It’s 1982 and the setting is an arcade in a suburban town. A kid named Harry finds himself in the arcade that was modeled after ‘80s movies. After that, stuff happens. That's the basic premise of the punk inspired rock opera entitled Don’t Turn Back by Rivers For Eli.
I’ll be honest, I listened to this album a number of times and the story is vague at best. I guess that’s fine but I was hoping for a little bit more of an arch. There are a couple things Rivers For Eli might want to do so their audience knows that this is a concept album. They might want to mention that on their Bandcamp page so people will actively listen to the lyrics. On top of that they may want to add the lyrics as well because I for one had a hard time understanding what was being said at least fifty percent of the time. Rivers from Eli is a three-piece band comprised of Steve Balletto, Billy Otto and Rich Suzano. The band is bit scattered in terms of style but mostly falls under the umbrella of punk. I thought the band sounded their best when they went for the fast BPM, NOFX and Rancid type style with lots of vocal harmonies and chord changes. The music is pretty tight ninety-eight percent of the time but there are a couple of transitions that were a bit sloppy. Overall, it is something most people won’t notice. I think it's fair to say people will have an ambivalent relationship with the vocalist. He has a high pitched, nasally voice that almost feels hyperbolic and doesn’t always stay in key. His performances were varied from song to song. After a short forty-two second intro the band launches into on the highlights of the album entitled “Night Driver.” This is really the style the band excels in and should continue to explore. It’s fast, raucous and fun. The blistering fast guitar solo was good and the vocal harmonies were an integral component that the band should implement as often as they can. The next track falls in line more with ‘90s Green Day and contemporary pop punk than NOFX. It’s a bit slower and has less energy. “River Raid” is a solid song but further deviates in terms of style. The song starts with inventive guitar picking patterns, which is reminiscent of a band like Death Cab by Cutie. As the song progresses it gets more intense and even contains moments where it sounds like metal. “Yars Revenge” is another highlight because it feeds their strengths, which is playing fast and implementing vocal harmonies. Good stuff. As the album progresses it really is a mixed bag of songs. “Berzerk” is an ambient, minimal piece that would have worked better if it were about thirty to sixty seconds long instead of over four minutes while “Riddle of the Sphinx” is another highlight, which contains a lot of energy. At fourteen songs with the majority of the songs being over four-minutes long Don’t Turn Back almost feels like a double album. For a punk album, it’s an incredibly long journey. The album is far from perfect but gets it right when it sticks to an early ‘90s punk aesthetic.
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Welcome Familiar to my knowledge is a solo project. His latest release Mean Nothing is a nine-song album of well-written indie pop songs. The one element that kept on sticking out to me was his vocals. Don’t get me wrong the music isn’t too shabby but nothing jaw dropping. However the vocals were the anchor that gives this artist an edge.
Most of the songs are fuzzy and built off a warm bed of distortion from a guitar while other instruments like bass and drums feel almost marginal in comparison. The album starts off strong with “Could Let You.” It starts with strummed guitar chords and vocals. His voice is warm and inviting as he sings, “If I could let you go.” I thought the song benefited from being rather minimal. It revolves guitar, bass and vocals. He could have easily added drums to this mix but his decision to leave them out was a good one. The same can’t be said for the second track “Try” which kicks right off with drums, bass and guitar in full effect. “Try” is unequivocally one of the highlights on the album. The vocal melody is extremely catchy making this song one he will want to get into as many ears as possible. “Cross” has a little less energy and more melancholy. That doesn’t mean it wasn't a good song. In fact the first three songs are arguably the strongest on the album. “Lourdes” while a decent song wasn’t quite as well written as the previous tracks. He gets back on track with “Ten.” His vocals are up front in the mix and is easily one of his best performances. I think I would have preferred the song if it was kept minimal instead of exploding into a rocking, grandiose second section. That being said the song is still very good regardless. The last two tracks on the album are highlights. “Somewhere Beneath The Waves” starts off as an intricate acoustic guitar picking. I thought it sounded great and hope he continues to explore more acoustic based music. The closer “Everyone Is the Killer” is an intense nine-plus-minute rock. I’ll just let you listen to this one. Mean Nothing is a solid album. The songwriting is good but the vocals are better. That sounds like a winning combo to me.
