Oh boy, once again it appears I have developed a hardcore crush on a new band. I will do my best to maintain my professionalism, or whatever is left of it. Meet She Was The Law, utterly fabulous band, and their self-titled album She Was The Law. Where to begin, I am so utterly smitten with this album. It is ripe with plucky alternative juice; my mouth puckers at the thought of what this album would taste like if it was a bottled beverage. Definitely an addictive blend of sweet and sour, no sugar added, it's not necessary.
The opening track, "Your Story" houses some absolutely incredible lyrics. It became a personal classic for me the first time I heard it. This was such an excellent introduction that gives you a solid impression of what you're in for and what the band is capable of. There was no other tracks on here that should have been in that opening spot and the fact that the band knew that, speaks volumes as to how in tune they are with WHAT they are. Pegging a genre for this album could transform into a pastime of its own. It's sort of a pop alt-folk album. Now they'll say alt-country and I can concur with that, but man, there is so much here and it's all good. The vocals are strong in that they are endearing and broadly ranged and paired with sensational lyrics. Some of the harmonies will just eat you whole. A great example of their harmonic ability is "Man Pines" a great song that stands on a solid alt-country foundation with a rich narrative. You want your heart to fall out of your chest and then be cradled in a warm blanket of sunshine? Go to track three, "August's Broken Heart." This rustic pop vibe (yes, this is one of my many attempts to peg these guys to a genre) is on its own level, This is a signature sound. These guys have made their own little mini bang to create a universe of their own and they have populated it with enough diverse gasses and elements for healthy and diverse lifeforms to grow there. They can be quirky, brokenhearted, utterly confused and still right on point almost every time. This is one of those weird situations for me as a writer where I genuinely love something and I am at a loss for words. I could have written this review by just declaring, "this album is cool, don't argue with me, don't ask questions, just go check it out." Just give it a listen. If you're not a country fan, don't worry about it. Just shut up and try it anyway. I cannot express to She Was The Law how honored and excited I am that I got to review this album. There are days when I think I can't be surprised or impressed anymore and then I get an album like this and my faith in the world of music is restored. With that in mind, I'll end this review with a hearty thanks to the band.
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Otherwife is a Northern California pop/rock quintet, but having members from the east coast, Brazil and India reflect musical styles and backgrounds within those two genres. Playing together since the summer of 2017, their brand of music could be seen alongside other bands such as the Yeah Yeah Yeahs, Chvrches and Metric. They’ve been compared to artists Amanda Palmer and Taylor Swift. Their latest EP Magnetic was recorded at Wet Rabbit Studios and mixed and mastered by Entwined Mind. The six-song collection deals with the band’s morality of the culture’s obsession with infidelity.
Listening to the opening “Talking Not Touching” on the headphones had a fantastic surround sound of guitars from Anuj Arora – I’d recommend listening to the song in this way. Production wise every instrument, including the vocals by Kyle Abbott, sounded fabulous in this hip, pop/rock number. “Tired of Fighting” had a great balance of fast and slow tempos and felt like the group was influenced from many styles both old and new. The searing guitar solo was awesome, not to mention the song’s Latin vibe. “Expose” starts with piano, sounding rather sad with its slow progression and familiar ballad arrangement. The additional backing vocals brings a tender warmth and I could sense the Taylor Swift comparisons a little bit, but really this band has its own thing going in my opinion. “Lead On” has styles of intellectual and conscientious alternative pop, kind of 10,000 Maniacs meets up with The Cranberries. I liked the driving, toe-tapping rhythm from drummer Curtis Brandt as well as the key this one was in. “Seismic” was another great song to listen with headphones on, just for the stereo effect of the guitar. This tune I thought had a sophisticated feel to it as well, along with a fabulous mix of light and dark textures and a great arrangement. I think the guitar solo was the highlight here, as well as the fantastic bass lines from Stephen McQuay and the sing-along chants. The ending “In the Morning We Wake” begins with beautiful sounding piano and lyrics that suggest, I think, the loss of someone loved very much. The harmonies on vocals by Kyle Abbott and Stephen McQuay are layered so well alongside the piano melody that I wish I could have listened to this one more than just the short duration it was. All in all, a well put together and very strong debut by this San Jose band.
Some Antics is a band from Chapel Hill, North Carolina. They formed in 2014 and played all over the place, won a battle of the band competition and recorded a demo. The band decided it was time to get a professional recording and the result is Not Very Fun at Parties.
