How many years has it been since the two members of Spyderhuff made music together? Twenty-eight. Their history together goes back farther than that. According to the band they first started playing music together over fifty years. Who doesn't like a reunion?
For their release Tired Wrangler they explain the musical subject matter ranges from ‘loud mufflers’ to ‘growing old.’ I'm in, so lets go. They get the car revved up with “Get a Muffler, Babe” which is a slow burn with just enough attitude and grit. It’s a bluesy rock song with some gritty distorted guitar and some sweet harmonica that’s on fire. The vibe is very ’70s from head to toe and the band sounds at home here. They are having fun and you can tell. I was not expecting synths but I got some on “Desert Rain.” The synths only created some atmosphere which felt appropriate. It’s a more lush song but there is again some harmonica that burns. The name Desert Rain really fit the vibe perfectly. The duo have more success with the title track “Tried Wrangler.” I definitely heard a bit more of an affectation on this song. There are some country sounding vocals which by the way are great. This is a slower ballad that is quite relaxing and fun at the same time. “Ten Thousand Things Could Go Wrong” was another move I wasn’t expecting. This is a funky ’70s type of song. There is a smidge of Bowie here and a very fleshed horn section. It sounds great. They somehow pull this style off. I love a good driving groove and that’s what we get with “Midwestern California Boy.” Last up is “I’m in the Middle of a Big Wide World” and was one last turn I wasn’t expecting. There is an ’80s aesthetic to this song and some synths and what could be electronic horns. This was a great release. There were some unexpected turns which just felt like the guys were having fun. I could argue that made the release less cohesive but something about it made it work which is hard to pinpoint. These two clearly have chemistry and make some killer tunes. Let’s not wait another twenty eight-years for the next release.
0 Comments
Brandon Padier is a singer/songwriter from San Antonio, Texas who recently released Brothers of the Flood. The album contains twelve songs and is a little under an hour long. I have to admit this album did have a Texas flavor to it with a nice mix of country and rock.
The songs felt straightforward to me, harking back to countless Americana acts that you most likely heard on the radio while driving in your car. There was almost no experimentation or surprise to my ears and that’s a plus or a minus depending upon your preferences. There is no denying there are some great songs and I really did enjoy the vocals throughout this album which sounded somewhat similar to Sturgill Simpson. There is also a nice variety of energy throughout this record. Take for instance the driving and rock infused “Don’t Leave Me Wondering” compared to one of the more intimate and sounding songs entitled “Love So Green.” I liked both styles but have to admit “Love So Green” and songs similar to it really played into the artist’s strengths. HIs vocals are front and center with a lot of clarity and fidelity. There is also some fantastic string work that comes from the banjo and the guitar. There were quite a number of highlights on this album. The very next song “One More Mile” is very good and I loved the rolling drums on this track. I also gravitated towards “Evangeline (Lily of the Field),” “Song of Desire” and “Paper Tigers.” The production and recording was all DIY. I’d say this is one of the more professional DIY recordings I’ve heard. It’s not lo-fi and very close to some of albums that sound similar that were recorded by famous engineers. Overall, this is a great album. The songs were heartfelt, emotive and easy to appreciate. Recommended.
Keen Truce is a solo artist/musician from Orlando, Florida who recently released OutWay. His music is hard to label and I have to admit I wasn’t sure what to make of it, especially at first. It felt like he was being tongue-in-cheek or sarcastic half the time like Ariel Pink. The music is rock based and often veers towards prog.
The first song is entitled “Day by Day” which begins with strummed acoustic guitar, a flanger filled bass and drums. There was a lot going on. The vocals reminded me of something between Spinal Tap and Destroyer. It often sounded like he was reading from a fantasy novel or a play. The tone felt hard to pinpoint. “The Reason of Love” was a little more accessible to my ears. The music was undeniably good. His vocals here are very Ariel Pink and like I said he sort of dances between emotional tones. My emotional reaction was neutral. I liked the music but similar to the first song didn’t have a clear feeling come from listening to the song. Up next is “Is It Just Me” which has the best music yet. It’s percussive heavy and the vocals are spoken word and again sounds like he is reciting a play. This was the first song that connected with me on a more emotional level for whatever reason. “Pile High” is an intense song. The vocals are so buried here I barely noticed them and the music felt overwhelming at points. “Forgot Your Name” is another highlight and has this whimsical vibe and some of his best vocals. “Still With Me” was another good song and “Love of My Life” slowed things down somewhat which is needed at this point in the album. The catchiest song is probably “Will You Give Me Love.” I liked “Hippie Hippo Boat” which also is the best song name. He closes with the jazzy influenced “Wonderful Woman.” To his credit this is a very original sounding album. I’m still not exactly sure how I feel about it. It’s not an album that jumps out at you for its hooks and catchy melodies. I don’t say that in a pejorative way but this album is a slow burn that requires multiple listens. One of the best things about art is it can make you think. Some of my favorite movies likeThere Will Be Blood or No Country For Old Men did that to me and made the art age well. I have a feeling the same will hold true for this album.
