Caitlin von Berky fronts Belltalk's talented four-piece, after she had a brief love affair with opera. Belltalk’s alternative pop stylings hit you like a boxer wearing a velvet boxing glove, elegant and soft to the touch, but it's still several dozen pounds of pressure swinging right at you. It's tough to tidily put Belltalk into a genre hole, which is just the way I like it! Each musician is highly skilled. There are Impressive instrumental harmonies, creative bass rhythms and very varied percussion. it's almost unfair how many tones the band manages to achieve on this five-track EP entitled Lights. "Remote Control" kicks things off with a decidedly Radiohead vibe (unsurprising, as the band is listed as one of Belltalk's influences for Lights) by having fluttering guitar sounds lead into some funky drumming and super subtle bass. Von Berky takes the helm on vocal duties, and fans of contemporary female artists will find little to criticize here. Her voice is familiar, at worst normal, and it fits the music. What I like about "Remote Control" is how, during the instrumental bridge, which is far wilder than the otherwise steady patterns the song demonstrates, only by von Berky exiting the track and letting the music build does Belltalk create the emotional tension most bands strive for. The keyboard-led "Electric Storm" and anxious tempos of "Bright Lights" also give testimony to the band's strength. Bassist Kiel Hames is the unsung hero of most of the tracks here, rooting the tracks with his own muted energy lest they get too out of control, but his bandmates have enough reign over their instruments to prevent such a thing from happening. Also draw your attention to von Berky and Elizabeth Hurman's guitar playing. Their synergy is level with fellow dudette rocks Vivian Girls and Grass Widow. The guitar playing is often the most experimental, with harmonies breathing in the sound space and exhaling something erratic and unexpected. Lights is hardly a light album. The music's effects, for me, weren't felt until well after a track had ended, and upon repeated listenings I found extra guitar chords that weren't there, an extra drum beat, an unearthed baseline. The music is subtle but heavy, like a large, delicious meal. Actually that's lame; let's stick with the boxer wearing a velvet boxing glove metaphor. This album is recommended.
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Before I read anything about swelo I had just listened to his release Escalator Music and thought to myself that the album had to have a team of people behind it. The production is slick as it blends genres such as rap, rock, electronic, funk and more. It utilizes samples, organic instrumentation and everything else in between to create a fun-filled album that is perfect for your next house party. To my surprise swelo is actually just made up of one guy from New Orleans whose day job is a math teacher and who makes all of his music in his bedroom. The album starts out with a brief intro called “Like That,” which combines someone scatting and a bossa nova inspired groove that will immediately get your attention and keep you there for the incredibly addictive “Country Road.” The song combines different vocal styles; the first voice we are introduced to sounds similar to the childlike vocals you heard on the single “D.A.N.C.E” from Justice a couple years ago. It then transitions to a straight up rap that is backed up by a beat that combines a number of disparate elements like soft electronic piano, a big bass sound and handclaps. It is a masterful song that displays some of swelo’s best qualities. All Alone” is just as good and continues to have a party vibe that will keep the good times rolling. The dance beat, synths and bass provide an ample amount of energy for the silk smooth vocals to provide the harmony. Swelo also can get experimental at times as he shows us on “D&H.” This one isn’t a thumper but instead an experimental song that sets you up in a 1970’s lounge that has one too many lava lamps. Another highlight off the album is “IDGAF,” which is a dance number that again has a great vocal performance that combines flowing rhymes as well as singing. The song features multiple changes but never feels rushed. Just enough to keep you interested. This album is one helluva a party and will fit nicely next to my records from Justice, MGMT and Girl Talk.
