Bears in Hazenmore is the combined talents of Brady Frank (lead vocals, guitar, keys, trombone and French horn), Dana Rempel (tenor and alto sax bass), Darnell Stewart (guitar, bass), Tanner Wilhelm Hale (drums, percussion and vocals) and Dalton Lam (trumpet, flugelhorn and vocals). They recently released a self-titled three-song EP that shows a band with a huge amount of potential. On their Bandcamp page they describe their music as “ambient-indie folk,” which is completely accurate but I would also like to throw the word pop in there as well. The band creates expansive soundscapes in which Frank can sing over. I appreciated the vocals and thought they added to the music but I would have been happy just listening to the music itself. One component that needs to be mentioned is how integral the horns are to this music. It adds another layer of depth and complexity that sounds symbiotic against the guitars that have an ample amount of hall-like reverb on them. The first track “Winter Air” initially contains loose, sparse guitar and doesn't take long to get layered with horns and percussion. I was reminded of Bon Iver at times - think “Holocene” not “Flume.” The music is so good the vocals can almost be overlooked at times. Frank does indeed have a good voice and also has a knack for delivering infectious vocal melodies. Towards the end the vocal harmonies combine with the boiling intensity of the music creating a climax. “Thirty-Four Days” is another success. The song finds its finest moments when Brady repeats the lines “I don’t know what you want” before exploding into the last part of the song. They close with “These Northern Mountains,” which is another testament to the talents of the band. Bears In Hazenmore certainly impressed with this debut EP. I normally have some advice but all I would say here is keep making music and get it into as many hands as possible.
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What do musicians do when they go on vacation? If they’re anything like The Reverend John DeLore with Ian Fisher & The Present, they write and record a three-song EP. While Ian Fisher was in New York to visit friend and fellow musician the Reverend John Delore, the pair decided to fill the fridge with beer, invite some friends over and set up microphones in the basement of Delore’s Brooklyn brownstone and lay down a few tracks. The result of this impromptu recording session is the three-song EP Canadian Patriot Waitress. The strange title comes from one of a cast of characters that Fisher and Delore met during their week long ramblings around Brooklyn. The album also features appearances by other friends and fellow musicians, which include drummer Charlotte Cornfield, Marcy Playground bassist Dylan Keefe and part time Fisher collaborator Ryan Thomas Carpenter on the keys and vocal harmonies. The addition of the aforementioned musicians pays off musically, keeping the EP from being lost amongst the plethora of self-released one-off singer songwriter releases. The EP opens with Fisher’s "Nothing" a twangy and countrified dirge. The song spins an existential tale of, as the opening narrator states, “the meaninglessness of life.” Here Fisher concocts his vision of the meaning of life, taking turns both scientific and realistic, the music is fun enough to detract from how horrifying the meaning is. To put it simply, this is a fun sounding song about how we’re all going to die and turn back into dust. On the second track, “Six Black Flags,”,Delore takes over the lead vocal duties. Here again, the beautiful instrumentations and vocal harmonies and sing-song-y chorus help to mask the heartbreaking message the song is revealing. Stripped down to its core, the song is the tale of a man who has been stood up by the woman he is in love with. Deluded at first, thinking that “She waits for me in the city” as the song unfolds both lyrically and numerically, the narrator finally realizes that his love has abandoned him and it’s time for him to return from where he came. The final track “Fiction” wields beautiful three part harmonies, provided by Fisher, Delore and Carpenter that mingle with sparse guitar, bass drum and well-placed handclaps. “Fiction” comes off as a beautiful old country style ballad with spiritualistic sounding undertones of the kind sung at southern baptism, as newly formed Christians are baptized in the river. When all is said and done Canadian Patriot Waitress is a fun foray into what fellow musician friends can produce on a whim. The petite EP serves as a snapshot into time lived and served, a momentary epoch of memories gathered during a week in the city that doesn’t sleep. Lewis James is a solo indie rock musician based in Manchester, UK, who recently released Rock n Roll Experiment. The songs here don’t feel derived from one particular era or niche. It just kinds of sounds like rock music. Musically, they revolve around