The band likes to say they are "pop-punk but without the clichés.” There is no doubt the band is pop-punk and I can say they play into enough staples of the genre that I wasn’t confused as to what they were attempting. The band has a lot going for them. I thought the vocals were consistently well delivered. They have an undeniable energy and they keep things interesting. The band get going with “Now (Losing Control)” which comes out of the gate with a lot of energy. Pop-punk in general is geared towards a younger audience and that is apparent here from the coming of age themes to the uplifting, exuberant energy. The band has some more success with “Why Don’t You Care” which is a catchy song. I thought the vocal melody was memorable the first time I heard it. “State of Mind” brings to mind a band like Blink 182 while “When There's Nothing Left” displays the proper way to go into a breakdown and get back out of it. As the album progresses the songs are consistently good. “Headband” features the best solo guitar lead on the album in my opinion while “Cold In June” is a nihilistic teenage romp. ”Old Photos,” “Back In Time” and “Tim's Song” aren’t to be missed as well. They close with “11:30” which was a highlight. I can’t say the band is breaking any barriers of pop-punk at this point but they certainly do the genre more than justice. Take a listen.
Crop Killer is a four-piece band from Phoenix, Arizona that recently released I. The band formed in 2017 and after spending some time with the album I can say they are off to a great start. I’m a couple of years away from being forty and the band mentions about all the bands I grew up listening to as a teenager. Bands like Husker Du, Dinosaur Jr., Pavement, Nirvana, Smashing Pumpkins and Sonic Youth were bands that they mark as influence and to my ears I could definitely hear that. It’s the sound of a band playing a room together. The type of sound you really don’t get much of these days when it comes to pop music and even popular indie music. It seems to be all about producers these days.
I’m not exactly sure what’s going with the song titles as numbers but we will roll will it. First up is “55” which is a great song. It has tons of energy, is explosive and the band stays very much in the pocket. The rhythm section really holds it down. That bass line was great. Up next is “88” which is another winner. It’s dynamic and the drumming in particular was on point. You can hear early influence from Smashing Pumpkins on this song at points. They change pace with the more atmospheric and lush “56.” The band can pull off this side to their music as well. The vocals sound exceptional, almost Lennon-esque. “65” has a stellar groove. The first thirty seconds or so reminded me of another ’90s staple in the underground - The Dismemberment Plan. ”54” shows off some more of their technical skill while “93” is a killer track with a number of inventive parts. The band go all out with “94” which is an eight-plus-minute song. It felt primarily grounded in grunge and perhaps that’s why it was called what it was. I really had no other choice than to love this band. If you are like me and appreciate some of the aforementioned bands, don't miss out.
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Focus Group LLC is an “experimental” opera ensemble formed in 2016 by Ethan T. Parcell. World Record is a three act opera about a singer in the midwest concerned with the past, present and future of world records. Well, this isn't something I hear everyday.
The opera feels like it was created to be on stage with a full on production. As a straight audio experience I can’t say it’s an easy listen. That doesn't mean it’s not worth listening to but I felt like I needed the patience of a buddhist monk at times. The words are spoken in different ways and then would break out into singing on occasion. It often reminded of how Phil Elverum talks on “A Crow Looked At Me” or the way Jamie Stewart from Xiu Xiu would sometimes deliver words. Perhaps some of the play went over my head but I had a really hard time following the narrative. It’s often a stream of consciousness, artistic and ambiguous. There is just no denying that the whole experience felt “artsy.” There’s really no other way to put it. Take for instance “Little League.” The focal point are the words which become impressions. I was battling with the juxtaposition between the instrumentation and music. The music at its best can be beautiful at times but rarely becomes more than the hum of mediative strings. Some songs had more movement such as “First Aid, Terms and Conditions” which has some fantastic avante garde type free jazz. As the opera continues there was often captivating music such as on “Tornado ’67.” I can go deep with art and appreciate it. David Lynch, The Drift by Scott Walker, etc. I basically judge that art off the subjective visceral experience I get because that seems to be the best way when it’s so interpretive. Sometimes I don’t know how to feel which is ok. That’s pretty much how I felt with this experience. There were moments of confusion, appreciation, frustration and elation. I suppose if you are an artist who wants a person to experience a full range of emotion then I would say “mission accomplished.”
Don't Feed The Peacocks is a group of musicians that formed after meeting at the 2016-17 cohort of the ‘National Youth Folk Ensemble’ where they decided to form a group to explore a common passion for their music. That recently resulted in their self-titled album Don’t Feed The Peacocks which is truly fantastic.