The P is for Paul, the J is for Justin, and the y I'm guessing is the Spanish article for and. This is a duo that is busy with life, and so vocal recording is done in San Diego while mixing and mastering is done in Sacramento, both in California. Is it just me or does this seem a lot more fashionable to do, to record in different parts? Anyway, Liberty for Wolves is awesome, a standard-length EP (five tracks, most of the them around the three-minute mark) that grinds with nervous fervor. The music is rooted in punk, what with its frictional guitar licks, muddy production and nasty drumming. But PyJ don't limit themselves (doesn't limit itself?) to just those aesthetics. The vocals (both men share duties) approach the theatrical when they're yelling over their self-created noise swells, tempos change from post-punk sinister grooving to hard rock sprints and it's not uncommon to hear a synthesizer or some other artificial noise producer throughout the tracks. "Disconnect “and "Did You Forget" is the two-punch opener, beginning with some moody vocal howling followed by a cascade of violent guitar work. The mood throughout the entire EP is one of disassociation and paranoia, but neither are spelled out as clearly than on the first two tracks. The alternations between minor guitar chords and headaching riffs are intoxicating and memorable. "It Doesn't Matter" is cool as hell, a barely danceable electro-rock number that, like most of the other tracks, culls a bit from various genres, in this case the forced rage of emo and the groovy rhythms of gypsy punk, while mechanical sounds hum and drone in the background. I'm fairly sure Nico would approve of the viscous anger on "Bottom Out," and "Wake Up" is a fun mess that constantly rearranges itself from gothic ode to garage punk pithiness. There are annoying parts of this EP, namely the vocal discord that's heard occasionally on the tracks. It comes to a head on "Wake Up," when any emotion I was supposed to feel is lost in the goofy haze of PyJ channeling martyrdom at the end of the track. But the fun the musicians have on the tracks more than make up for it. Even during missteps, PyJ know how to have fun. The reliable changing of rhythms and tempos is welcome in songs that create such dreariness, the hooks are catchy as they are abrasive and the voices are, at worst, fun to mimic if you're ever a tour guide on a haunted house. Overall, Liberty for Wolves is recommended.
After touring Canada for several years, moving 1000 miles between Prince Edward Island and Toronto and back, playing in bands, and a four-year silence, Peter Forbes is finding his feet again as a songwriter. While he played a more straightforward brand of rock and roll in the past, he found inspiration in the world of Scottish indie-pop with bands like Belle & Sebastian and Camera Obscura. The result is a dramatic mellowing and relaxing feel that makes the EP Love is All Around good for listening to late at night.
This EP is the result of a couple of years recording whenever he had the money. For the most part, Forbes handled all of the drums and guitars on the EP, a decision that can often result in a rhythmically weak sound but he handles the rhythm section quite well. He gets help with background vocals from his sister and local musicians Jon King and Blu Gillis cover the rhythm section on "My Love For You.” My immediate impression of Peter Forbes' latest EP was that it reminded me of The Magnetic Fields. The opening track feels like it would have been at home on 69 Love Songs. And the telling sign that I really enjoyed this is that I ended up just listening for a while and forgetting that I'm supposed to be writing a review of this! "My Love For You" has a Neil Young meets Belle & Sebastian vibe to it that helps with the slightly trite lyrics. Forbes has done a great job at creating arrangements for his songs that don't get in the way of the songs themselves. There isn't any more going on in each track than there needs to be. Each song feels both new and familiar, most likely due to the lo-fi pop sound that flows through each track on the EP. The last song, "Life Preserver" reminds me of a band that almost doesn't exist, they stay so well under the radar, called King Radio. My favorite aspect of these songs, though? They aren't long and drawn out like a lot of psychedelic music tends to be. Each song is only as long as it needs to be in order to say what it has to say. The songs are made more special by this brevity, making you want to listen to them on repeat to listen for something you might have missed. When we first reviewed Josh Evans one track EP called Purgatory, which he released in May he had just started making music a couple of months prior. Since then he has released a number of other tracks and seems to be improving. One of his latest pieces is called Andromeda, which is a two-part album that takes some of the qualities (atmospheric, meditative, hypnotic) of his first “purgatory” and flushes them out. The first track is “Andromeda 1” which is 31 minutes and 40 seconds long. He utilizes voices, distorted organs, reverberation and down-tuned guitars to create a sense of stillness and calm. Listening to this track may be a shortcut to becoming a disciplined monk who does little more than tend to his sanctuary and enjoy the nature around him. It is not only the constant vacuum of sound that gives you a sense of peace but the notes that play in the background that sound as if they were placed a thousand miles away. By the 15-minute mark the music feels like it’s not even there because it is so subtle. It’s the kind of music they should play in subways at rush hour to lessen the sense of anxiety some people may feel. “Andromeda II” does not have the same sense of peace that “Andromeda I” had. Instead we are greeted with ominous overtones that have industrial elements as well as oscillating sine waves, which embed a sense of apprehension. There are more transitions and more for your ears to grab on to with this track but it may be less appealing to those who enjoy a serene, tranquil type of canvas. Evan’s music is solid and continues to improve. Fans of artists such as Tim Hecker, William Basinski and Fennesz should listen and keep an eye on Evans to see what he has in store for the future.
