophomore endeavor imbued their sound with an analog essence, flirtatiously dancing with electro-pop while preserving an enigmatic allure, punctuated by intermittent vocal forays. Fast forward to their latest offering, Rec.Play.Rewind., a collection of nine instrumental soundscapes that beckon listeners into a cinematic realm of atmospheres and emotions. 

Kicking off the auditory expedition is the enigmatic "A2," a track that immediately captivates with its distinctive blend of electronic elements. Evoking a hypnotic groove, it marries synthetic synths with the organic allure of live drums. The journey deepens with "Chazeman," where a relentless beat drives the composition forward, enveloped by atmospheric pads and the haunting strains of what could be mistaken for stringed violins. The profound bassline ensnares the senses, crafting an aura of enigmatic allure. 

"Chevrotine" beckons the listener to traverse the corridors of memory, evoking the sensation of soaring through time and space—a sonic wormhole, indeed. "Spazzaneve" introduces a more grounded, subdued ambiance, bearing the potential to serve as the perfect score for a noir film. In the realm of imagination, it could very well soundtrack a cyberpunk noir, where the detective is an android. The tension escalates with "Barman," entwining further into the noir aesthetic. 

“Moebius" surfaces in a hushed manner but astounds with dissonant bends that offer a mesmerizing auditory experience. "Tase" introduces vocals, intriguingly altered and manipulated, making it the closest one comes to encountering a lead vocal. This particular composition conjures reminiscences of the ethereal stylings of a band like Mogwai. "Melville" follows, a swirling, psychedelic fractal that shape-shifts and metamorphoses, evoking a sense of endless transformation. The journey culminates with "Skog," exuding a distinct funkiness that isn't too far removed from the sonic realm inhabited by a group like Primal Scream. 

​Rec.Play.Rewind. emerges as an exceptional album, replete with a treasure trove of inventive sonic textures and dynamically evolving compositions. This is an auditory odyssey best experienced through the intimate embrace of headphones, beckoning you to immerse yourself in its captivating sonic tapestry. Our resounding recommendation? Dive into this musical masterpiece without hesitation—it's an experience that promises to enthrall your senses.

About a year ago, we took a look at the Matthew Shadley Band and their album Emerald. Now, they're back with 1970 Something, an album that takes a different path from their previous sound, but one that plays to their strengths. The journey begins with "Panorama," a guitar-centric soundscape that gains momentum with the arrival of drums, featuring a subtle lead from what sounds like a wooden flute tucked into the background. 

Up next is "Believe," a harder-hitting track that falls somewhere between the styles of Stevie Ray Vaughan, Jimi Hendrix and The Spin Doctors. It exudes a lively energy that begs to be experienced live, especially during those moments when Shadley unleashes his vocal prowess with "I Can't Get Home." 

"I'm Alright" brings a mid-level energy to the mix, steeped in Americana with a touch of country influence. The song shines with its syncopated rhythmic pattern, adding depth to the listening experience. "In The Street," originally performed by Big Star, receives a solid cover treatment, while "Heavy Traffic" introduces a touch of psychedelia and a calming vibe, providing a welcomed change of pace. "Don't Need a Reason" delivers a solid performance, but "Long Ride" emerges as a standout. 

​Their rendition of Steely Dan's "Any Major Dude Will Tell You" is a true highlight, showcasing their musical prowess. "Hashtag World" provides a well-executed commentary on social media, while they close the album with the funky and driving instrumental track, "Intrigue At The Disco."

​To state the obvious, 1970 Something is an album that will strike a chord with those who have an appreciation for ‘70s music, especially classic rock. It's a nostalgic homage, but it also boasts a collection of well-crafted original songs that hold their own.

In the late '90s, the creative vision of singer/songwriter Alex Sterling birthed the Desoto Reds. Their inaugural EP emerged in 1999, setting the stage for an evolving sonic journey that would span decades. Fogsnob Records, in the early 2000s, unfurled two full-length albums, Preppy Freakout volumes 1&2, while Floating Man Records bestowed upon the world the seminal Hanglide Thru Yer Window LP in 2004. 