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 David Bashford For All I Know 3.6 Skinny Dip sever 3.3 Noordwiijk Sailor Boy II 3.7 Sidewalk Express Sidewalk Express 3.4 Ben Earley & Kreole I Choose You - EP 3.2 Collins Lynch Watson Collins Lynch Watson 3.8 Vhyle Morning Light 3.6 Freddie Quell Freddie Quell 3.9
It was about fifteen years ago that I first heard Psychocandy by The Jesus and Mary Chain. Little did I know what kind of ripple effect that album would have on the underground musical landscape which you can still hear very clearly today with an ample amount of artists. Post-punk had been around for while and shoegaze was starting to emerge (genres which have a symbiotic relationship in my opinion) in the late ‘80s and early ‘90s and would spawn bands like Ride, Slowdive and demigods My Bloody Valentine.
Shoegaze never broke into the mainstream like grunge did in the early ‘90s and maybe that's why it’s aged so well. The genre is still relatively obscure to the masses but in an age where almost anyone can record there seems to be an endless amount of bands that are barking up the shoegaze tree. That being said there aren’t too many bands that do the genre justice. Luckily, that is not the case with the self-titled EP ultraviolet from ultraviolet. I’ve spent the last couple of weeks with this release and it’s a shoegaze album that gets a lot of aesthetic choices right. The whole EP is covered in hall reverb, the vocals hang relatively low in the mix and that ambiguity, dissonance and dreamlike atmosphere that defines the genre is present. Behind the music are only two members Caitlin Craighead and James Grantham who have a similar dynamic to the band Beach House. Craighead is the lead singer who does contribute to the music while Grantham seems to only be focused on the music. Although Beach House unequivocally has traces of shoegaze (especially their release Depression Cherry) ultraviolet’s music leans towards what many would call a pure form of the genre. Behind the waves of white noise and reverb-laced vocals are well written songs. The EP starts off with “Lock & Key” which from a musical standpoint sounds most aligned with a band like The Jesus and Mary Chain. I was immediately able to enjoy Craighead’s vocals. Suffice it to say she implements a tranquil, melancholy energy into her voice. “Lock & Key” was a good song but the second track “Hearts in the Sand” is exceptional. The song has just enough optimism and jubilance that balances perfectly against the dissonance of the guitar. In fact the song reminded me of the band The Chromatics whose sound you can also trace back to shoegaze. “Fool's Gold” (not the Stone Roses song) is very atmospheric and dynamic while “Strawberry Echoes” contains catchy vocal melodies behind the white noise. They close with “Cold Coast” which attempts and reaches peaks that border on post-rock. Ulratviolet will immediately resonate with the purists of shoegaze who still listen to Loveless on a fairly regular basis. For those of you not too familiar with the genre I encourage you to not only give it a listen but give it a couple. Shoegaze is a genre that takes some time to warm up to for most people but once it clicks and you get it there isn’t any turning back.
The saying goes you learn something new every day, which for the most part seems pretty accurate. One thing I learned this week is that East Tennessee State University offers a degree in Bluegrass, Old Time and Country music. They have an entire program centered on it, which when you think about it seems about right.
The Johnson City, Tennessee bluegrass quartet The Honey Chasers contains three members who graduated from this program; singer songwriter and mandolinist Cameron Owens who met guitarist Jeff Ingersoll while at Eastern Tennessee University. The pair clicked and began laying down the foundation of Owens’ slightly outside the box approach to bluegrass, which later became the seven songs of their eponymous debut. There is definitely an appeal to The Honey Chasers sound which is reminiscent of that swing revival sound of Squirrel Nut Zippers as well as that band’s breakout solo star Andrew Bird during his Bowl of Fire period. This is especially noticeable on the hokey “40 Cent Snickers” a song which is musically very exciting although lyrically its subject matter, much like a joke told too many times, becomes stale. The Honey Chasers recover from this mishap rather quickly on the beautiful bluegrass ballad “Rachel.” It proves that Owens’ sugary vocals are better suited to the more stoic themes, as does the jazzed up “Stu Song.” The band adds a little funk to the mix with “June” and which then leads into folksier territory with the wispy mandolin laden ballad “Bestfriends.” They turn back to full on bluegrass on the rambling “Postman,” and close out the record with the country feeling and fiddle-focused long ballad “Tennessee Girl.” The production value of The Honey Chasers was spot on, and this may well be because the album was tracked live. And though it has a slightly live feel to it, it doesn’t do the band or the genre true justice. There are just some types of music, which must be experienced rather than heard. If The Honey Chasers are rolling through your town any time soon, I’d suggest checking them out.
