Right when you hit play on Sissy, you are immediately pulled into the music by Adam Newman’s vulnerable yet emotional powerful vocals. The artist makes the kind of soaring ballads that will be a rush to your senses. Filled with everything from strings, synths, piano, electronic riffs, guitars, bass, drums and percussion, the music is filled with momentum and lush elements. Newman’s soft vocals tug on your consciousness as his dreamy sound lulls you into an entranced state. Newman’s hypnotic sound is enticing!
Sissy gets started with the title track “Sissy,” where electronic riffs, percussion and synths come in with a full-on vibe. The piano also figures into this arrangement. Newman’s vocals are a rush of sound. There is a hushed expectancy to his vocals that provide a soothing effect. The strings were a wonderful addition, adding an orchestral element to the already powerful arrangement. Newman sings with a vulnerability and feeling that I think will definitely take listeners to that sweet spot. A beautiful piano melody adds a moody vibe to the overall sounds on “Electric.” Newman’s vocals are awash with emotion on this song. The vibe was very melancholy. As Newman’s voice takes flight on this track, you get the sense that Newman is wearing his heart on his sleeve as this song takes on a personal slant. There was a vulnerability to this track that I felt will move a lot of listeners. “Daddy Was A Pistol” is another moody ballad from the artist. The piano accompanied by the sound of percussion made for an especially sultry sound. I was loving the stripped yet immediate sound here. It made for a great listen. Afterward, a full band sound unfolds, making the music even more dynamic. On “What World Is This,” the piano evokes an ominous sound here. With a somber approach, Newman’s entrancing vocals tie the music together. Another ballad in the melancholy vein, this felt like a pensive song that will leave a lot of listeners in a contemplative mood. Synthetic strings add a compelling layer on “Dreamphone.” Next, some upbeat piano comes through for an invigorating vibe. The energy of this track is different from the other more somber songs. I thought this uplifting sound from the artist was ear-pleasing. This proved to be a good direction for the artist as he closes the record with this touching send-off. The production on this EP is really amazing. But the album has a tendency to be a little overwhelming. Newman fills his tracks with different elements from different instruments and sometimes I found this clashing against the dream-like sound he is going for. Maybe paring down for a more stripped back feel will enhance the music. I look forward to seeing the artist’s evolution in the not-so-distant future.
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Sujokalo is a Scottish dream pop duo hailing from Scotland but currently residing in Sydney, Australia. On their latest album, Bothwell, these passionate and talented musicians treat the listeners to a dreamy and surreal soundscape.
“Sugar,” the six-minute instrumental opener, demonstrates the group’s sheer range and artistry. The first minute offers long, drawn-out synth notes, reverberating endlessly into the abyss. Eventually, a punchy drum beat enters the mix, driving the tune forward with a combination of old-school garage influence and a hint of tribal-esque electronic tom-tom hits. I loved the funky yet subtle bass rhythm, too. The second song, “Oxygen,” opens with stark electric guitar chords and stunning vocals from Rowan. Her voice croons emotively over a melancholic chord progression. Then, much like the opening track, layers of instrumentation are gently added to the mix. A soft drum beat steadily leads the song into a chorus that feels both explosive and atmospheric all at once. This grandiose cacophony of sound somehow retains the tender aesthetic that Sujokalo have so carefully crafted. Additionally, I thought the harmonizing and string arrangements were both truly beautiful. “Even In The Summer” is a catchy little dream pop banger. The catchy drum beat, clean electric guitar hook, synth swells and spectacular singing from Rowan all combine to create a very Clairo-esque pop hit. This leads into the rather melancholic “Back In Time,” which opens with nothing but distant synth notes and Rowan’s marvelous voice. Vocally, there were some heavy Lana Del Ray vibes on this one. I really liked the flanger effects on the guitar, giving the track a little bit of an ‘80s pop feel. Producer David Logrey surprises listeners by offering his own vocal performance on “The Road.” This felt like more of a rock ballad than a dream pop tune, though there was still a dream-like quality to the singing and some of the guitar-work. Either way, I really liked the melody. Things return to more of an electronic aesthetic on “Annapurna,” though. Synth notes, seemingly played in reverse, lead into another tribal beat and bluesy guitar arpeggios. Much like the opening instrumental, this song offers a brilliant bass guitar line. Even when vocals are absent, this duo has so much musical talent to offer. “Falling Down” brings the ‘80s flanger guitar back. This is