Katy Ashe, a versatile artist from Upstate NY, wears many creative hats - she's a singer, songwriter, producer, music educator and social activist. Leading the rock band Last Daze, her musical scope spans from hip hop to rock, metal to country, showcasing her eclectic approach.
My encounter with her work began with "Connected," a track that immediately intrigued me due to the compelling interplay between lyrics and music. It offers a fusion of electronic and post-punk elements, creating a darker, hybrid atmosphere, while lyrically delving into the realm of an almost idealistic love. While "Connected" left an impression, "Countess of Chaos" took things up a notch. The infectious beat, especially the low-frequency elements, reminiscent of Fever Ray, drew me in. The percussion added kinetic energy, and the enigmatic vocals completed the picture. A heavenly, angelic interlude emerged surprisingly just before the two-minute mark, with the transition back into the darker groove marking a memorable moment. "Eight Nine Twelve" initially evoked shades of NIN before seamlessly transitioning into a piano-driven ballad during the verse. This artistic duality worked remarkably well. The song's lyrical depth, delivered with a shadowy elegance, hinted at influences from Zola Jesus, Portishead, and NIN, forming a unique blend. In her production, Ashe demonstrates a creative touch, crafting dark and introspective music that stands out. She is undoubtedly a genuine talent in this realm. Take the opportunity to listen and immerse yourself in her artistry.
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Emerging onto the scene in 2018, Rebel Messiah stands as a venerable torchbearer of old-school hard rock and heavy metal, hailing from the heart of Richmond, Virginia. This seasoned collective comprises accomplished musicians with storied pasts in renowned acts like Bullistic, Throttlerod, Boss Kean's Ditch and Metal Priest. In a bold artistic endeavor, Rebel Messiah embarks on a fervent odyssey into the annals of vintage heavy music, conjuring the unbridled vigor and untarnished spirit that defined the 1970s and 1980s. Drawing deep inspiration from the likes of Black Sabbath, Deep Purple, Iron Maiden and Judas Priest, Rebel Messiah's sonic offerings are a rallying cry for unapologetic hard rock enthusiasts.
The journey through Rebel Messiah's realm begins with "Strength In Numbers," a track that feels like a relic from the late 1980s. It swiftly becomes apparent that the band's intent isn't to reinvent the genre or cloak it in a contemporary veneer; rather, they aim to preserve the blazing essence of a bygone era. This song ignites with an incandescent fervor, showcasing the band's tight-knit cohesion, with particular kudos owed to their guitar work, especially the scorching solo that blazes through the composition. "Believe" follows, brimming with an unrelenting hard rock energy. The vocalist passionately declares, "Take a look into my eyes / And tell me what do you see / a broken soul is on fire / I need someone to rescue me." The track exudes a cathartic quality as it traverses the path of a man seeking to escape the darkness that engulfs him. The song's grandeur is undeniable, and it takes an exhilarating turn halfway through as the tempo picks up, culminating in a mind-bending guitar solo that rivals the legends like Yngwie Malmsteen and Joe Satriani. The final chapter, "Blackwatch," might just be the most thunderous entry in the album. It evokes reminiscences of early Metallica, with the band's precision and the drummer's relentless tempo-keeping and skillful fills standing out as commendable highlights. Rebel Messiah's sonic offerings resonate profoundly with aficionados of classic rock, those who relish high-energy, adrenaline-pumping music that exudes copious amounts of attitude. This is a sound that beckons you to turn up the volume and revel in the unabashed passion of unadulterated rock and roll.
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Aradia, a dynamic newcomer, recently unveiled her eponymous debut album—an offering that pulsates with vitality, positivity, and a sense of immediate significance. In an era marked by prevalent mental health concerns, including my own, Aradia's music emerges as a borderline therapeutic intervention.
The album, akin to a comforting embrace, possesses the power to coax one out of bed and motivate a reevaluation of daily tasks. Opening with "Slow Yer Roll," a poignant exploration of gratitude and progress amid life's uncertainties, the track's irresistibly infectious hook invites listeners into a dance of rejuvenation. A standout anthem, "Gamma," propels the album into the realm of absolute bangers. The vocals beckon with an invitation to sing along, creating an anthem-like atmosphere that could resonate through an entire audience. Continuing the anthemic trend, "Soar" feels like a potential single, unfurling its wings like a butterfly in flight. As the song progresses, a soaring sensation elevates the listener, creating the impression of gliding through the sky. One of the deeper cuts on the album was "The Light" and has a very positive message about trusting your instincts. The beat is also absolute fire and feels like you are bouncing of beams of light. I love how the song sounds like the title. Aradia's debut album unveils a rich landscape of texture and tones to explore. Each track reveals palpable hooks and memorable melodies, promising a continuous terrain of discovery. This is an album full of love, understanding and good vibes. Take a listen.