The year 2010 witnessed the release of the LP Roaring Across the Infinite Plain, propelling Desoto Reds into the coveted CMJ top 200 and gracing stages across the Bay Area, including a memorable opening slot for the enigmatic Of Montreal. Following a 12-year hiatus for the rigors of parenthood, the Desoto Reds have resurfaced, offering up a seven-song EP titled Cordless Phone. 

For those of us who were raised on a steady diet of Pavement, Yo La Tengo and Guided by Voices, the experience of delving into this EP is akin to a nostalgic voyage. It beckons us to a bygone era when the indie rock scene thrived with untamed energy. 

The EP unfolds with "the insect world" and the initial impression is striking—the vocals resonate with echoes of Ben Gibbard from Death Cab for Cutie, delivering a haunting falsetto that leaves an indelible mark. The music, alive and untamed, weaves a tapestry of jangly guitars, tom-heavy drum rhythms, bass grooves and the unmistakable presence of an organ. It's a raw, unfiltered sound that feels like an intimate live performance.

The title track "cordless phone" takes the stage next, a catchy tune that retains the same ensemble of sounds, yet the chorus stands out with crystal clarity. It's an infectiously fun track, imbued with an airy, carefree spirit. "impaled by an icicle" ventures into a more mystical soundscape, evoking psychedelic echoes reminiscent of Sgt. Pepper's Lonely Hearts Club Band but rooted firmly in the garage rock ethos. 

"creature" invites us into a realm of free jazz-inspired experimentation, where the music unfurls with a loose, improvisational spirit. The groove locks into place with precision, drawing to mind the visionary work of Sparklehorse and The Flaming Lips. "shetland" emerges as a sonic tempest, introducing itself with a spirited count-off that builds into a fuzz-laden groove.  The EP finds its zenith with "love you" and culminates with "crater," a Zappa-esque deconstruction of a song. 

For those of a certain age I think this album will deeply resonate and bring back memories of when "indie rock" was at its peak. Without reservation, I recommend this EP, a rejuvenating musical journey that rekindles the flames of youthful musical passion.

Paul Field, better known as Flip The Groove, makes a compelling return with his latest offering, "Dance With Me/ Love Your Body Take Control." Starting with "Dance With Me," one might not be expecting a darker ambiance. 

The track kicks off with blaring police sirens and assertive, hard-hitting beats that draw parallels to the likes of the enigmatic artist Burial. Notably, the vocals take center stage here, serving as the primary melody—the heartbeat of the composition. 

It's an intriguing choice, creating a sonic landscape primarily built upon vocals and electronic textures. While there are hazy elements at play, none quite take on a prominent lead role. "Love Your Body Take Control" unveils a richer sonic tapestry. It commences with commanding drums that exude a cinematic quality, setting a grand stage. 

The bassline in this track is impeccably smooth and harmonizes seamlessly with the percussion, crafting a silky and seductive atmosphere. The lyrics, although straightforward, function more like a captivating mantra. The vocal delivery possesses shades of improvisational free jazz, adding a unique dimension to the track's texture. Listening to both songs in tandem, it becomes evident why the artist opted to release them together. 

​The shared aesthetics and emotional resonance create a cohesive experience. Once again, Flip The Groove delivers an exceptional release that leaves us eager to explore more from this talented artist in the future.

The music for both the band and the EP titled Tomorrow’s Tigers came about when songwriter Chris Punsalan began writing music for his own independent sci-fi feature film “The Human Equivalent” using vintage synthesizers and an AI drummer. Joining with partner Autumn Proemm, their chosen band name comes from “the symbolism of the tiger, representing power, agility and untamed creativity.” Punsalan and Proemm’s previous musical project The iOs blended alternative and electronic rock, foreshadowing the Tomorrow’s Tigers sound and artistic direction.