another synth pop banger, like “Even In The Summer.” There’s bright instrumentation, a catchy beat and Rowan’s tender, whispering vocals. The guitar and synths in the chorus felt particularly colorful. Then, as the title promises, “Lullaby” is a sweet little tune in which Rowan gently sings listeners to sleep. Ethereal guitars and synths support her deeply-emotional singing in this haunting but stunning song. I like the sharp, staccato synth notes that enter, along with a punchy beat, partway through the song. There’s a gorgeous piano piece at the end of the track, too. The penultimate song, “Tripping Awake,” offers a synth string chord progression, Rowan’s intimate vocals and a head-banging beat. There’s a meaty electric guitar rhythm in the chorus, and the “I’m tripping awake” line is a real ear-worm. It might be my favorite track on Bothwell. The final song on the album is a massive seven-minute track, titled “Say Something,” which offers twangy guitar chords over a catchy drum beat. Of course, it’s Rowan’s powerful vocals which really tie the whole thing together, though I was blown away by Logrey’s lush production throughout the closing track. His vocals at the end of the track were really passionate, and I enjoyed the fast-paced drumming and guitar rhythm, too. “Say Something” closes with some powerful synth string chords. All in all, this was an epic end to a dreamy and emotive album.
Strange Cut band leader and bassist Rob Dessimoz from Richmond, Virginia has coaxed a cohesive collaboration with guitarists Nathan Burns (Mexico City, Mexico), Josh Schmidt (Washington, D.C.) and Andrew Hylton (Montreal, Quebec, Canada), as well as lead vocalist and lyricist Jarrod Brown (also from Richmond). A “continent spanning labor of love” made possible by home studios and Dropbox. This kind of collaboration wouldn’t have even been possible some years ago, without all band members being physically present in one recording studio. The band’s first full length outing, Strange As It Seems, was self-recorded and mixed/mastered by Ohana Sound Studio. The debut album is a collection of songs about romance and regret. From murder ballads to chaotic spoken word, to “an ode to baby making music.” The 12-tracks display a range of rhythms, wandering melodies and smokey vocals. At its core is an eclectic record made by guys with music taste that was “exploded” by the Napster era. Generally speaking, you’ll hear a mix of alternative, grunge, rock and indie styles.
“Backlit Gown” opens up the album with meaty bass lines, low drum grooves and funky beats, not to mention searing guitar riffs. My first impression of Strange Cut makes me think of bands like Fastball and Queens of the Stone Age, and solo artists like Leonard Cohen, and maybe Gerry Rafferty. Next up “You Poor Devil” steps things up with a quick rocking sound – part heavy rock, part grunge – featuring catchy guitar riffs and some fantastic drum fills! At this point already, you wouldn’t know it that this quartet recorded this album in four different locations. “Shotgun Reasons” features sultry guitar/bass grooves and a more upfront lead guitar. I really liked the drum beat to this one a lot. In fact, I like everything about his song – especially the solo parts in between the words. Lyrically, the band sings about “the lady in the lake” which I think is some old-time fantasy story, like from centuries ago. “Hail Mary” has a very different sound and style. I would say more on the side of traditional alternative with elements of spooky dark rock grooves – whatever that may be. Great tune in my opinion. “Say What You Will” offers a fantastic guitar sound – fuzzy, heavy and warm. There’s also some wood or wooden percussion sounds, hand claps, acoustic guitar, synths and piano, giving this song a lot of great textures and variety. I would recommend listening to this one. Mirroring the last track is “Say What You Want” and this one is heavy. I mean, the bass/drum rhythm just pounds at the heart – it sounds so good – and the guitar solo? Whoa! There are some classic rock elements to be had here. Give this one a try and turn it up – I’m pretty sure you won’t regret it. “Snake Feet” is another track that offers the listener a different sound and style. It has a soulful/R&B vibe in some way, with a sexy, mysterious and funky groove. Great number all around. The next track “Black Kerouac” – not to be confused with Jack – has got a big, fat bass sound and a fast, funky beat. There’s also a nice contrast between the rhythm and lead guitars. “Tangents” is another great song with a mysterious sound, coming off dark and brooding. There’s something old school about this track that I really like. It has elements of early alternative and new wave. Familiar musical elements, but with a fresh sound. “Trigger Happy Love” features a pop musical style, but with dark edges. Lyrically, it’s about a love story of a different kind – I think it involves stalking. Musically, there’s a lot of great stuff going on here – a different guitar sound, tambourine and a very catchy, radio friendly, rock melody. “After Thoughts” starts off in yet another direction. The drumbeats are varied, Jarrod Brown