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John Sanger's latest offering, "Blood On The Lace," arrives in the form of a music video that I wholeheartedly endorse. This track evokes the essence of bygone country melodies, boasting an authentic instrumentation that resonates with heartfelt vocals.
There's an uncanny familiarity here, akin to the somber resonance found in "Turn The Page." The song is nothing short of captivating and etches itself into your memory. It’s a ccapella interlude is a standout moment, seamlessly transitioning into a passage that briefly channels the spirit of The Beatles. What truly sets this composition apart is its gradual build-up; it exudes stoicism, invites introspection and ultimately stands as a testament to Sanger's songwriting prowess. The accompanying video, while straightforward in its execution, proves remarkably effective. Sanger serenades us against the backdrop of an abandoned eatery known as Rosies, a locale that adds an eerie touch, further enhancing the song's overall emotive depth. In sum, "Blood On The Lace" is a great tune full of various shades of emotion. Don't miss the opportunity to immerse yourself in its enigmatic allure; this is a musical experience that deserves your attention.
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You have to wonder how viable a double album is these days. According to recent articles from BMI a lot of younger generations are simply sticking to playlists. I think there’s a good case we might have completely screwed up our attention spans. In my opinion it’s a sad state of affairs but I love that artists like Dino DiMuro are making them regardless.
DiMuro is releasing a double album in the not too distant future but before that occurs he released “The Heatstroke Outies Suite.” On his Bandcamp page he mentions “This song is a collage of outtakes from the double album Heatstroke Alley. None of these songs or fragments appear on that album or elsewhere.” The song is sixteen minutes long and throughout you can hear his love for Captain Beefheart and Frank Zappa. I would say this song sounds like a true auditory collage. When you zoom out the song is a bi-polar composition that takes detours and back alleys where you’re never quite sure you might land. Musically, there sure is a lot to latch on to if you enjoy a song that will deviate from 4/4 and tempo on a regular basis. The melodies are like ideas that suddenly pop and disappear. Of course some of the ideas last longer than others. Take for instance the music around the three-minute mark which sounds like an outtake from Sgt. Pepper's Lonely Hearts Club Band. Lyrically, the song has a very Zappa like quality. There’s a lot of non-sequiturs and absurdity. That being said, the words are only one part of the equation. A lot of it has to do with the hyperbolic way in which they are delivered. Something about DiMuro bringing up David Crosby cracked me up. The amount of music DiMuro makes in these sixteen minutes is impressive. As soon as you start to settle into a groove DiMuro will pull the carpet underneath your feet and make a change. I’m not talking about a subtle change. It’s usually a 180. I have high hopes for this album considering these are the outtakes. There’s a specific niche of music fans who will totally connect with what DiMuro is doing. Fans of Zappa, Captan Beefheart and other like-minded artists will understand and embrace it. Take a listen.
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Maribo, a creation rooted in the artistic landscape of Framingham, Massachusetts, is the brainchild of composer and sonic visionary Christian Gentry. In Spectacle, his latest sonic venture, Gentry embarks on an electrifying exploration through the uncharted realms of live electronic music, seamlessly intertwining vocal wizardry with innovative sound design. The adventure commences with the opening track, "Spectacle," a synth-laden escapade awash in vibrant percussive waves.