a typical rock format of bass, drums and guitar. The songs are basic but for the most part effective. The production is average but could use some improvements. Overall, the mixes sounded a bit narrow and there wasn't a lot of separation at times. Some songs sounded better than others but there were times where the lead guitar sounded too buried. The songs on this album blend together and there weren’t many clear highlights. It ends up feeling like one long song partially because James utilizes virtually the same guitar sound in every song, the dynamics are basically at one constant level and there is no variety when it comes to instrumentation. This is a double-edged sword if you ask me. It is nice to have an album that is consistent but at the same time it gets a bit boring and stale half-way through. “Spoilin’ The Mix” sounds like a mix between Spin Doctors and Local H. A distorted guitar plays simple but effective chords while James sings over the progression. “Fight” has a couple of noteworthy melodies while “Hometime” is a little bit of deviation as it lacks drums. James does have a good voice. Which is arguably the most appealing aspect of the music. His guitar playing and creativity on the guitar is sometimes impressive but not mind-blowing. Here’s the deal - if you listen to one track from Rock n Roll Experiment and dig it I would highly recommend just buying the album because a lot of the material sounds similar. It’s been over twenty years since Pavement released Slanted and Enchanted and its influence still seems too pervasive (whether the artist knows it or not). Listening to the self-titled EP Gemini Horror by Gemini Horror it’s hard not to hear similarities. From the lo-fi aesthetics, to the simplistic guitar patterns you can hear why they sound the same. That being said Gemini Horror, which is a solo project for DJ Larson sometimes has a nasally tone in his voice that bares resemblance to Conor Oberst. The three songs on Gemini Horror sound like demos recorded on consumer digital gear in an untreated room. It probably sounds like that because Larson along with thousands of other aspiring musicians can get recordings done for next to nothing these days. Fortunately for Larson the songs are well written enough that you can sometimes get past the poor audio fidelity. Larson explains “The album is an insight to how I feel as an over analytic 20 something. Dealing with the dating circle, self doubt, and self pity.” That seems about right as the first song is entitled “Low Life.” The song features a couple guitar chords, solid drumming and bass guitar, which was almost nonexistent in the mix. It’s not a bad written song and Larson has some talent as a singer. “Lunar Effect” wasn’t as well written as the first track while the last track “Girls of Certain Age” gets Larson back on the rails. “Girls of Certain Age” has some notable vocal hooks. Larson will obviously have to get a more polished recording if he wants to get more of an audience. A couple of moments pointed to potential but this is a case of wait and see what happens. This short and gorgeous EP entitled Before Nightfall from British folk outfit Dear Friends. is tailor made for the onset of autumn. It's spacious guitar strums, twinklings of piano, and barely there brushed percussion suggesting warmth and intimacy, inviting you to lean in closer and hear the stories, like a warm campfire on a chilly night.
People tend to disregard guitar-based singer/songwriter fare, i.e. "folk music" as being hasty, unadorned, too simple, not requiring any skill. Dear Friends debunk this myth, and stand out from the coffeehouse imitators by taking their time. These four songs were demoed and recorded over the span of three years. Each member would take turns bringing in words, phrases, choruses and melodies, to be fleshed out by the rest of the band. Egos were disregarded in the process. Every nuance exists only for the sake of the song, and the Before Nightfall EP stands out like a diamond in the gravel pit. I hesitate to even call this folk music. It may have started with a basis on strummed guitar chords and plaintiff vocals, but is so fleshed out with organs ("Sound Of The TV"), lashes of restrained electric guitar ("Forget"), slide guitar, and layered vocal harmonies, it could stand up next to a Beach Boys or The Left Banke record. Perhaps it would be better to call this baroque chamber folk pop. It may be labeled as indie on Bandcamp but there is nothing rough or lo-fi about these recordings. The Before Nightfall EP is some of the lushest and most luscious self-produced music I've had the pleasure to think, and if this world is fair and just, the quality of this material should make Dear Friends. a household name. Dear Friends. took three years to record these gems, so make sure to give them the time and attention that they deserve. Like the best acoustic music, it takes its