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 Pig Puce Pig Puce 3.6 Derek Luttrell The Wolf Who Cried Boy 3.9 Winter Camp Winter Camp 3.7 TWIGGY BRANCHES Hello from Sunny Sigils 3.7 Present Company Talking on Couches 3.7
Rachel Elion Baird is a singer/songwriter, musician, poet and artist who grew up in the Bay Area. She readily implements in her sound luminescent vocals, startling lyricisms and West-Coast rock roots. Blue, Blue Box is her debut album.
Drawing inspirations from her wanderlust, deep connection to nature and spirituality, Baird writes songs about everything from paying homage to Jack Kerouac on “Forty Years Past” to meeting Emily Dickenson’s ghost on “Emily’s Magnolia” and reviving Coldplay’s “Viva La Vida” on “Leonardo” with its historic references and sweet minor progressions resolving in major key. Revolving around an impressive imagination and a deep respect for the intangible, Baird imbues in her works a poeticism that goes on to shape her renderings in a very powerful way. A 11-track album, Blue, Blue Box gets moving with “Marco Polo.” You can really feel Baird strutting her style on this anthemic song. The music pulsates with a dramatic drumming beat and percussions and has a classic rock vibe to it. Up next is “Noticed,” where bouncy rhythms on the drums pulsate on this track. Sung with an edgy, discordant vibe, you can definitely feel Baird’s energy pulling us toward the music. Half-sung and spoken word, the performance felt very spontaneous. It definitely vied for my attention. A smooth, jazzy lounge vibe could be detected on “Just Like Leonardo.” The cool, soothing tones go on to project itself here. The reverberating sounds of the guitar rolls in on “Woman At The Well.” Baird’s vocals come in with no holding back. Mellow guitars in a country-twang mode evoke another place and time on “Now.” Combined vocal harmonies are melodious and an interwoven piano adds a soft aspect to this song. “Island Girls” felt like an undeniable highlight. A piercing melody is executed on the guitar. The driven notes continue in the song as the combined vocal layers come in. The sound evokes a timeless feel. “Wait And See” felt like a ballad. The beauty of the song really took my breath away. On “Dreamland,” a more rock n’ roll centered sound gets executed. Next, electronic beats unveil a more techno, trance vibe to the track. This sound felt different from the other songs as Baird moves toward more innovative technological fare on this number. On the outro “Emily’s Magnolia,” Baird’s vocals display a hushed sensibility. The tone and mood felt just right. This was a great way to quietly close the album. Deeply ingrained in storytelling, Baird brings her unique perspective in actualizing these tracks. At the core of this album is the guitar, and you can see how layers of instrumentation further the sound. Baird’s vocals are on-key throughout as she ties in the main themes surrounding each track. As symbolism, imagery and musical sensibilities come together, Blue, Blue Box is a record that places as much importance on mood and feeling as it does on craft. Built to last, this album exudes a timelessness that is worth diving into again and again. The more you listen, the more the sound will grow on you. This was a solid effort and I look forward to seeing more from this artist. Be sure you have a listen today!
An Atlas For Disappearing Youth is the alias of Derek Van Gleson, a multimedia artist based in Minneapolis, MN. An Atlas For Disappearing Youth is his self-titled debut and is his first dive into his solo endeavor. Previously, he was the writer/guitarist/art director for Murder Shoes and Witch Watch (also Minneapolis based).