What immediately grabs the listener's attention is the judicious application of vocals and sampled snippets, expertly dividing the sonic narrative between field recordings, samples and the ethereal main vocal. Here, a tempestuous and revolutionary spirit reigns supreme, crafting an audacious and experimental soundscape that challenges the conventions of the genre. In stark contrast, "Grace," the subsequent offering, exudes an aura diametrically opposed to the opener's dynamism. It transports the audience to a metaphysical sanctuary, evoking the tranquility of a Buddhist temple. The composition unfolds with extended, choral-like vocal harmonies, accompanied by what can only be described as the celestial strums of an otherworldly harp, all cloaked in a mosaic of assorted pads. Beneath its comforting embrace, a subtle undercurrent of benign foreboding weaves through the sonic fabric. "MARTYRS" emerges as the heart of the album, a sprawling soundscape spanning over ten minutes. It navigates diverse terrains, entwining glitch-infused beats with white-noise-infused pads. The vocals, a medley of older broadcasts alluding to the politics of communism and capitalism, permeate this expansive composition, painting an intricate narrative through sonic textures. "Leopards," akin to "Grace" in essence, takes the listener on an entirely distinct emotional exploration. This sonic landscape conjures imagery reminiscent of an initiation ritual in a clandestine gathering of the Knights Templar, resonating with the acoustics of a reverent church. In an unexpected turn, "Scroll" steers the course towards a more whimsical realm, evoking a vividly cartoonish aesthetic aligned with chip-tune sensibilities. Here, one might envisage a news report set against an epic cosmic backdrop, a composition known as "NASDAQ." The piece gracefully circles back to the Gregorian chant influences observed in "Leopards." While the coherence of these diverse sonic excursions may be up for debate, it's undeniable that Gentry's creative prowess shines brightly. His distinctive approach, marked by impeccable production and inventive soundscapes, leaves an indelible mark on the listener's musical sensibilities. Spectacle is a testament to Maribo's unapologetic exploration of the auditory frontier.
Frail Fragments is a dark metal and rock band from Toronto that is anything but frail and miles from fragmented. Their fifth and latest album is titled E-Fragment, which was written during the Covid lockdown (amazing that these are still trickling out!).
The lead singer and songwriter is Len Lamanna, who recorded and mixed these tracks with Brian Gagnon with mastering by Noah Mintz. That’s about all the info I have from what these guys sent me, but checking out their website I can see that each album has been called a “Fragment” with a different letter for each one (B-Fragments, C-Fragments, etc.). They also have a bunch of creepy videos I am too scared to click on, but I did catch footage of the band where it appears they have four members (guitar, bass, drums and lead vocals). “Four Walls” starts tentatively on picked amplified acoustic guitar and some quiet keys. Len Lamanna’s lead vocals are almost falsetto, with a clean tone and firm grasp of the melodies. When the full band kicks in the sound is lush and darkly beautiful, with a restraint that portends an explosion in the offing. A room with four walls can be comforting but clearly the message here is about being sad and alone while those four walls close in, but the narrator’s pain is our gain as the musical textures weave a hypnotic spell. Toward the end there’s an offbeat section where the music actually sounds like an African Kalimba. “Elliot Alive” is big change-up, starting with a grinding riff and heavy, labored breathing. The song itself is traditional heavy rock, with a classic chord scheme played on overdriven guitars. Given the spooky nature of the vocals this song might be about reanimating the corpse of a child, but the boys are almost cheerful about telling this story! Some great vocal harmonies make this song almost pop music in places. “Contaminate” has a title, riffs and (especially) vocals similar to latter-day Metallica. A bit grating but there’s certainly an audience for this style! As Frank Zappa once said: “You’ll hurt your throat!” “Rage” takes me way back to Suicidal Tendencies and shows yet another aspect to the Frail Fragments style: a kind of rambling white-guy rap. “Rise and Fall” is a minor-key acoustic ballad with, yes, a dark and foreboding edge. Normally I run hot and cold on acoustic guitars with pickups (as opposed to open microphones) but these guys have gotten a really smooth, engaging sound from theirs, with driving bass strings and cool overtones. “Hang Man” is maybe the most bizarre love song ever (“I’ll be your hang man!”) and is built mostly on ever-rising waves of vocals, growing with intensity with each verse. “Blast Off” is yet another left turn, this time to ’80s synth rock but with the overlay of the Frail Fragment’s classic shouty vocals. Though called “Blast Off’ the song’s energy is more like a missile countdown on a dangerously off-kilter launch pad. The song’s finale has a Sabbath black mass solemnity. “Wash Her Dry Her” goes total hardcore with the throat-tearing vocals, the Helter Skelter guitars and the somewhat disturbing sentiments (“All you do is complain… I can’t even think for myself / you don’t give me what I need… I’m gonna hang her out to dry!”). It sounds like someone here has been in a relationship! “The Last Slay Ride” (great title!) starts with a lone piano melody with a feeling of impending dread (what else?). The vocals seem to be layered with about three octaves of harmonies as a grisly tale of Christmas homicide unfolds (at least I think so). It’s