Hey Gigantic is a four-piece indie rock band hailing from London who recently released a four- song EP entitled We Are Beacons. Their music aligns with bands like Bloc Party, At the Drive-In and Incubus. The EP doesn’t contain many surprises or genre-turning type moves but it is well delivered. I would argue that the band's biggest strength is the energy they bring to the table. A mix between the top-notch production, the recording quality and the tight performances make for a winning combination that creates an energy that is immediately felt within your veins.
There were a couple of things that really stuck out to me about the band. The vocals were an integral part to their music and I can say that I thought the noticeable English accent worked well but it was the dynamic range and vocal harmonies, which really impressed. You can hear what I’m talking about on the first song “Ideas Like Axes.” Certain words are emphasized with vocal harmonies while the dynamic range is apparent within the transitions. The music on “Ideas Like Axes” is extremely tight and well executed. It’s full of distinct guitar parts, which are played in tandem. They continue to display their expertise on the second track “Sirens.” Simply said the song is full of great riffs and infectious vocal melodies that continually explode. The title track “We Are Beacons” is arguably the most single ready song on the EP. It contains a distinct verse and chorus that gets stuck in your head after about the second time you listen to it. I really enjoyed the Bloc Party-esque guitar parts on “Hawaii.” This song has some super slick guitar riffs and ended up stealing the show. The band rocks out extremely hard at points getting into post-rock territory. Overall, it is a great closer. I couldn’t but help but think this band would be great to see live. If they can produce even half of that energy in a live setting the audience will eat it up. We Are Beacons is a fine EP with a consistent, upbeat energy that can replace that energy bar you eat in the morning before work.
Marlon Harder (vocals/guitar), Jose A. Fuenzalida (drums), Colton Fehr (bass) and S.J. Kardash (guitar) are the four members of Autopilot. The band isn’t exactly newcomers to the scene but hide in relative obscurity to like-minded bands like Broken Social Scene, Wolf Parade and Modest Mouse. There is no equation as to why a band's popularity can take off but in my humble opinion Autopilot is a name that should be ubiquitous among the underground/indie scene. The production, recording quality and song writing is certainly at least competitive with the aforementioned bands.
For instance the opener “Desert Dreams” has inarguable similarities to the song “Cause = Time” by Broken Social Scene. All I’m saying is that if you found “Cause = Time” to be a good song you won’t have to stretch too far to enjoy this song. Desert Dreams is a consistent EP with just enough variation. The song “Oceanside” emits an upbeat almost dance worthy vibe while “Battles” is covered in melancholy, nostalgia and a bit of hope. There is a bit of a Wilco vibe on “Battles.” “Crossing Borderlines” benefits from reverb- laced distortion and a classic Americana feel. I think it’s fair to say that the highlight or highlights will be different depending upon whom you ask. Some EP’s and albums have clear-cut winners but with this EP the difference is marginal. That being said “Tuesday Afternoon Processions” is a song that stuck out to me. It’s an emotionally resonant song with an exceptional vocal performance and I thought the heavy use of reverb worked well on the song. The band doesn’t have many kinks in their armor. Desert Dreams is an EP you can let play from the first song to the last and most likely won’t be thinking about skipping tracks. Overall, I think their music has a wide, ubiquitous appeal that won’t take a lot of effort to enjoy. Hence, I encourage you check to out their music
Alex and Andrew Baughman are two brothers who make up Stag & Owl. The first thing I must mention is the cover art on their three-song EP entitled Piers/Peers. I’m still trying figure out if the cover art is supposed to be a tip of the hat to the film Step Brothers. If you Google image search the movie you will come across promotional pictures that are very similar.
Piers/Peers is a exceptional EP that features clean reverb laced guitar, excellent singing and inventive percussion elements. If you are looking for comparisons Grizzly Bear and Local Natives are good starting points. The first song is “Cold and Colder.” There is really nothing to complain about on this track, it really has it all. Poetic original lyrics, dynamic crescendos, clear defined parts for each instrument and very solid production. I really do love ambiguity within song lyrics because it strays away from how we use language a good portion of time. It’s a fun exercise at least for me to pick apart lyrics and figure out what if anything the songwriter is singing about. On “Cold and Colder” the vocalist sings, “Stop an assembly line / My body has stayed behind / Behind a wall of black / You wish a thought could vandalize / So hide in the sheets / Or down in a reef / My legs are stiff / Well, hopefully they thaw.” Next up is “Green Writing” and I loved the opening guitar as soon as I heard it. It’s a gorgeous riff that instills a sense of tranquility and nostalgia. It reminded me of some of the more subdued guitar playing you might hear from Fleet Foxes. The drum parts are tom heavy and provide an extra bed of warmth beneath the guitars. As the song progresses it gets more intense and louder but they take their time getting there. It’s subtle and not a sudden shift. They close with “StarJuice.” Similar to the guitar riff on the previous track I immediately enjoyed the percussion on “Starjuice” which is an integral element in the song. This track isn’t as serene and tranquil as the other tracks. The song is dissonant at times and even can feel slightly ominous at points. It was a great move overall. The song doesn't veer too far from the previous tracks but establishes that the band can create a different mood and atmosphere. Piers/Peers forms a very, very solid foundation for the two brothers. I think a lot of people will appreciate the music they offer and I don’t see many holes in their game at this point. All I can say is to keep up the good work and hopefully we will see a full length LP in the not too distant future.