While Murder Shoes resided in Mazzy Star/Pixies indie territory and Witch Watch in the post-punk/goth domain, An Atlas For Disappearing Youth sees Gleson combining these elements from both his prior bands into his latest album. Drawing from influences from 4AD artist Bauhaus/Tones and Tail/Cocteau Twins, Rema Rema and Lush, early arty punks Wire, Swell Maps, Glaxo Babies and Joy Diversion as well as Pavement, Robyn Hitchcock and the Velvet Underground, you can definitely hear these artists in his sound. Covering indie rock, post-punk and rock, Gleson furthers his sound with acoustic instrumentation in each track that overall adds a live element to these songs. Ill-contained and moody, the brushes into gothic territory really brings out the darkness to the sound. As ambience plays a large part of this album, so does the darkness. As you listen on, you can’t help but embrace this bit of darkness. “Ley Lines/I Know My Resignation Rider” projects a pulsating vibe. The mood and style felt very much in the noir arena, as some dark undertones surface. After a long introduction, finally Gleson’s vocals appear. They are subdued with the music overpowering his voice. It was hard to make out what he was saying, yet the music felt very melodic. The track segues into “Hesitation 75.” Guitars detail the sound and the music felt hazy. The music felt very inviting and pleasing to the ears. On “Beat Sandwich” as guitars flow through the recording, Gleson’s echo-y vocals were saturated with reverb. The song combines hip hop-centered beats with a rock-based sound. The band does a total sonic flip with the acoustic number “Can’t Be Gone.” The guitar fuels Gleson’s dynamic vocals. In this fiery piece, I could really feel the range of emotions underlining the track. Moody bass moves the music forward on “Under Wood Milk.” Glesen utters the lyrics in a half-sing-song manner all the while unveiling a spoken word vibe. Synths come in, coloring in more of the ambience. On “Circles,” an epic drumming beat that felt like the rhythms you would hear marching into war felt exciting and raw. “Of All The Authors” starts off with a dramatic drumming beat as full-ranging guitars add traction to this song. As percussions liven up the mood, this proved to be one compelling closer. The lo-fi quality to the music offered up a very raw sound that points to the band’s live sound. While you can tell right from the start that this was a home recording, Gleson makes music that felt very unadulterated. Due to its unpolished sounds, the notes of indie rock, post-punk and goth within these tracks felt very unrestrained and free of boundaries. While the majority of these tracks went for a more indie rock-based sound, I really felt that his acoustic renderings like on “Can’t Be Gone” really hones into an organic vibe. With stripped-down layers on the guitars, the simplicity of the track goes on to aptly support the overflowing emotions brimming on his vocals. I felt that an album going in that direction would really embrace his rock roots while also fleshing out the sound that he was going for. While I would like to see more tracks in that order, this was a solid first effort, and only goes to show that this is only the beginning for the artist. I look forward to seeing what new sounds he cooks up next.
Austin based indie synth rock duo Saturday Morning Cartoons formed in 2019 and got to work quickly and released Retro Nights. The duo explains, “The majority of the songs draw inspiration from different time periods. With songs about growing up in arcades and suburbs and more, the Retro Nights EP plays like a love letter to nostalgia itself; calling out for ‘better days’ in the past that may not always be as good as they seem.” On a personal note as a kid growing up in the ’80s I appreciate the shout out to arcades which were a blast.
The band opens with “2000’s Style” which begins with jangly strummed guitar chords. You are soon greeted to melancholy vocals, an electronic drum set and atmosphere. The idea of nostalgia feels contained within the music. It’s warm and the song feels like it floats. The song is also catchy but there really wasn’t much of a hook. Up next is “Radio Static Sphere” which has a similar atmosphere to the first song but is a little more funky. The bass is kicking on this song and the song is fleshed out with a good amount of transitions. “Health Insurance” was a highlight in the batch. I was reminded of the band Real Estate. The vocals and guitar patterns came together nicely in this song and were very lush and comforting. Right around the two-minute mark the band finds some of their best instrumental sections. “Milk Carton Kids” has more of a bedroom synth vibe. The vocals are well done and are some of the catchiest on the record which sounds similar to Local Natives. They close with the most intimate sounding song in the batch called “Retro Nights” which is also quite dynamic at points. The newly formed group’s DIY first effort sounded good and certainly displays potential. I’m looking forward to hearing more from this young band
Royce DeZorzi & the New Freedom Movement is a band from Denver, Colorado that is composed of Royce DeZorzi (guitar), Josh Van Wey (keys), Josiah Contreras (bass) and Dominic Fante (drums). The band formed in June of this year and got to work quickly.
