It was the year 2000 and I was in college studying music. I was mildly obsessed with Bright Eyes at the time. Oberst lyrics met my confusion and existential dread right on the nose. I’m thirty-seven now and rightfully so I don’t worry about the same things anymore. On that note listening to Mt. Mary by Matt Brady took me back to that hum of depression that seems to runs rampant amongst younger men.
There really is just no denying that the feeling that Mt. Mary emits comes from an overwhelming sense of melancholy. That being said there are obvious moments where the feeling tries to create something hopefully cathartic. It’s in there from the vocal inflection to the lyrics. The album is more or less just guitar and vocals. “Dumile” opens the album. The guitar playing consists of a couple of strummed major and minor chords. I can’t say the instrumentation did much for me but the lyrics and vocals were heartfelt. “Flower Pot” has its moments as well but Brady has some slight issues staying in key. He sings, “Emptying the flowerpot sprinkle little moments upon my brain cause nothing can remain.” “Leaking Oil” continues with basic chord structure and emotive lyrics. The nihilistic embrace intensifies on “See Nothing.” Brady sings, “You see nothing no, nothing no you don't believe in anything, no you don't believe in anything you don't believe, no you don’t.” “Over,” “Sort Of” and “Shame” follow a similar strain. I think it would behoove Brady to dig a little bit more into the possibilities of the instrumentation and creative possibilities of the music. The way he strums the chords feels more or less interchangeable per song and is limited to basic progressions. I think fingerpicking and trying to advance beyond major and minor chords would benefit his music. I say this from my own experience that it would give him more range to express the shades of emotion he is trying to display. Suffice it to say I think Brady has some talent in the songwriting department. There are some solid hooks in there and I thought the lyrics were well written. I’m looking forward to hearing him evolve as an artist.
0 Comments
Orvy is the moniker of producer and multi-instrumentalist Sean Horvath. Apparently, all the songs off his recent release Reprise. were written and recorded in the period of three weeks after the release of his debut album You're Only Alive if You Want to Be.
The EP showcases some inventive production techniques, memorable melodies and an off kilter approach to songwriting. Up first is the title track “Reprise.” which is the arguable highlight. The track builds in wonderful ways. It’s upbeat and the creative off the beat elements really work in a Radiohead type of way. Next is “SlowStep” which is a moody, cavernous adventure. It’s dark and instills a sense of apprehension as if you are deep sea diving. The vocal delivery is more like a hypnotic mantra which blends with the other elements. “Monster Eater” felt more like an interlude of sorts that still had its moments. “Comon Cents” continues to explore atmospheric terrain. The vocals are way in the back but are still quite dynamic. He sings, “Understated / Is the man who fakes / The passage of time / Like a ship without anchor.” “Lounge Time” is the other highlight. The vocals are distorted but really catchy. It ends with a blast of white noise that ends in oblivion. Reprise. sounds very uniform and perhaps some of that is due to the fact that it was written in three weeks. Orvy seems to be carving out a signature sound for himself and appears to be slowly expanding his arsenal. This EP was a satisfying follow up and I look forward to whatever else is coming around the corner.
Aaron Traffas needed a change. Traffas has been writing and performing original alternative country and red dirt music for fifteen years both solo and with the Aaron Traffas Band for ten years. Apparently Traffas wanted to write songs outside his alternative country genre which resulted in Better World. The four songs really have very little in common and it is impossible to label the EP as much of anything rather than a collection of songs.
Up first is “Scatter and Succumb” which plays somewhere between ’90s punk and alternative. The song is comprised of distorted power chords, heavy hitting drums, a steady bass and vocals. It’s a fairly conventional song in terms of structure and I wanted a couple more features that made the song feel unique. “Boy in My Head” was the highlight but really was so different sounding that I thought I was listening to the wrong EP. It has a big band/jazz.dixieland type vibe that sounded a lot more fitting for Traffas. I thought this vocal style worked much better here and I really loved the horns. “Stronger Shade of Blue” is a change in style as well as mood. The song is a melancholy ballad that becomes hopeful. I thought Traffas sounded at home here as well when it came to the vocals. “Anchor or the Sail” was the other highlight. The best moments are the sing-along worthy moments. It’s very positive and grand. Traffas has talent but I have to admit I was having a hard time with his decision to put such varying styles on one EP. I can’t say it created a signature sound of any sort. Perhaps this was his pent up creativity letting go of the alternative/country genre. If I had to to pick one style I think he should pursue more it could be the jazz/big band style. That of course is arguable but it seemed to gel with him. I appreciated the EP but I am now going to take a listen to some of his back catalog to hear what he deviated from.