time, revealing all of its splendors, and will be a welcome companion during the coming cold months. Fans of orchestral, folk tinged pop music, like early R.E.M., Elliott Smith, Nick Drake or Iron & Wine will swoon over these tapestries. David James Riley is a singer/songwriter based in Sheffield, England. He recently released a five-song EP called Riley that mostly revolves around acoustic guitar based music. This is a primarily a well-written folk album that showcases a technically proficient guitar play with an attractive voice. I have to say I really enjoyed this EP but was pretty baffled by the first track “A Chance To Strike.” The first track sounds like a ‘70s classic rock song, which isn't indicative of the remaining four songs. If someone decides to start with the first track, which is the most likely scenario and it isn't their cup of tea they most likely won’t spin the remaining tracks. If that person even sort of enjoyed acoustic based folk song they are out of luck. “A Chance To Strike” isn’t a particularly bad song but isn’t on the caliber with the remaining four songs nor does it sound similar. For me the EP starts with the impressive “Tom Dooley.” The song starts with beautiful chorale style harmonies before a lone acoustic guitar enters. Riley’s voice sounds natural, open and dynamic against his acoustic guitar. As the song progresses he adds handclaps and harmonica adding more of an Americana type feel. “These Four Walls” is another impressive acoustic based song. Riley’s voice sounds good with some melancholy behind. The chord progressions on the song have resemblance to early Zeppelin. “Know I Do” combines an acoustic guitar with a spare piano melody. Riley really seems at home here and it comes across in the recording. Drums and a lead guitar enter and sound good in the mix. He closes with “Blood On The Blade,” which is arguably the highlight and in my opinion had the best vocal performance by Riley. His vocals are warm, heartfelt and pure. They resonate with the listener and instill a sense of nostalgia and reflection. My advice to Riley is to stick with the acoustic based songs. He sounds at home with acoustic in his hands and at this stage the sound quality is much better coming through the speakers. Overall, Riley has some very impressive moments and a couple of songs that really stuck out. I will be revisiting “Know I Do” quite often. Right from the outset, Kent UK based outfit Otis Lift, a funky three-piece guitar-centered jazz and groove trio, consisting of Charlie BP grooving on guitar, Ian Titmus slapping the bass and Simon Bridgestock keeping up the beats behind the drum kit. Notice there is no Otis. That’s because this cheeky Brit band’s name is derived from the name of the world’s largest manufacturer of elevators, and the English word for elevator. And that’s not where the humor ends either. The cover of their album Heck of a Job features a ‘70s era couple sitting up in bed, seemingly naked though with their bits and pieces covered by a white shag blanket. The woman is holding a Siamese cat, and in the foreground on a large tray is a spread of food, including corn on the cob, two gingerbread cookies and a horseshoe shaped loaf of bread amongst other things. Although they may be jokers in certain aesthetic aspects of the album, musically these three lads mean business and they get down to it right from the start, beginning with “Little Walter Rides Again,” an almost four-minute jam session of funk-infused bass grooves and snare heavy drum fills all set spinning like a top with tonal twists and turns as Charlie BP rips up and climbs the jazz and blues scales on his electric guitar. “Little Walter Rides Again” is an excellent showcase of what is to follow. The next track “Grants Dimensions” begins as a slow study in jazz guitar funk fusion, with the guitar, drums and bass bouncing off one another, back and forth, like an echo. But “Grants Dimensions” takes an unexpected turn and plows right into some of the smoothest classical jazz guitar riffs you’ve ever heard. Meanwhile the drums and bass keep themselves in the background, providing support to the guitar, which is obviously the star here. The fresh and funky “Heck of a Job” is a head bobbing funk and soul jam session that features some of the albums finest finger picking, as Charlie BP continues to creep up and down the fret board and the jazz and blues scales. About halfway through the song features a sample from the fifties crime drama film “The Big Combo.” Then there’s “Lawns” the album’s longest track, which unfolds over a period of five minutes. Slow and mellow guitar grooves meld with smooth bass licks mildly sustained drum beats. The album closes with the Steely Dan cover “Josie,” which the band adds its own bit of funk and flair to the song. In the end the record title fits this Otis Lift to a T because they really have done one heck of a job on this album.