the vocalist, narrates the song in a Kerouac beat poet style, while another vocal track hangs lightly in the background. The song changes tempo closer to the song’s end with a heavy, sludgy beat and a scratchy sounding guitar. The song ends with the sound of a static popping, well used vinyl record playing, which transitions into the last track, “Rapture.” This song ends things in a fast, frenzied indie rock style and a crazy number of fast drum fills, bass lines and chord changes. The band really has a crazy amount of energy here and not one moment where they catch their breath. A memorable track. Strange Cut states that maybe they should have stuck with a style and question if anyone even listens to albums anymore? Well, I for one still do, and highly recommend listening to this entire album. I think you’ll find that this band, with their “rag-tag” way of recording songs in their own home studios and exchanging them on Dropbox, makes for something original and fresh. I understand people often look for just a few songs that they can put on their own playlist, but if you have more than just a few moments to spare, I don’t think you’ll be disappointed with Strange As It Seems.
Taylor Pritzl is a classic piano rocker. That’s evident to me from the opening ten seconds of Capsules. The album introduces us to this talented musician with “Memoir of the Fool.” I’m immediately aware of Pritzl’s talent as a songwriter. The catchiness of the chord progression and vocal melody instantly hooks me. The booming beat gives this tune a real groove, too. Then, I find myself impressed by the creativity of Pritzl’s lyrics. “As you’re watching all your time run away like you upset it” is a line that truly made me smile. A very relatable sentiment.
One track down, and I’m already excited for what’s to come. “Good Woman” showcases Pritzl’s vocal range, as he casually and effortlessly reaches for ever-higher notes. I find myself realizing something that was already starting to become evident to me on the first track: Pritzl could write a fantastic musical. Something about the composition of his work gives me the same sense of grandeur and upbeat catchiness as many musical works. This is certainly a man with the talent to produce something like that. He can compose a melody, and he can perform the heck out of it. “So Long” opens with a sublime vocal passage. Pritzl offers only one instrument: his voice. He confidently shows us what he can do, even without a piano and a drumbeat to support him. When the instruments do eventually emerge, a wonderful female singer is harmonizing with Taylor. Not only does this add a lovely element of tonal variation to the track, but it furthers my belief that Pritzl has essentially composed a musical soundtrack here. I could almost see him (and this mystery vocalist) singing and dancing together on stage. Then, the emotional ballad comes along, and I’m all ears. I’d been loving the piano rock, but I was eager to hear what Pritzl could do with a big, belting, heart-wrenching melody. I wasn’t disappointed. On “Didn’t Want to Fall,” he belts out stunning vocal passages over a captivating piano chord progression. This is such a gorgeous song. I’m trying not to repeat myself, but c’mon, Pritzl. It’s time to write a musical. I can see the lead character performing this to a silent room, tears streaming down their face. “Never-To-Dos” was a song that I never saw coming. Suddenly, Pritzl’s piano has seemingly being replaced with an organ (a digital organ, perhaps; it’s hard to tell). I welcomed the switch-up. This cheery tune doesn’t feel out-of-place. The upbeat chord progression and punchy beat are both still there, as are Pritzl’s excellent lyric-writing and his wonderful singing. “(Who Says) It Has to End” is another lovely little stripped-back ballad. But, again, there’s more to Pritzl’s production than just a piano recording and a vocal performance. I thoroughly enjoyed the inclusion of ethereal synth notes, and I liked the sudden explosion of drumming towards the end of the song. The fast-paced piano rock returns on “Better to be Alone.” One would’ve expected another slow, melancholic track. And though the beat is catchy, as is the very happy melody, the lyrics definitely tell a sad story (“Sometimes it’s just better to be alone” and “It’s easy to say that you missed me / When you never showed up at my door”). “You Already Know” adopts a lounge bar aesthetic, mixed with delicate synths that sound like something from an ‘80s pop ballad. It has a nostalgic and tender feel, yet it feels hopeful. There’s always an element of joy and hope in Pritzl’s music, even when he tackles saddening topics. “Lost My Mind” is filled with delightful piano arpeggios, endlessly ascending then descending. “I think I’ve lost my mind / But I don’t mind” is a line sung with such an upbeat vibe that, much like other tracks on the album, whether the song should be interpreted joyously or sadly is up to the listener. “Here to Stay” is a heartfelt and short love ballad which leads into “Life”. This closing track perfectly sums up “Capsules” as a whole. It’s an upbeat, rock-infused, sentimental ode to a fantastic album.