Their self-titled release Royce DeZorzi & the New Freedom Movement is a bit unusual. There are three songs and two of the songs are covers but not really in a way because the covers are so far from the original versions. They open with “The Sweet Escape” which is a song by Gwen Stefani. It’s completely instrumental and they more or less just take the main melody and just jam on it. There is a sweet mix of organ, bass, guitar and drums. I liked it quite a bit and it was a jam that could just keep going and it does for almost ten minutes. “Neeeze, Please!” is their own original song and this is more or less just a straight jam. It reminds me of my college days when I lived in a college town and was very much into jam bands like Phish and Umphrey's McGee. It was that type of vibe. They close with “Mr. Brightside” which is a cover of The Killers’ song but similar to the first song in that it’s just a canvas for them to explore. This was my favorite song of the three. It was dynamic and I thought there were a lot of inventive changes and interpretations. One thing I really liked about these recordings was the obvious sound of tape. According to the band, “The recording was done in one afternoon, recorded over an old reel of Bruce Springsteen tunes. DeZorzi brought a 4-channel tape machine that he had bought off Craigslist into the studio and engineer Matt Legge (Peter Frampton, Taylor Swift, Ringo Starr, etc.) agreed to do the record with it.” As a engineer myself I thought this worked out quite well. The saturation and compression of the tape really gels the instrumentation and gives it a sound that crackles. The whole concept was to capture something live and the band did that quite successfully proving they have chemistry. As I mentioned this was a bit of an unusual release. On that note I’d be interested to hear some more originals in the future. If they are going for covers might I suggest “Eye Of The Tiger.”
Midnight Harvest is a rock band based out of greater Boston that recently released a self-titled four song album Midnight Harvest. Their music contains a nice mix of rock, funk, R&B and even some jazz. I found the songs a pleasure to listen to.
They open with “Ain’t Gonna Shed a Tear” which is an upbeat and funky song. All of the instrumental aspects are great here but the rhythm section just slays. The bass and drums are all over the place in a good way. It’s also quite catchy and fun. The vocals are smooth and the guitar solo is also on point. Up next is “When” and this song took a little more time to set in. The vocals are sort of sensual. I liked the verse but the transition to the chorus was harder for me to lock in with. There is a great breakdown jazz section towards the end that I really enjoyed. “Royal Egret'' had an intriguing beginning. The timing of the dynamics caught my attention and when the band locked in I thought it sounded good. There is a feeling of the band slowing down and speeding up. It’s not that they aren’t in the pocket but there is an ebb and flow. The song has some open improvisation and there are some straight jams in the middle. They close with “Gonna Try (Extended Version)” which is the smoothest jam yet and probably the most accessible song. The vocalist sounds his best here and there are just some great instrumental aspects and we even get some horns on the chorus. This was a tight EP from a talented band. They sounded great and very organic and natural. Recommended. Jarbins is a solo project from the multi-instrument of Alex Nicholson out of Athens, GA. He recently released When We Fade. Similar to countless other artists I have read about, Nicholson felt the need to delve into his solo project when COVID-19 hit and he was no longer able to put his energy into live music. Also similar to many other bedroom artists the setup is very minimal. In this case one mic and a laptop. There are seven songs and they are somber, reflective acoustic songs. It starts with “Scratch The Clouds” which is a pleasant intro. It’s soft with acoustic guitar and light percussion. The song ends as it starts to feel like it is beginning to grow. “Rebirth” is the song where we are treated with some vocals. Nicholson strums a couple of guitar chords and sings falsetto. The melancholy yet warm and nostalgic vibe worked well and has some similarities to Radiohead. “Custom Concern” is a highlight. I really enjoyed the vocals on the song. It does come from a little woe is me and similar to lamenting in early Bright Eyes. As an engineer I was picking up on the very low subs that were happening. I’m not sure why this was occurring but using a high pass filter to cut anything below about 35hz might have helped. “Energy” seems to have a different singer during the verse or perhaps he changes his voice here. I was thoroughly confused by the personality change which happens in his voice at the end of the song. The song contains a ukulele which adds to the intimacy. “When We Fade” felt like a classic singer/songwriter type of tune as did “Hard Drugs.” Last up is “Everything Is Falling” which contains some of the best recorded and delivered vocals. These songs have the classic sensitive artist type of quality similar to Bright Eyes and many others who provide intimate yet pained performances. Nicholson pulls it off. That being said I think obvious next steps would be to hit a studio to really bring out the songs. Overall, I thought these songs were well written and delivered. There are a lot of qualities in the songs I think people will gravitate towards. |
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
May 2024
|