You might want to set up an appointment with your dentist after digesting this short but sweet EP of sugary electropop. And it's not just the music that's adorable, either. The alleged background for Todd and Erin's debut EP Save It for the Remix is that Erin Nicole Smith left her phone number and a buck in Todd Dakin's tip jar after one of his gigs. A week later, the duo found themselves playing at Hollywood's House of Blues, which is kind of a big deal. The Santa Barbara duo establishes themselves quite well on these five tracks, with the EP itself clocking in at just over 15 minutes. Smith takes the lead immediately on the opener "Lost CTRL." She boasts one of the most unabashedly cute voices I've heard in recent memory, and for a moment the only word I could think of was "TWEE." Dakin's voice isn't too much different, though a bit tougher and less saccharine. They compliment each other, which is vastly important in a musical duo. As for this particular track, it's an appropriately energetic and anthemic opener, filled with jovial guitar riffs and fun male-female harmonies: "Hey what’s that sound / turn up the volume now / we are getting louder now." The music has a sweet sound, being pop through and through, but the band draws on some surprising influences. Consider the Journey-like guitar work on "Something Chemical" backed by classic synthesizers. "Don't Walk Away" is constructed around grunge-like guitar riffs that revert back to the spacious synthetic pop sound popularized by 90s alternative rock. Now, not every experiment works, the biggest mistake being "Hate," a bland, acoustic number predictable in every musical aspect. "White Lies" is the most realized track, channeling some awesome Delgados overtones as Smith explores darker themes, and the sound of her own voice. She is much more raspy and serious-sounding. It's still a pop song, but in the vein of Evanescence. Now, what catches my attention is I can hear every one of these songs on the radio. Even "Hate" could be the next melancholy girl and guitar number. For a debut, Save It for the Remix is impressive for its pop sensibilities, and as its title implores, we may very well see more of Todd and Erin in the future.
Canadian born singer Matthew Oomen now resides in Kolbjørnsvik, Norway. The tranquility and environment in both places have helped inspire a thought provoking, meditative folk album. Where The Valley Is Long does not have the showiness of a major studio album, but it does not need it. By only using his home studio, Oomen has created a complicated pilgrimage.
Where The Valley Is Long’s simple instruments, and complicated lyrics, create an intricate listening experience. The humming nature of the album makes it an easy one to drift off to. It helps you meditate. However, by exploring every compelling lyric, it leads to a euphoric experience, because each listener interprets these songs differently. Also they get a new piece of the story every time they play one of Oomen’s songs. Every song on Where The Valley Is Long has special attributes that fascinate and inspire. “Master’s Row” has a written letter quality to it. This style grabs you and takes you on a journey through this man’s life, and it sets the tone for the album. For “En Masse,” the blending vocals match perfectly with the subject and title of the song. “Tired Winds” is an ode to the love of nature. “Called to Straw” is almost like a frame narrative. On one level it’s a man remembering his time on a farm. On another level it’s the reenactment of war stories. The complicated storytelling ability of Oomen is commendable. Where The Valley Is Long is a tenderly produced album. It is Oomen’s letter of love and appreciation for the places that has shaped his life. To truly experience this album, you must turn off all your other senses. Just listen. When you do, you’ll come to love Matthew Oomen’s Where The Valley Is Long. Marlow, a four-piece band from the Sydney area out of Australia, has finally released their much-awaited album Seven. It took Marlow two years to record this album. At the first listen you could easily say that they would be grouped together with 30 Seconds to Mars. No, don’t close off your senses that fast. Do not assume, listen to the album and listen to it all the way through. The seven songs on the album have a web-like connection consisting of a powerhouse ritual of drums and bass that do nothing but enhance your conscious audiophile tendencies. Coming across as a band that cares about the production of their work instead of just handing it over to a zealous producer is a smart move. With their single “I Can Breathe” finding a home on the airwaves, you should first listen to the songs “Ocean” and “Icaro,” which leading up to the catastrophic beauty that is “I Can Breathe.” Seven is considered a tribal-electro, progressive alternative rock album. That’s a mouthful right, how about just calling it music, good music, and wait … great music. If the word incendiary could be used as an everyday occurrence the shredding that has somehow been tamed just enough to allow the voice of the guitar to scream out, in an utter pristine functional way, then this album would be described as incendiary. As an entity Seven may be that hard album to beat or to overcome. But as Marlow would have it, they are hardworking and strive for the best. Listening to Marlow will give you the pleasure of discovering new music and listening to Seven will change your mind about alternative rock. Their 2013 tour kicked off in August. Hopefully you had the opportunity of seeing them live.