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 Paint The Sun Document 3.1 No Noise For a Native Cardiffornia 3.7 Affinity Lead the Way 3.5 Angri Kidd The Angri Kidd EP 3.4 The Wicked Ravens In Search of a New Land 3.7
Coming from Southern Tasmania, Australia is the six-piece indie rock/pop group known as Little Island. Planting their roots during their high school years and as regular buskers on street corners, the band has released their debut EP Different Days.The recording was done in a small chapel studio by Tony Sayer, who also has worked with other notable Tasmanian acts such as Jensen and Empire Park. According to the band, they didn’t intend to record songs that were interconnected or had a similar theme, but somehow nostalgia and shifting into a different phase in life seemed to be the underlining narrative with most of their songs. And for fans of U2, when they experimented with the American sounds of the west during their Joshua Tree and Rattle and Hum periods, Little Island does a live version of Van Diemen’s Land one of the very few songs U2’s guitarist The Edge sang the words to.
The opener “Leave This Town” is spacious with a soundscape feel and a soothing progression. The drums are big and commanding; the vocal harmonies flawless. The guitar melody is echoing and gorgeous and really adds to the song’s ambient/soundscape style. I really connected with the last two lines of the song, which sums up the song’s main theme of restlessness – “There’s no way that I could ever leave this town / But I can’t stand it here anymore.” “Everyday” offers up a bouncing, happy rhythm with the two lead vocalists, Abe Parsons and William Graddon, switching back and forth singing. Lyrically, this tune is about change and nothing being the same as it once was when you were a kid. It’s about getting older and being baffled at how everything in life seems different. “Hazy” features another bouncing, light rhythm, almost like lounge jazz and the lighter pop of the early ‘80s. The words seem to be about making a decision or a set of decisions that could make or break where you end up in the next 20 years. But at the same time, just trying to live one day at a time under the pressures of “adulting." “Tell Me” is a really sweet-sounding song in the way it’s musically arranged and with its main melody. It has a fresh style that I keep hearing from time to time with other newer bands of today, but with ‘70s soft rock sensibilities. “Beneath the Window” has that similar soft rock style and in my view, consistent with the big, open sound of the drums like on the first song. But what sets this tune apart was the keyboard/organ solo, vocal harmonies and bold guitar solo at the end lending to a more soulful, blues like number. This one was definitely a favorite. Another favorite was the band’s cover of U2’s “Van Diemen’s Land” not just because I’m a huge U2 fan, but also because the way Little Island made this song their own, sounding much different from the stripped-down version The Edge sung. The vocal harmonies, drums and guitar solo were very moving and a joy to listen to. You can look up a whole bunch of history about Van Diemen’s Land (which was the former name of the Australian state of Tasmania) on the web. Overall, Little Island’s Different Days offers a little bit of everything, and I sense this band’s talent and potential will suit them well in the coming years.
Near November is a band from Blacksburg, Virginia comprised of Kody McVey (vocals), Nick Ferra (guitar), Christoph Opitz (drums) and Carlos Marinkovic (bass). The band formed in 2013 and played covers for about two years. In 2015 the band started writing original material. They recently released On Certain Sundays which is a twelve-song album.
The band has a blue collar working man alternative sound to them at times. I was reminded of the band The Wrens as well as number of other bands from the ’90s. Having grown up in this era this was a sound I was happy to re-visit. They open with “Drive” which is the band at their best. It’s fun and catchy indie rock. The melodies are easy to appreciate and the lyrics are relatable. It’s a great bar song. “Gone Away” starts with a somewhat dated sounding guitar solo which slides into a catchy verse. This song is solid all around and gravitated towards the lead vocals. “The Legend of the flying Dutchman” was a highlight. The bass work here was notable. “One of a kind” was a single worthy ’9’s alternative jam while “Loco” was sung in Spanish. The ride continues with catchy songs like “Falalalalalala.” “Tranquility” was certainly the most nostalgic and reflective song that is atmospheric and strives for epic heights. “November” is also reflective but not in a cosmic way like “Tranquility.” “Deja Vu” gets back into bar room ’90s ballads. They slow it down a bit more with “Dezi says” before rocking out with “Staring at the sky” and closing with the more melancholy and reflective “Dream in between.” Overall, the music excels most when the band isn’t taking itself too seriously. Songs like “Drive” and ““The Legend of the flying Dutchman” seemed to be where the band thrived. That being said the album was a good listen from beginning to end. Recommended.
B RO is an artist who got his start early at the age of ten when he picked up a guitar. In his teen years he fell in love with the conceptual lyrics and healing grooves of conscious/alternative hip-hop, jazz, and soul. Those aspects are evidently clear in his release Thoughts of She, the EP.
“Say It (All The Time)” starts off with a single guitar that creates a vibe that is smooth and jazzy. Once the beat and bass come in the song the smooth serenity gets taken to the next level. The bass drops out and there is a spoken word section about connecting with another person. Once the soulful lead vocals come into the mix you are bathed in tranquility. There are multiple vocal harmonies going on which really add to the emotional impact of the words. There is also more straightforward rapping which is also on the mark. Up next is “Vibes” which is a compact, uplifting song. It’s also super soulful in a ’70s type of way. The different vocal styles blend together seamlessly. He sings, “Don't let your vibes down / Just get them flying high up with me.” “Footprintz In My Brain” is another winner with layers of instrumentation such as keys, guitar and drums which create a signature groove. The bass work in particular was understated and had my attention. “Do You Well” was a late night two o’clock in the morning song that is perfect for the lounge. The whole EP is around twelve minutes long. It goes by fast but certainly was enough time to appreciate the music. The music got me interested in hearing a full length at some point. I look forward to hearing more from B RO.