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Nobody Else In The World is Tommy Trull’s latest album, and it’s certainly a unique voyage through a myriad of genres. Synth pop, garage rock, ballads and an abundance of other musical styles influence this collection of eclectic tracks.
This ten-track release opens with the funky “Citizen Freak.” Driven by a punchy electronic beat and Tommy’s deep, emotive voice, this is a captivating opener. There are some super meaty bass guitar rhythms, and some of electric guitar passages possess a hint of middle-eastern influence. I thoroughly enjoyed the keyboard solo at the end; it felt reminiscent of The Doors. “Should Have Been There” takes a very different approach to the introductory song. The synth influence drops away, and Trull instead adopts a country and folk style on this pleasant, mellow second track. I particularly enjoyed the flanger-heavy lead guitar hook, and the harmonized vocals were certainly a lovely surprise. Trull truly flexed his vocal range on this song. The third song, “The Last 3 Days” takes another unexpected turn, though I’d come to expect the unexpected at this point in the album. Trull tries out garage rock on this track. Heavily distorted power chord choruses are matched with gentler verses, driven by clean twangy electric guitar. I was fond of Trull’s vocal effects on this track; the megaphone aesthetic suited the garage rock aesthetic. “Don’t Get Up” is a straightforward ballad. A calming chord progression on a clean electric guitar is married with a distant synth sound effect, giving the track depth. A very pretty melody that neatly follows “The Last 3 Days.” Then, afraid of delving too heavily into melancholy, Trull returns to upbeat funkiness on “Liquor Store.” Funky bass, electric guitar riffs and keyboard solos return on this super groovy mid-album banger. I thought I had Trull’s style and musical range pinned down at this point in the album, but “Bury Them” demonstrates this artist’s ability to always tread new ground. This upbeat synth pop tune leans more heavily into electronic stylings than any of Trull’s previous songs, and it also features some beautiful falsetto; I didn’t realize his voice was so versatile! The track also perfectly transitions into “One of These Days,” a heartbreaking piano-driven ballad with one of the most moving melodies on the album. And, of course, Trull bounces back to funky synth-rock on “Ghost Train Coming.” The plodding electronic beat and bluesy guitar honored the title of the track; I did feel as if I were on a train, chugging merrily along. And it glides effortlessly into the next tune. “Nobody Else in the World” is a gentle little melody, driven by piano and some catch electric guitar melodies. I really felt that Trull’s singing was more passionate on this chorus than at any point in the album. Truly powerful. “The Great Black Wall” is a lovely acoustic guitar ballad to close the album. “Nothing on the tip of my tongue / But the songs we’ve sung / With guitars unstrung” felt like such a fitting line. This whole song feels like Trull’s goodbye to the listener. It’s his way of thanking people for taking the time to visit the marvelous musical world he has created. A lovely song to end a lovely album.
KyTe! is the newest project of Edinburgh based bedroom musician Lamond Sutherland. Sutherland started the project last month to focus on more simplistic and straightforward composition to contrast some of the more complex ideas of his other projects. This would become Feelin' The Void. The songs are instrumental and Sutherland mentions “This is a very short three-track EP that aims to achieve a heavy, but spacey vibe, reminiscent of some old school video games. Doom and Astro Boy: Omega Factor were the biggest influences on me, alongside the original soundtrack of “The Batman Beyond.”