All recording took place at home using Logic, except for the drums which were recorded at the Los Angeles-based studio Grandma’s Dojo. Mixing was by Braedon Henderson and mastering by Hans DeKline.

Though I was expecting electronica, “All the Noise” starts the set with a great, chunky rock sound featuring sharp drums and crispy guitars. Yes, there’s analog synth sounds, but the main groove is the interaction between the guitars and percussion elements. The vocals are another surprise: though certainly “electronified” here and there, the band’s voices are perfect for rock with almost wall-to-wall harmonies. The song itself reminds me of Thomas Dolby and his ilk, but without as much trickery as Dolby needed. At heart it’s a basic rock structure but the riffs are so creatively built that I’m green with envy. 

“Odeon” continues the alternative rock course, with bones that resemble acts like The Strokes or Bob Mould. Again the synths are there but they’re not really in charge of the song, being used more for counterpoint melodies or to fatten the sound. The overall feel is upbeat and celebratory, which is interesting in that electronic music is often cold and computer-like. The lyrics can be read as a celebration of a creative partner or a lover.

“The Dweller” has a wind instrument opening that weirdly channels Frank Zappa in his Uncle Meat phase, but quickly moves into the song proper which is a laid-back meditation on the fate of The Dweller: “Spring is here but nothing grows / Winter’s chill is all we know.” This song sits more firmly in the prog-electronic world and is thick-to-bursting with synths and pummeled drum skins, alternating with a quiet piano motif.  

“Year Zero” is a short and gentle concluding track that reminded me of those quiet moments on a Smashing Pumpkins record just before the big sonic blast. The strummed electrics share the room with a lovely tapestry of retro, mellotron-sounding synths. There’s no singing so we get to sample what the group sounds like in “pure music form,” and it’s amazing.

​I love when my expectations are not only exceeded, but exceeded by eons. These four tracks not only promise great things in the future, but work perfectly all by themselves. Recommended!

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Cam Narimanian, a versatile multi-instrumentalist and songwriter hailing from Wilmington, Delaware, has sought solace in music since his early days. With a classical piano journey that commenced at the tender age of six, Narimanian's musical evolution eventually led him to the formation of the high school band, Soul From Body, which debuted at a talent show. 

During his college years, he ventured into the realm of electronic and rock music, releasing a slew of singles, EPs and an album under the moniker Trinity Project, now reborn as Cam Narimanian. Narimanian's most recent offering, Life In Dreams, embarks on a musical journey that commences with the guitar-led ambient piece, "High Above." This serves as a compelling introduction, paving the way for the more spirited "In My Mind." 

The production here adopts a shoegaze aesthetic, with vocals slightly submerged beneath a lush sea of reverb-drenched guitars. "Where Paradise Dies" emerges as a sonic wall of sound, punctuated by fleeting moments of piano. 

This intense composition occasionally challenges the listener to discern individual elements amidst the sonic maelstrom. "Over & Again," on the other hand, exudes a cerebral and cosmic ambiance, reminiscent of a fusion between Pink Floyd and My Bloody Valentine. As the album unfolds, it reveals a multitude of highlights, including the captivating "Troubled Mind," the introspective "Tomorrow Is Today" and the eponymous "Life In Dreams." The album's intimate denouement arrives with "Face Your Days," a tender and heartfelt closure that leaves a lasting impression. 

​Life In Dreams is an eclectically dynamic and expansive album, offering a plethora of sonic experiences to savor. With its intricate musical landscape, there's much to explore and appreciate within its depths. Do yourself a favor and immerse yourself in this captivating musical odyssey; the journey is well worth the listen.

Zodiac 68, conceived by South Wales-based songwriter Matthew Dunn, a name familiar to our readers from previous features, embarks on a fascinating departure with their third album Head Full of Chaos.

This latest release veers away from the heavy riffs that characterized their initial two albums, embracing a captivating blend of dynamic rock, piano-infused grunge and electronica-tinged tracks, all underpinned by colossal choruses and searing guitar solos. 