Jason Chaffee is a singer/songwriter currently hailing from Minneapolis, Minnesota who released Carry Me. Chaffee is no newcomer to making music. He was raised by a musical family and it is in his blood. In the ’90s he was in multiple bands when he lived in Seattle and then Minneapolis.
Carry Me is a very well produced album that seems to have most of its roots in music influence from the ’80s and ’90s. The music fits in the pop/rock category that incorporates atmospheric tones and textures. Things get going with “Lost It All” which starts off simple enough with a strummed acoustic guitar, a lead guitar creating some white noise and vocals. The vibe is reflective and appreciative as he repeats the lines, “Almost lost it all.” The name doesn't suggest it but “Time” provides a little bit of levity after the emotionally heavy opener. It’s a catchy song while simultaneously feeling warm and heartfelt. Chaffee’s vocal delivery feels honest and natural. “Complicated Sadness” has its moments and felt like a single worthy song. The song sounded big in an arena rock type of way. “Renegade” felt like even more of a single than “Complicated Sadness” because of the memorable chorus. “Tides” is extremely epic and grand while “Going Home” sounds almost exactly like the title - warm, comforting and joyous. “Fade and Die” isn’t nearly as depressing as the title may seem. In fact it’s arguably the most upbeat song on the album . Chaffee sings “Just look into my blue eyes, you’re the one that’s paralyzed I just know that I’m alive, not to lay down fade and die.” Chaffee closes out the album with “Better Soul” which is a revitalizing, cathartic song. Carry Me didn’t throw me any surprises. The song structure was familiar yet well performed. I thought the album was very cohesive and had zero fat. The eight songs went together very well and I think a lot of people will enjoy it as well. Take a listen.
Darcy Nigro, Felix Ruch, Tom Duell, and Dean Ratten are Bleach. The band from Mornington Peninsula (near Melbourne, Australia) released Life On The Bleach which is an eclectic rock EP. They give homage to styles like psych, garage and alternative.
They get going with “Surge” which has its roots in '60s and ’70s rock. The song has a good amount of attitude and not unlike something you might hear nowadays from an artist like Ty Segall. It was solid opener which peaked my interest. The band has a more noticeable ’90s sound with “Not Meant To Be.” It’s a catchy song that grows with intensity. The second half of the song is dedicated to rocking out after palm muted guitar. “Blu” is dedicated to rocking out with big riffs and reaching multiple crescendos. The song felt like it took a step back into the ’70s as well. “Morning Sun” was a highlight. The distortion on the guitar is slight and the song at times reminded of the early '90s in the UK. In particular Stone Roses came to mind. The band brings up the BPM on “Lust” which induces a large adrenaline rush. Last but not least is “Outro.” Without a doubt this song is the most ’70s psychedelic sounding. They go for psychedelic peaks in the spirit of a band like Comets on Fire. The production was solid but a little lo-fi for me. I really wanted that analog sound that wasn't quite there all the time. I think a little bump in the aesthetics could open up more potential for their songs. The band isn’t introducing much new with this EP but they do the styles justice. I hope this is the first of many for the band.
PLÅSTIC is a North London based band consisting of Kris Limpert (guitar/vocals), Jack Whatley (drums), and Greg Powles (bass). The band formed in 2018 and released Lost and Found. It contains three songs which showcase what they have been up to in the short amount of time they have been together.
The band gets going with “Diamonds.” I was immediately thinking of Johnny Marr’s guitar style and it felt similar to The Smiths in a number of ways as well.The song is pretty solid all around and I thought the more dynamic vocals worked really well. As an engineer there are a couple of things I have to mention. The cymbals on the drums were too harsh and prevalent in the mix. Making some serious cuts above 5k would have helped with this issue. Up next is “See What I See” which is another solid song but similar to the last song are some noticeable issues with the recording. The recording has obvious digital distortion that adversely affects a well written and performed song. Despite that the hook was there, the band plays in the pocket and showcase a fun, indie rock style tune. Last but not least is “Drugs On The Weekend” which is perhaps the highlight of the batch. I loved the guitar work and melodies in general. It reminded me of Bloc Party. I really like the sound of the band. That being said they will either have to work with a producer/engineer or vastly improve the sound of the recording quality for the potential of their songs to be reached. There are very different issues on each one of the songs. Overall, this band shows a lot of potential and are definitely a band to keep your ears on. They are in the embryonic stage of their evolution and I hope to hear more soon. |
Critique/insightWe are dedicated to informing the public about the different types of independent music that is available for your listening pleasure as well as giving the artist a professional critique from a seasoned music geek. We critique a wide variety of niche genres like experimental, IDM, electronic, ambient, shoegaze and much more.
Are you one of our faithful visitors who enjoys our website? Like us on Facebook
Archives
April 2024
|