The first song is entitled “Enter The Gates Of Dell” and ramps up quickly with drums, a driving guitar riff and synths. I definitely noticed some of the video games-like features on this song. It reminded me of being in an action or fight sequence. The song is dynamic and I liked the juxtaposition between the distorted guitars and synths. I felt at least some of the synths gave a calmness to the track. “Human Resources” is next and feels like an extension of the first track. The guitar and synths work in tandem here and eventually the song explodes into varying displays of transitions and riffs. There’s some post-rock influence at points I was detecting especially when he was hitting upon the 16th notes on the guitars. The synths modulate and phase out against the high-pitched guitars. I really liked the guitar sound he was able to get with this song. “Stim” gets going with a wicked bass line. The drums and bass really drive this song to the next level. I'm a huge fan of Radiohead and this song had similar aesthetics at least in the beginning. It reminded me of a bit of this song called “Lotus Flower.” The song is fast paced and similar to the others in that it is dynamic and full of transitions. The whole EP goes by fast and is less than nine minutes long. One thing Sutherland did really well is make a cohesive listening experience. These more or less feel seamless when listening to them and I think that was probably his intention. Sutherland seems to be confident in his abilities and makes concise songs with no extra fat. The mix of chip-tune, alternative and prog was an interesting combination that worked well for him. I look forward to hearing more of his work. Take a listen.
New York-based Nick Bohensky and Max N'Adamo have been creating music together for decades, first in the New Jersey alternative rock band Bald Red Lady, and then within the six-piece experimental prog outfit The 16 Deadly Improvs. They decided to work on a duo project during Covid, which turned into their new release titled The Imphilosible EP.
The guys call this music “contemplative, progressive rock with introspective lyrics. With this EP we wanted to capture contemplative lyrical themes against music inspired by our appreciation of progressive rock, featuring (but not limited to) lots of mellotron and unlikely musical departures.” Bohensky handles guitars, keyboards and programming, while N’Adamo adds lyrics and vocals. Influences cited are Radiohead, Porcupine Tree, Pink Floyd and Massive Attack. Some songs came from ideas Bohensky laid down on his iPhone while on a work trip or vacation, while others were built up from his keyboard or programmed tracks. These tracks were sent to N’Adamo to add lyrics, melodies and harmonies in his New York apartment. Friends and other collaborators added parts along the way. Audacity and Reaper were used for vocals, with Garageband and Logic for most everything else. When “Forwards/Backwards” starts, I thought I was in for rap album. It begins with just a beat and multiple overdubs of N’Adamo’s spoken vocals. Bohensky’s bass comes in with real aggression, leading into the song proper which clearly owes a debt to Radiohead. The beats are solid (thanks to drummer Dave Wilson), the bass simple and insistent, and the electric guitar plays minimal riffs that are multiplied by digital delay. N’Adamo’s vocals return with a great number of processed variations. Overall a cool track with a spacey vibe that won’t tax your brain too much. “Syllogism” is another surprise, beginning with a classical guitar picking pattern along with bass by Jeff Bridl and drums by Dušan Beňadik (these two also anchor the next song). This track has a dark, smoky vibe with the bass providing a low and slippery feel like the late Jaco Pastorious. N’Adamo does not rap here, instead providing more traditional vocals and harmonies which fit the moody feel of the track perfectly. Bohensky takes a short electric lead that’s surprising and satisfying, and the background faux strings have a mellotronic majesty. Overall this song was more up my alley and I had to play it over again immediately, and for me it justifies the entire EP. The title track “The Imphilosible” has one of those intentionally incorrect names that computers hate. The arrangement is again based pretty far down in the sonic netherworlds, while the picked pattern is played on electric guitar with a lot of flanging. N’Admao’s vocals are again more straightforward and seem to call and respond between verses. There’s a middle section where N’Adamo takes a stunning vocal solo, with a sudden explosion of prog rock majesty that had me thinking of Genesis’ The Lamb Lies Down on Broadway. I didn’t think it possible but this track already supplanted “Syllogism” as my favorite. The closing “Gestalt” is the longest track at seven minutes, and again features drummer Dave Wilson. It’s clear now that the Mellotron is a big part of these guy’s sound, though I’m sure it’s virtual and not one of the huge classic keyboards from the ’70s. Given the longer length here, the boys take their time and build the track slowly, keeping things simple and holding back any big fireworks. N’Adamo’s lyrics are story-like but analytical: “I couldn’t understand the rigidity / I couldn’t countenance the lack of symmetry / I couldn’t discern the looks of consternation / I couldn’t comprehend the language that wasn’t spoken.” Kelly Hiphorns (perfect name) takes a trumpet-like flugelhorn solo that adds a cool jazz element. This whole package was a great surprise and definitely worth a listen and download!