The album kicks off with "The Lynching Tree," a robust mid-energy rocker that exudes an alternative radio-friendly vibe. Its infectious catchiness, complete with a classic guitar solo and unforgettable melodies, earmarks it as a potential radio hit. "Piano-based grunge" takes center stage on "Insignificant," where Dunn's lyrical prowess takes the spotlight. Lines like "Reduced to polite questions, So open but it broke your heart, Architecture can bring love, Twenty-six years to heaven" resonate with poignant, poetic and substantial power, adding a layer of depth to the lyrical landscape. 

Transitioning into a more atmospheric and electronically infused soundscape, "No Apologies" envelops listeners with soft ambient tones before surging into a rock-oriented chorus, introducing distorted guitars that electrify the musical landscape. As the album unfolds, it weaves a rich array of emotions, textures and tones. "Maybe After All" beckons with its warm and welcoming melodies, while "Learn To Love" escalates into epic climaxes that command attention. 

​Other solid tracks, including "Jealous Sometimes," "Invisible Scars" and "Unfaithful," each carve their own distinct path within the album's sonic narrative. Taken as a whole, Head Full of Chaos offers nothing less than a musical journey that warrants a start-to-finish immersion. Zodiac 68 has fashioned a collection that effortlessly traverses a spectrum of emotions and moods. To truly savor the intricacies and emotional depth of this album, a full-length listening experience is essential. Head Full of Chaos is an exceptional offering that should not be overlooked. Dive in and let the sonic waves wash over you.

Little League Rebellion is led by Ruaraidh Wishart, who hails from Scotland. Growing up in Scotland, he had a classical musical education, then went to cut his teeth playing and writing in alternative and prog metal bands. He later formed Little League Rebellion, a solo project that explores “music by combining genres and themes of the past and present with electronics and recorders in unique unusual ways.”

Wishart’s style is rather dark on Unsent Letters and you can see his past influences in his current sound. Running through his sound is a metal/hard rock vibe. He oftentimes starts out with a softer, spoken word sound, then the music grows suddenly more aggressive with louder acoustics. This loud-soft dynamic made for an interesting listen.

Unsent Letters open up with “The Collection,” where some spiraling guitars sound out at the start of this track. Next, Wishart’s spoken word-like vocals enter the vibes. His vocals sound like a mantra as a bed of electronic beats and guitar riffs surround the sounds. There was an otherworldly vibe to the music. Eventually, it becomes even heavier as the electronica gets louder. Suddenly, Wishart sings with a metal/hard rock vibe. Some ominous beats start out “The Centre Of It All.” As the synths and beats sizzle in, Wishart’s vocals erupt with a more melodic sound. He sings with feeling throughout. His vocals are half-spoken word and half-sung. Some synths and electronic riffs sound out on “Communion.” Slowly, the sounds grow on you. A tribal drumming beat courses through this recording. Through this beat comes Wishart’s mantra-like vocals. The music is very visceral. There was something very innate about Wishart’s sound that makes it sound like something directly linked to humanity’s past. 

Percolating beats enter the sounds on “Prayer.” Gradually, some electronic riffs light up the sounds. Here, Wishart’s vocals are touched with auto-tunes. The robotic vocals went on to enhance the music. There was a hushed sensibility to this song that gave off an expectant vibe. I thought this was another interesting track from the artist. More synths arrive at the start of “After The Fall.” Next, some keys enter for a dynamic sound. I was reminded of a lullaby. Once Wishart’s vocals come in, this clinches it. I was reminded of a Tim Burton film. Gradually, the noise level of the synths increase and the lullaby instances are dashed. There’s more of a heavy metal/hard rock sound on this recording. There’s another loud/soft dynamic that I found captivating. Some scintillating synths flit in and out of “Not Anymore.” The beats are equally exciting. The sound grows in momentum. Wishart’s vocals are gritty and filled with power. I felt overwhelmed by the dark energy of this track. It definitely felt ominous.