The group who from their pictures are a very young group of musicians have no lack of technical chops. They play a mix of traditional, Celtic, folk and more that is delivered with orchestral strings, guitars, accordion, vocals and sax. The album bursts with emotion from beginning to end in way that I found can only be accessed by humans playing actual instruments. They open with “Lightning Epiphany” which had crackling Celtic energy to it. It’s dynamic, swift and they cover quite a lot of ground in under three minutes. The technical talent is not to be understated. “Barefoot” is a robust track and undeniable highlight. Female vocals take the lead but the instrumentation is gorgeous throughout with instruments like the accordion having their moments. On that note the track explores so much but never feels overfilled from the vocal harmonies to the fast and slick string work. “Song For All Seasons” is such a beautiful song. The strings here tug at your heart in a visceral way that feels undeniable. “Little Sadie” goes the more traditional route with male vocals while “Minoorne Labajalg” is another lush, expansive instrumental track that showcases their talent. “Glory In The Meeting House” has prominent horns which gives another flavor to their music. Their groove is infectious and actually something that you could dance to at points. The thing I found most fascinating is how they are able to shift mood and tone so seamlessly. They close with “Domhnall Nan Dun / Ille Bhig” which was a prefect way to cap off the album. It displays the range of instrumentation and emotion the band is able to capture. On their Bandcamp page there is a blurb that says the band is “distressingly young.” I have quite a bit of years on them. All I can say is that there will most likely be a time when you are older and wish you had your youth. It comes fast and hard and there is no turning back the clock. In fact the clock just moves faster and faster. I mention this because it makes me happy to see musicians taking the time when they are young to learn how to play an instrument and write with other people rather than learning how to program a beat while sitting at a computer. Playing an actual instrument is becoming somewhat lost with production taking the reins. It’s an album like this that makes me excited as to what a younger generation can bring to the table.
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Otherwife is a Northern California pop/rock quartet, but having members from the east coast, Brazil and India reflect musical styles and backgrounds within those two genres. Playing together since the summer of 2017, their brand of music could be seen alongside other bands such as the Yeah Yeah Yeahs, Chvrches and Metric. They’ve been compared to artists Amanda Palmer and Taylor Swift. Their latest EP Magnetic was recorded at Wet Rabbit Studios and mixed and mastered by Entwined Mind. The six-song collection deals with the band’s morality of the culture’s obsession with infidelity.
Listening to the opening “Talking Not Touching” on the headphones had a fantastic surround sound of guitars from Anuj Arora – I’d recommend listening to the song in this way. Production wise every instrument, including the vocals by Kyle Abbott, sounded fabulous in this hip, pop/rock number. “Tired of Fighting” had a great balance of fast and slow tempos and felt like the group was influenced from many styles both old and new. The searing guitar solo was awesome, not to mention the song’s Latin vibe. “Expose” starts with piano, sounding rather sad with its slow progression and familiar ballad arrangement. The additional backing vocals brings a tender warmth and I could sense the Taylor Swift comparisons a little bit, but really this band has its own thing going in my opinion. “Lead On” has styles of intellectual and conscientious alternative pop, kind of 10,000 Maniacs meets up with The Cranberries. I liked the driving, toe-tapping rhythm from drummer Curtis Brandt as well as the key this one was in. “Seismic” was another great song to listen with headphones on, just for the stereo effect of the guitar. This tune I thought had a sophisticated feel to it as well, along with a fabulous mix of light and dark textures and a great arrangement. I think the guitar solo was the highlight here, as well as the fantastic bass lines from Stephen McQuay and the sing-along chants. The ending “In the Morning We Wake” begins with beautiful sounding piano and lyrics that suggest, I think, the loss of someone loved very much. The harmonies on vocals by Kyle Abbott and whoever sang backup with her, are layered so well alongside the piano melody that I wish I could have listened to this one more than just the short duration it was. All in all, a well put together and very strong debut by this San Jose band.
Mike Field, Jeremy Green`and Rahlen Sullaphen are Stoneflyers. The band from Toronto, Ontario released Inward & Onward which is a ten-song album. It’s a pretty straightforward rock album but contains some technically impressive performances.
The band gets started with “Lucky” which had a clear ‘70’s vibe to my ears. It has open road, take your bike and ride type of feel to it. Up next is “Restitution.” It starts off intense with a great Led Zeppelin-esque riff. As the song progresses you can hear hints of prog and even blues. It’s an interesting mix and I really liked what the bassist was doing which defined the direction of the song. “Breathe” is another old school type of song perhaps in the spirit of a band like ZZ Top. The chorus is the best and certainly one of the catchiest moments of the album. “The Word” starts off simple enough with acoustic guitar and vocals before becoming one of the most epic songs on the album. “Tick Talk” is a good one that rocks and the bassist again really shines here. “Baby Blue” is a heartfelt ballad of sorts that is both pretty and melancholy. “Only You” is a fun one that is a good time while “The Call” and “Senses Bleed” have their moments as well. They close with “The Edge” which is every bit a closer that is epic and grand. The band isn’t crossing any boundaries and in fact they have a classic bar band type quality to their music but they do it well. If you enjoy no frills style type rock you should give this a shot.