The members of the four-piece band The Riot Van comprised of Sean Miller (lead vocals/guitar), Paul Pearlmutter (guitar/backing vocals), Daniel Stuart (drums/percussion) and Brian Laluces (bass) may not be old enough to vote but they sure figured out how to write a song. Being in my mid 30’s and some one who has been writing music for about two decades I can’t help but be impressed by a younger generation who are able to write good songs. I remember the songs I wrote when I was in high school and they were god-awful. Looking back, it took me a good ten years to write something that I deemed respectable.
The five songs on their self-titled EP The Riot Van may not be perfect but these are some well-written tunes that mix elements of punk, alternative and rock, which make for some good listening. I can say that every member of the band is proficient in their instrument. You hear an inventive drum fill or wicked bass line and think “damn, these guys have it.” You can hear the band at their best on the very first song “Running Round.” The opening riff between the rumbling toms, catchy bass line and wicked lead guitar wasn’t too far off from something that you would hear from The Minutemen. When the chorus explodes it does so with an infectious vocal melody that will get stuck in your head. The vocalist sings, “So come follow me, come and you'll see / Another place that's far away / No matter what you say to me.” Next up is “Stay Here” which is an upbeat, buoyant song that delivers another catchy chorus. The song is not quite as dynamic as the first song but is nonetheless enjoyable. There is some slick lead guitar towards the end of the song you won’t want to miss. “Streetlights” contains arguably the best bass line on the EP while “Salt” is a jagged, punk song that has especially notable second half. They close with “Something Loud” which is a close tie to the exceptional “Running Round.” The song is dynamic and filled with inventive riffs while also being catchy. The chorus is exceptional. The production on the EP is good but not great. I noticed the mix felt narrow and congested when they rocked out with distortion. Nothing major but still noticeable compared to commercial releases. I can say with a great degree of certainty that the band's best work lies ahead of them if they continue to practice and write. That being said the band is off to a great start with their self-titled EP.
Dirt Moon started out as a solo project but turned into a full-fledged band. The four members which include Aaron Church (vocals/guitar), Adam Johnson (drums), Jeff Mokry (bass) and Graham Terry (guitar/vocals) took some time during 2015 to record and release When We Were Animals.
I have to admit that when I heard the first song I thought I knew what I was in store for me for the rest of the EP. While there aren’t any huge surprises from this rock/alternative band there were some minor ones, which I was pleasantly impressed by. More on this later. They kick things off with “Speechless” and it initially starts with a couple of guitars and vocals. The first transition adds some energy with drums. I thought the lead guitar part around this time was extremely melodic and easy on the ears. The chorus rocks but is rather predictable and familiar sounding. It wasn’t till the second track “Palinopsia/Wretched Tune” where I was really impressed. Towards the beginning of the song the vocals reminded me of Maynard James Keenan. The guitar riffs are great and I thought the modulations effects were used tastefully. It isn't until later in the song that the band rocks pretty hard but then they unexpectedly go into a haunting, ambient section. It was a great move and showed that the band was willing to think outside of the box and get experimental. The ambient ending fades into “I Want Your Blood.” I especially enjoyed the beginning, which again reminded me of Tool again. The band explodes into the chorus but not for long. Towards the end of the song the band finds another inspired sections that relies on subtlety and nuance. They close with “Different Faces” which has a distinct vibe that I almost want to compare to Modest Mouse. There are some guitar parts that are very creative; the same goes for the drums. Dirt Moon is at their strongest when they veer away from distortion-filled power chord climaxes. The moments that got my attention were the ones that relied on details and nuances. There were a good amount of those moments but the band at times went too fast into predictable, loud choruses when there could have been other possible ways to get there. Exploring the dynamics between loud and soft and how to achieve both without following tropes takes a lot of time and a good amount of bands never get there. Dirt Moon is almost there but not quite yet. If they keep on this trajectory I think they will arrive soon.
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