On “The Answer,” some moody synths come into this recording. The atmospheric sounds continue once Wishart’s vocals come in. His spoken word-like singing becomes a part of the ambience. I enjoyed how ethereal and airy the sounds were. The sound of the recorder was a nice change of pace from the usual fare. On “The Promise,” the sound of bird chirping arrives. Next, the recorder comes through for a searing sound. I liked the contrast between recorder and spoken word vocals. I enjoyed how simply but emotionally resonating the music was. Some electronic riffs and synths light up the sounds on “We Took No Joy In Flowers.” On this closer, Wishart’s vocals sound slightly robotic, but it seems to work here. I enjoyed the melody of this song and thought this was an intriguing way for the artist to end the album.

​I enjoyed Wishart’s musical style and thought the theme of this album which explores memory and time is truly intriguing. A lot of times his music reminded me of Depeche Mode and other experimental artists. This was a compelling release and I look forward to seeing more from him soon!

Smooth Retsina Glow is a band that defies easy categorization with their eclectic sonic palette and multiple lead vocalists. Their latest release, Gemini Reign, ventures into diverse stylistic territories, making it a compelling journey into their distinctive sound. 

The album unfolds with the robust rock anthem "Turn to Hubris," boasting crunchy guitars, propulsive drums, a steadfast bassline and a masterfully delivered vocal performance. It's a track that injects a surge of invigorating energy into the listener's veins. "Overcoming" takes a sharp turn in terms of mood and atmosphere. 

This warm composition draws inspiration from 1950s pop, albeit reimagined in a contemporary context. The vocal dynamics, featuring both a female lead and male-sounding vocals, intertwine seamlessly to create a captivating auditory experience. 

Smooth Retsina Glow then delves headlong into funk territory with "Bound By Desire," a track that oozes groove and swagger. In contrast, "All Your Past Times" evolves into a vast and cosmic rock ballad, emerging as a standout track on the album. Impressive momentum continues with "Backsliding," perhaps the most psychedelic offering on the album, casting a dreamy, inescapable spell. 

The garage rock-inspired "Short Handed" infuses a shot of raw intensity, while "She Won't Be Home" channels dreaminess in a manner reminiscent of Mac DeMarco's signature style. "Obfuscate" stands out with exceptional instrumental prowess, bridging the soundscape somewhere between Fleet Foxes and Led Zeppelin. "Eternal Now" delves into darker, melancholic realms, offering a stark emotional contrast. The album culminates with the titular track, "Gemini Reign," a wild and untamed garage rock excursion that encapsulates the band's dynamic versatility. 

​Smooth Retsina Glow traverses an expansive musical landscape, doing so with a unique and innovative approach. Gemini Reign is a testament to their musical prowess, showcasing a captivating blend of genres and creative ingenuity. This is a standout album that deserves a thorough listen; its eclectic journey is a sonic adventure well worth undertaking.

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Mark Newman, a New York-born musician with an impressive track record collaborating with legendary artists, delivers a compelling musical experience. 

The track "At The Border" immediately captivates with its warm, organic instrumentation. The standout feature here is the expansive chorus that evokes the grandeur of a cinematic moment. Newman's vocals shine, and his lead guitar solo adds a dynamic flair to this well-crafted composition.

Shifting gears, "Everything You Know" offers a bluesy rock vibe that's perfect for a Saturday night with a few drinks. The lead guitar work, reminiscent of Lynyrd Skynyrd, is tastefully restrained, hitting all the right notes. The organ also makes its presence felt, creating a cohesive sound that suggests a tight-knit band playing in sync. 

In "Tulsa," Newman channels a distinct bluesy Americana atmosphere, where the tremolo guitar work adds a lush layer to the track. The heartfelt vocals explore themes of regret, nostalgia and loss, while the steady bass and guitar dynamics build a solid foundation.

​Mark Newman's talent shines through his performances, songwriting and emotional depth. While his studio recordings are impressive, his music truly comes alive in a live setting. Don't miss the chance to experience it firsthand if he's performing in your city.