Travis Hodges is a busy man. He is currently working on four musical projects and I recently sat down with one of them entitled After Hours Cooperative. Apparently the self-titled album After Hours Cooperative he recently released was a complete DIY effort. He plays all the instruments, recorded it himself and then mixed it. The songs on After Hours Cooperative are ‘70s flavored pop songs that have elements of bands like LCD Soundsystem, David Bowie and a number of other related bands. Hodges has a lot of good things going for him. First off, I think he has a great voice. It reminded me of Bowie at times and it also has a lot of character. His delivery is almost always nuanced and full of emotion. He has a good sense of when to exaggerate certain words and when to pull back. Another aspect Hodges is exploiting in a good way is the use of fuzz. Fuzz is all over the record and despite recording on marginal gear achieved some commendable tones. After Hours Cooperative has fun songs to listen to and worthy of playing at almost any occasion. A good majority of the songs are danceable, upbeat and have a good solid groove you could settle into. Take for instance the first rack “Bliss Is Forgetting.” Hodges lays down a steady beat and fuzzy guitars but the biggest reason the song works is the infectious vocals. The chorus especially is undeniable ear candy. He sings “Go. Let Go. Let yourself go, because you know bliss is forgetting.” Oh and don’t miss the supremely badass slide guitar solo that comes out of nowhere. “Infinitely Mine” is a winner that sounds undeniably like old school Bowie. The guitar riffs have a classic ‘70s crunch to them that covers your speakers in white noise. Arguably the highlight of the album is “The Kids Are All Right.” I thoroughly enjoyed the clean guitars, use of delay and vocals. The verse here is clean and has less fuzz than normal, which left some space for Hodges. Hodges also displays some range with his vocals, which goes a couple of octaves higher than he might feel comfortable with. He sings, “It carries all of us, it carries us through.” The only thing that was lacking on this record was some production issues. Sometimes the fuzz caused the mix to sound narrow, the snare didn’t cut through and the dynamics could have been controlled better. These and a couple other rather minor production problems were noticeable but didn’t take much from me enjoying the album. After Hours Cooperation seems to be a solid work in progress and I could see good things happening here. Date Nights by Life In Cold Climates reflects on the many aspects of relationships, over a bedrock of funky beats and jazzy chord progressions, like the infectious offspring of Steely Dan, Marvin Gaye, Otis Redding and Michael Jackson. Things begin with "Let It Out," which features some impressive guitar playing and arrangements and some choice vocals by Eve Goodman. It could be a Motown outtake, except for the way that it's recorded, which sounds a little too brittle and plastic, making it sound more like John Mayer, which sets off some warning bells. The musicianship and ambition is in place (there's a lot of instruments going on) but it just doesn't come together. The lead single "Date Night" thankfully quenched my fears that I was listening to yet another indie band vying to get on the festival circuit, and becomes more like real jazz/funk/soul than the approximation thereof, with its insanely awesome horn stabs and violins. I even like it when they slip into an upbeat reggae groove and people really have to work to sell me on anything that sounds remotely like ska. In this instance, it is fun, catchy, memorable, and likable. This sweet, classic soulfulness continues on to "The Letter," which opts for hand percussion instead of a drum kit that gives an exotic feeling and allows more space for Goodman's lovely voice and lets the sparse string parts really shine. "Into You" is the point where I fell in love with Date Nights, erasing any misgivings I had at the onset, bringing to mind the bittersweet twang of Fleetwood Mac's "The Chain". The guitars, which start off as a biting acoustic and shift into ringing, crystalline arpeggios would make Lindsey Buckingham proud, and manage to convey both muscle and beating, heartfelt passion, which gives "Into You" an impressive emotional range with orchestral plucking and double-tracked vocals adding even more poignancy and depth. This is a stone-cold classic, just begging to be on your next seductive mixtape. "The River" rounds thing out; a classic, stripped-down gospel blues, with two spacious acoustic guitars, framing Goodman's baptismal vocals. It reminds me of Allison Krauss and Union Station's "Down To The River" from the “O Brother Where Art Thou” soundtrack, before breaking into a subdued country waltz, overlaid with tear-jerking heartstring violins, to make for a truly moving experience. Date Nights is a lovely listen, for all fans of roots music and Americana, particularly the kind encapsulated on the O Brother soundtrack. I chalk up my earliest misgivings to a misstep in the mix, which is corrected as the album goes on. Just goes to show, never be too hasty and always give someone a chance and hear them out. You never know what you might miss by judging a piece of art right out of the gate. I ended up really enjoying this short and poignant EP. Life In Cold Climates is a group of very talented and heartfelt musicians and that should go far. 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 Ugly Kids Club Head Games 3.4 Top Girls A Human Being 3.7 Saturday Sunset Reborn 3.4 Peirson Wild Ones 4.0 The Hunted Crows The Hunted Crows 3.6 Craig Stevenson Antigoniwhere 3.8 Crow Hardly Crow Hardly 3.2 Happy Tooth & Dug W.H.Y.G.O.D.W.H.Y. 3.6 Terrible Friends Beach House 3.5 Death Party At The Beach Death Party At The Beach 3.5 |
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