basically one riff with driving percussion (the drummer’s always good, but especially noted here) and those haunting, insistent vocals. After the chilling church bell piano of “Killer Clowns” (with accompanying buzz saw guitars and dumpster-like drums) we’re at the end (literally) with “Graveyard.” Lamanna’s soulful vocals grab the spotlight for one final cry into the darkness: “You can’t save me in the graveyard / you know you’re here in the graveyard with me / resting deeply.” I did not know that but thanks for the head’s up! Once again it’s murky and a bit creepy but the Fragments’ skill in singing and playing makes the bitter medicine go down real easy. If I hadn’t already compared them to Black Sabbath I’d do so here. So there you have it: some very dark rock born from a very dark (or at least claustrophobic and uncertain) time. Since we’re mostly clear of the dreaded virus we can all enjoy the bitter fruits grown by the Frail Fragments in the light of day. Check them out! How do I get so lucky? Just last week I reviewed an album titled PASSWORD and today I’ve got Promo Copy Only by Vegetables At Last. The Veggies (as they’re known to their friends) is an English alternative rock band who’ve released 13 albums, and this is not a promo release but a legitimate 14th album. Got that? The group features six or seven regular contributors, functioning as a kind of music collective. The lineup includes Paul Morris (vocals/guitar), Simon Pickering (vocals/keys/guitar), Carl Fox (bass/guitar/percussion), Gareth Bouch (electronica), Adrian Carr (percussion) and Paul Brown (bass). Most recording takes place in Nice, France with remote contributions from England. This album is heavily guitar-driven and shows the influences from Ride, Grandaddy, The Family Cat, Sonic Youth, The Polyphonic Spree, The Brian Jonestown Massacre, Primal Scream, The Jesus & Mary Chain, Placebo and My Bloody Valentine. The Veggie’s songs are described as “exploring the darker side of life.” The band also asserts they’re not trying to reinvent the wheel: “We believe that the beauty of songs written and performed with guitars, bass, drums, organ and vocals endure as an approach regardless of how popular other approaches are at the moment.” Before reviewing the music I also have to give kudos to their cover art: countless musicians (including me) have used train track imagery, but this is one of the most beautiful portraits of that type I’ve ever seen. “After Christmas” is appropriately a song about suicide (I’m already digging the band’s dark humor!) and starts with jangly keys and ringing, bell-like guitars that evoke an alternative universe Christmas carol. The band’s sound is very much traditional guitar pop-rock with a leavening of spacey keys and vocals with a pronounced English accent, like Bowie on helium or classic rocker Peter Noone. I might even call this dream pop. A song about envy called “Orange Car” follows, with the vocals (by Simon Pickering) now pleasantly in the lower John Cale register. This is another mid-tempo jangle-fest with the guitars alternating between two bright major chords within an arrangement not far from R.E.M. The rocking choruses are basically the verses played louder but without lyrics, which works great. “Happy Ever After” has an opening bass riff similar to ELO’s “Showdown.” The electronics (credited to Gareth Bouch) are a bit more expansive here, along with louder guitars with lots more bite and attitude while still retaining that jangly sound. Paul Morris’ vocals are a bit higher and more pinched as he sings a song about being unfulfilled. “You’ll never be happy. / You know that now, don’t you?” Would it be scandalous to compare his voice to the late great Davy Jones? “You’re Making Me Say It Again” gets slower and even more dreamy (helped by the phasing effect on the guitar) with a vibe that took me back to “Space Oddity” by Mr. Bowie (well, they do mention a space man). This is a more stripped-down sound for the group, with just four members playing five instruments. “Banging On About Jesus” is a song about fanatical religion that again shows the band’s twisted humor. Just the title had me laughing, and the song itself only gets better. “So maybe you were right and I’m evil… so you’re still banging on about Jesus / Oh Jesus, just leave me be!” This track seems to have not just one but two walls of sound, guitars and keys. I might have liked to hear the amusing lyrics more clearly but it also works as-is. Following is a song about dependency (though with a relationship or drugs is not clear) titled “Through The Night”. The vocals sound tweezed and processed and everything else is mixed quite loud but these are nonetheless some of the nicest chord schemes and lyrics. This track just went on my Spotify Favorites List! “Jacob” continues the trend toward extreme loudness and vocal saturation for an angry screed about political greed, with literal clouds of fuzz riffs. The vocals are way beyond processed, now sounding totally robotic. Backing away from the precipice, “Please Stop” has a simple, stripped-down arrangement like Loaded-era Velvet Underground, with classic rock organ and tremolo guitars. The cleverly titled “Parragonnavirchou” (a song about hypocrisy) also has a Velvet’s sound, maybe even like the single-chord drones from their first album. The closing track “Make This The Day” starts with big, full guitar chords yet again piped through the overworked phasing machine (it’s a great effect but maybe a tad less next time?). For the finale you sort of expect an uplifting jangle fest, and that’s what we get here though the song is about addiction. That’s the band’s cool dichotomy in a nutshell. A couple small caveats aside, I loved this album and tradition of guitar rock that it carries on. Recommended!