Multi-instrumentalist, songwriter and producer Steven Layzell is based in Ajax, Ontario, Canada, and has been playing other people’s music all of his life. Now the artist is dedicating his energies to his solo endeavors as Ace Milk. His self-titled album Ace Milk, is based off an electronica vibe, interweaving in hip hop elements as well as an alternative feel. The sound that comes across is an anagram of genres, feeling very much like a mash-up. Layzell clearly knows the sound he is going for and goes at it with aplomb. Ace Milk is a gritty album that pretty much puts on full display Layzell’s love for music.
Ace Milk begins with “Bell Rung,” where some keys and synths come in for a wonky vibe. The electronica builds and builds. As the momentum grows, you eventually get Layzell’s mash of distorted vocals that feels powerful. He elicits tons of feeling to his singing. Soon after, Layzell lays out the foundation to this hip hop piece with some trail-blazing rapping of his own. This was an immediate and hard-hitting track that goes from rock to hip hop at the drop of a hat. A drum machine comes in as more electronic riffs take traction on “Where I Go.” The bass lines here are really invigorating as some keys dance in. Layzell’s vocals come out laid-back and I am reminded of Moby here. Synths and beats arrive for an atmospheric feel on “Hopefully.” I loved how catchy this song sounded to my ears. It felt like a romantic track as the artist sings upliftingly about a love. The buoyancy of this song reminded me of Two Door Cinema Club. Some sparse keys and synths flow through “One Shot For The Pain.” Next, the beats gain momentum for a gritty feel. The vocals are packed with an edgy feel as Layzell goes all-out with a great rock vibe. The guitars also sounded great here. An atmospheric vibe comes in on “Don’t Touch Me.” Soon, more beats enter for a more energized feel. Ghostly vocals sound out in the background. Next, a wall of guitars comes bursting in. Layzell’s reverberating vocals add a searing take to this song. The sound was at times surreal and otherworldly. On the title track “Ace Milk,” more percolating beats arrive. Some guitar strands also make an appearance. There was a jazzy vibe to this track that I found interesting.This proved to be a pure instrumental interlude. On “Remains,” some keys sound out. Next, the wall-to-wall of guitars branch out and encompass the whole song. A drumming beat and more drums ups the ante of the drama. Layzell’s vocals come through with a very spoken word vibe. There was an experimental feel to this song. Pounding beats and radioactive guitars makes “Blood Red Mouth” very hard-hitting. As Layzell coos and screams, I was getting The Black Keys and The White Stripes vibes. I was loving this burst of blues from the artist here. Some rumbling bass lines arrive alongside some beats on “Outspoke.” Soon, you get Layzell’s provocative rap style. The feel was very ominous and driven. The artist chooses to send us off with this gritty and hard-hitting closer. The album was recorded, mixed and mastered all at Layzell’s childhood home in Ajax, Ontario. As a home recording, it felt a little too lo-fi to my tastes. I would’ve liked more fidelity but that might be just me. All-in-all, the album felt raw and hard-hitting and I especially liked the parts where Layzell goes all-out on the blues. It’s a hope of mine that the artist will continue to explore that aspect of his sound in a later record. But again, I think the artist has done a good job here and I look forward to seeing more good things from him soon.