Mike Kershaw is out of Wakefield, UK. You’ve never come across someone that has such an engaging mind as his especially knowing that he suppressed himself musically for 22 years. To describe Kershaw as blossoming wouldn’t quite cut it; it is more of an explosion. Since then Kershaw has released four albums before his recently titled nine-song album This Long Night.
The album opens with "Miracles" where dreamy synths intersect as Kershaw speaks as if he is talking to a little child who is about to fall asleep. His voice is slightly detuned which creates a ominous vibe. "Into The Sun" is a solid song where Kershaw sings and doesnt talk. The song revolves a catchy acoustic guitar riff that displays some of Kershaw's technical ability as her harmonizes multiple vocal lines. The first song that really struck me was “A Kind of Hell,” which has a foreboding gentle touch, until Kershaw comes in and says that he’s not listening, not listening to you anymore. He seems to be discussing pain in motion and how any silence can come from a kind of hell. The 12 minute song has some of the best music on the album as it mutates and seamlessly transitions between different sounds and textures. Spacious synths give way to bongos which blend with a bass and synth before the whole atmosphere changes again when the distorted guitars are introduced. Even throughout “Words of Love” I sense a psychic TV presence. Whether it was intentional or not, I congratulate Kershaw on that accomplishment alone. Oddly enough, it seems to me that Kershaw allows his mind to open to interpretation. No matter where the musical direction leads him, he doesn’t argue with the thoughts that come about. He is an ever changing and ever-evolving musician. The reaction to This Long Night will be different from person to person. It is a thought-provoking album so take the plunge. Drop Anchor is a four-piece rock band that formed in 2007 from the greater Philadelphia, PA area. The band consists of Kevin Mooney (bassist/lead vocalist), Matt Buckley (guitarist/vocalist), Brad Holstine (lead guitarist) and Harold Echols (drummer). They recently released an EP entitled Pulverized, which tips his hand to 90’s rock and grunge. The vocalist sounds eerily similar at times to Layne Staley from Alice In Chains as the band brings a recognizable brand of distortion to their guitars that would be suitable for any Soundgarden, Mudhoney or Stone Temple Pilots album. Having grown up on these bands I appreciate their willingness to commit to a time period even if it sometimes feels a bit dated. The opener “She” doesn't waste much time as the full band is rocking out in about five seconds. The guitars feel huge like a colony of bees ready to attack. There is just enough venom on the guitars that are filled with anger, energy and power as Mooney’s 90’s idiosyncratic vocals persevere throughout. “Roper” is the shortest song on the EP and has a different vocal style than the first song. Also Mooney’s delivery is more precise. The centerpiece of the EP, which shows their versatility, is “Premise and Conclusion.” The song starts with an open canvas of clean guitars, exceptional bass work, and atmospheric drums that support floating ambient vocals. It’s a Tool-esque sounding approach they utilize until they revert back to the distorted guitars. As the song progresses it goes through a number of changes and it showcases that the band has an ambition to create epic songs. Pulverized is a solid EP of well made songs, inspired by the 90’s, which is its greatest detriment as well as its strength. Sometimes while listening to the album it made me want to just start listening to some of my favorite metal/grunge bands from the 90’s and other times the band was creative enough for me to keep on listening.
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