The Dallas-Fort Worth, Texas rock ensemble Brave Little Howl, composed of Marc Atkinson on guitar, Billy Hale on guitar and vocals, keyboard player Josh Miller, drummer Cory Phifer, multi-instrumentalist Clay Friddle and bassist Kenny Comerford hasa sound that’s southern rock to a certain extent but then it’s not. There is just a lot going on this, their second record, Our Lives Aren't Movies. The band cited that after their initial 2016 release, Make Your Heart Sweat, that they were trying to figure their sound out, which they decreed something along the lines of an indie-rock Wilco type outfit with a bit of the Eagles.
Now let’s not take this last bit too literally here but keep those bands in mind in a broad sense. Because they all three really sort of play with genre in a sense of just taking a country or rock base and building upon it with multiple harmonies and percussions and really put themselves out there in the way they make their music. The opening track on Our Lives Aren't Movies is the scrappy indie-inflected rocker “Crystal Lake” which has its roots more in the late ‘90s, early ‘00s indie scene. I felt I heard echoes of bands as staunchly diverse as Rock Plaza Central and The Weakerthans, the way they are able to stomp through some pretty heavy rock but also have such a vulnerability lyrically and the same could be said about the slow to start but rather explosive “Bar Room Brawl.” On “Stories by the Campfire” they take an all-out assault on indie rock, shedding the alt country vibe all together. So then begins a string of songs that begin to get more experimental, in an odd and good way sometimes, like “Sorry” which is a series of dive bombs of a verse chorus verse song but that the changes are almost too much too take, until it comes out sounding a bit like Weezer. But when Brave Little Howl wants to keep to their more Wilco-inpsired roots they do so quite nicely on tracks like “Nashville” a feel-good rocker found in the middle of the record, and the mysterious but powerful twang of “Desert Mountain Parallax.” On “Tupelo” they definitely go for that more neo-country pop that Band of Horses and the Fleet Foxes were able to pull back into the limelight if only briefly. Perhaps the most refreshing thing about Our Lives Aren't Movies is that its genre-stretching never stretches anything too far which tells me that the band has really focused on digging their heels in with this record and finding a sound that is both contemporary yet still has echoes of the past. It’s not an easy thing to do but Brave Little Howl pulls it off and makes it seem easy.
Paragon Cause has given me a lot to chew with their dreamy and ambient album Escape. They are a duo act based in Ottawa that had a very classic meeting of bumping into one another fatefully and deciding to make music together. Sometimes when you know, you know. This is one of those albums that frolics in experimentation especially when it comes to song structure. They are unafraid of being loose and unpredictable. While primarily what I would consider to be a trip-hop or shoegaze flavor, there are some fabulous notes of jazz and even grunge. There is a thick lining of smokey mystery that gives this album a signature sound.
The opener to this album is "Next Time" and I gotta say, I was not prepared. The intro had me nervous and I can't explain why. There was an interesting selection of sounds that made me think I might hate it but it quickly unfurled into a massively cool and complex masterpiece. Everything in my mind began to unwind as the guitar and drums hit. The drums were key to this song. They pushed a very cool jazzy vibe. Marnie Kheul reaches max cool factor with her vocals on this track. This song reached number seven on college radio charts over the summer and it's not hard to hear why. It is distinctive and cool and trendsetting. It calls back to the very beginning of the trip-hop movement but keeps a modern undertone. "Fear" didn't ring my bell the way the previous song did. To be fair, it's a tough act to follow. Vocals are still lovely but I had some issues with the production. Some of those production issues seemed surface from time to time on the album. One thing I do love about the album in its entirety is their penchant to lean into the darkness. They seem to explore every corner of a darkened room. They somehow discover new shades of black and color with the hues of oblivion and vast emptiness. Even better, they take these daunting concepts and make them comforting and relaxing. I get the sense they want to rewrite the fearsome reputations of the unknown and great voids. They call to embrace these things and even find comfort in them. I would recommend those who are open minded to deep transformation give this album a go. It has unique qualities and I look forward to hearing more from them in the future.
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