Blue Fog Experiment is the brainchild of Don Bray, former member and lead guitarist for some of the Midwest's most original and introspective bands in the late ’80s and ’90s - Broken Shadows and Tsabaka. Bray embarked on a solo recording career soon after leaving Tsabaka and in 2001 released his first CD project, The Messenger. The CD offered listeners a glimpse into the artist’s unique writing, playing and singing style. In 2008, Bray reimagined his band and began experimenting with more techniques and styles - hence he changed the name of the band from Blue Fog to Blue Fog Experiment. Perfectly comfortable in the studio, Bray continues to write and record playing all the instruments himself. Bray’s latest release, Memories in Neon, was recorded in his home studio in Waterford, Wisconsin. The songs feature lush guitars, melodic bass lines and intertwining vocals and harmonies. The twelve-song album undulates between ‘60s British invasion, ‘70s rock anthems, ‘80s alternative and ‘90s post-grunge pop. Bray’s vocals and harmonies are heavily influenced by The Beatles. Likewise, his learning and playing guitar during the ‘70s and ‘80s comes from that era, while later playing in various bands that ranged from classic rock to alternative, to metal and grunge and pop rock. The artist’s work is influenced by bands such as R.E.M., Gin Blossoms, Stone Temple Pilots, Chicago, The Who and guitar virtuosos like Joe Satriani and Jeff Beck.
The opening song, “Didn’t Know it was You” was influenced by Survivor. You’ll hear catchy pop rock guitar melodies that are reminiscent of the ‘80s. This one kind of reminds me of Rick Springfield, too. On the second tune “Second in Line” Bray states that it sounds like something you might hear on a Cure album. I guess so? Maybe a little of the guitar/bass melody hints at the famed English bands’ sad, but happy, pop melodies, but not their goth/mope rock stuff. “Already There” offers a jangly guitar melody, and a thick, syrupy Rickenbacker bass sound. The guitar solo reminds me of something from the ‘70s, like Todd Rundgren. “Not Going There with Me” has a heavier, moodier feel. “Bib’s Fortuna” named after the Star Wars character Bib Fortuna, is the first of an all-instrumental song and it’s quite good. Although Bray doesn’t normally play these types of songs, he felt like showcasing his capabilities and channeling such legendary guitarists like Joe Satriani and Eric Johnson. On “Collide” Bray admits that this song reminds him of Elton John for some reason. It probably was the flashy piano melody and biting guitar riffs – reminiscent of such songs like “Pinball Wizard.” Oh wait, that’s a Who song, isn’t it? Lots of great drum fills here too, which might have been a tip-of-the-hat to Keith Moon. Next up is “The Flying V” and it features a gritty, rock style. Perhaps it was written and played with the “Flying V” guitar and here, there are some nice finger tapping on the frets to be had. “Give It Away” is a smooth grooving tune. Heavy with the organ synths, bass lines and low drumbeats, this one kind of feels like one of those trippy Deep Purple songs, with a lot of extra funk and soul. Fun song! The next track is the album’s title song – “Memories in Neon” and it features lots of great jangly guitar sounds, extra backing vocals, tambourine and a catchy pop chorus. This reminds me of a few of R.E.M.’s albums, like Reckoning and Document. But then, Bray throws in some funky, wah-wah guitar sounds, which gave this number a new dynamic I wasn’t expecting. “Say It Then” has a reflective vibe. It’s a song about wanting someone back really bad but coming to terms that the past is in the past. Retrospect sucks sometimes. Another instrumental “Autoschediasm” showcases Bray’s piano chops more, with light guitar and drum accompaniment. This was a very interesting song – I thought it was well written and played. It reminded me of those melancholic piano melodies during the ‘70s, made well known by artists such as Bruce Springsteen, Tom Waits and Billy Joel. On the final song, “1000 Miles to Go” Bray was attempting to write in the style of the Beatles on their Revolver album. Hmm, I can think of Tomorrow Never Knows and Ringo’s unique drumming style, but I’m hearing a lot of R.E.M. influence here, too. All things considered, give Memories in Neon a try, I think you’ll enjoy it – there are some well-done gems on this album.
New York singer/songwriter Kevin Delaney has partnered with jazz pianist Rich Shemaria to release their collaborative CD titled High Springs. Delaney brings to the project his background in everything from punk to country bands and has been influenced by “the usual suspects like Dylan, Nick Drake, Neil Young, etc.” Shemaria is both a pianist and arranger/composer who has worked with Micheal Brecker, Natalie Cole, Stevie Wonder, Tom Scott and many others. They call their new album “a unique, genre-bending mix of folk, rock, jazz and classical sounds, combining Delaney’s deeply lyrical songs with Shemaria’s sublime arrangements.”
The duo continues: “We are perhaps an unlikely duo, but have great chemistry. And I believe our sound is unique, combining Kevin’s poetic lyrics and expressive voice with Rich’s sublime orchestrations and keyboards. We also have a stellar cast of supporting musicians, world-class players (and friends) from New York's jazz, rock and classical worlds. We had a great time making this album despite pandemics, tech challenges, etc.” Kevin Delaney sings and plays guitar, with Rich Shemaria handling all keyboards. They are joined by Jerry Devore (upright bass), Josh Bailey (drums), Suzanne Gilman (violin), Gena Taylor (cello), Kaoru Hinata (flute), James O’Connor (trumpet/flugelhorn) and Gilbert DeJean (bassoon). Recording mostly took place in Upper Manhattan apartments using Logic. Piano and organ were played from Native Instruments, while bassoons, flugelhorns, cellos and flutes were recorded live. Josh Bailey’s drums were recorded in a Long Island basement by mixing and mastering engineer Tom Swift. “You Know” features rollicking acoustic guitar atop a piano-based rock song, with creative and death-defying drum fills by Josh Bailey. Delaney has a kind of rangy, twangy voice that fits his songwriting perfectly. Shemaria adds a lively electric piano middle section. “River Road” slows down for more of a soft rock ballad. Delaney’s voice takes a softer, more confessional cast and also features nice harmony overdubs. For the first time I also noticed Jerry Devore’s upright bass playing, which really pulls the music together. Delaney takes a short harmonica solo over what sounds like a strummed and picked acoustic 12-string. The title track “High Springs” has a Miles Davis-like intro by James O’Connor, especially “Sketches of Spain.” The track also features the first appearance of the string section: beautifully arranged and recorded. It really does sound like a full studio orchestra! The strings lead into a folky acoustic song with a Glen Hansard-like vocal. It’s an interesting hybrid of folk song and jazz excursion: it flows beautifully, without ever feeling forced. “Elvis at 19” has a short drum intro like Zeppelin’s “Rock and Roll,” then moves into an Elvis-inspired track with ‘50s piano trills and a snappy boogie woogie beat. Delaney even manages to echo the King’s vocals, along with some hearty rockabilly guitar! “Breakout Masterpiece” is first of all a great title (how many of us hope and dream of making one?). Lyrically it uses the trope of a literal breakout from prison, but I’m betting it’s really about music or a work of art. “Create your own release / it’s your breakout masterpiece.” “Out There” has another stunningly beautiful orchestral intro, this time recalling Stravinsky’s Rite of Spring or Aaron Copland (how often can you say THAT?) which then leads into an acoustic song that borrows the best from Neil Diamond’s folk-pop style. The orchestra returns to add lush backgrounds to this lovely tune, then goes all-in for a fully arranged orchestral coda at the end. Though it starts to feel more like a Broadway show than an album of songs, it’s awesome. “Long Walk to a Slow Train” is another great song title and idea. It’s got a fun, jaunty beat with a mixture of jazz and Americana. I’m guessing that the “long walk” is our very existence, while the “slow train” is the one that boards at the end for parts unknown. “Your Fragile Heart” again begins with an orchestral intro, which I guess is a stylistic trademark for these guys. It’s certainly not something most bands can claim! As before, the orchestra underscores and comments on the acoustic folk tune it’s built on. Delaney delivers emotionally touching vocals and harmonies, though the harps and strings may be a touch heavy (did Phil Spector pay a visit?). The final track “Two Phony Sick Days” is yet one more clever song idea. It’s got a very slow beat and gentle acoustics and piano, and seems to describe those precious moments we’ve all taken to give our jobs the finger and enjoy life at home. It’s the perfect capper to a terrific collection. What really sets this release apart from most is the prominence of acoustic piano and the orchestral sections, and it’s just the start of what makes this collection worth checking out. Great stuff! |
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April 2024
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