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Kamira is a rock band from nearby Orange County, California that has just released their debut album titled Statements of Intent. Formed by brothers Cam (guitar) and Lachlan (drums), they were soon joined by School of Rock classmates Kira (vocals) and Niko (guitar), with bass added remotely by Evan of 3PM Noize Complaint. The name of the band is a fusion of Kira and Cam’s names (lead singer and primary riff writer). They claim hard rock and heavy metal as their musical center (mentioning Metallica, Alice in Chains and The Warning) along with touches of melodic death, grunge and punk.
Statements of Intent took just three weeks to write, record, mix and master, and garnered such positive reviews from their inner circle that they decided to release these songs officially. Following this release will be a series of Southern California live dates in the fall of 2023. All recording, mixing etc. took place at Ocean Studios in Seal Beach, California. Cakewalk was used for mixing, with mastering by Cloudbounce. Available as a download or limited edition CD. The opening track “Moving On” introduces the band’s sound: classic riff-heavy hard rock, a steady rhythm section and killer lead vocals from the Chrissie Hynde school. The song’s narrator is clearly ready to move from a bad life or relationship and the track becomes more celebratory as it rocks forward. Guitars get louder, lead breaks explode and Kira’s voice starts matching the wailing high E strings. “Everything About You” is described by the band as “pop-rocktastic ear candy.” For me it has an ’80s “Hungry Like The Wolf” swagger. It says here that lead vocalist Kira is only 17 but her voice has a grit and authority way beyond her years. She also overdubs herself expertly, especially for the a cappella conclusion. “Traitor” features some killer opening drum fills by Lachlan and solid, stop-start metallic guitar riffs throughout. There’s a classic rockin’ lead guitar solo that touches on a couple styles here and there (even some Eddie neck tapping) without sounding like carbon copies of anybody. The riffs of “Song of Your Lifetime” literally rise up out of a phasing stew and roar into the fastest track yet, though not quite speed metal. Kira may not know the reference but her chorus harmonies compare favorably with John Doe and Exene from X. Love the guitar solo here mostly because of the unexpected key change halfway through. This song would be a total stomper live! “Make Your Choice” is what the band humorously calls “blackened melodic death heaviness” (my first thought was “dinosaur rock”). Big slabs of overdriven power chords provide an unsettled, teeming bed of sound for Kira’s sleepy, half-spoken vocals and the full band’s chants of “Make… your… choice!” “Go Crazy” starts in a similar fashion to the previous track, but then kicks into a driving double-time rocker with plenty of vocal and drum gymnastics. The bass has a very cool, Rickenbacker treble sound. Kira’s voice reaches hitherto untapped high-end majesty. Just in time for Halloween, the chords turn sour and scary for “House of Horror.” But though it sounds like a funhouse filled with zombie clowns, it’s actually a kind of love song! The arrangement is fun and definitely different from what’s come before. The set ends with “Say It To My Face” which the band calls “bratty punk funk.” This is the fastest song yet, again with an X punk energy and based on a riff that’s like “Smoke On The Water” sped up 100 times. Overall this was a very solid album. Recommended.
In his fifth album Decision Presented, Zhishi doesn't veer drastically from his previous work, but this might just be his best in terms of production and architectural finesse. The album commences with "Fine. I'll Do It," a track that gracefully lulls the listener into a trance-like reverie. Cascading soft, delicate melodies envelop the senses, imbuing an inviting warmth that beckons exploration. Its subtlety is its strength, with gentle variations that eschew dramatic dynamics, a choice that remarkably suits the stylistic narrative.
"Stalling Prolonged" takes a different path, embracing a more pronounced beat. A familiar palette of sound unfolds, yet this time, the drums command a tribal-like presence that resonates with the jungle's spirit. The interplay of rhythms and melodies unfolds seamlessly, leaving a distinct impression of admiration. In "There We Go," Zhishi delves into experimentation, crafting perhaps the most enthralling beat in the album. Here, glitch-like intricacies scatter across the soundscape, embracing dissonance and introducing unique temporal dimensions. An undercurrent of anxiety and tension infuses the piece, delivering a distinct auditory experience. "Take It Down A Notch" propels the listener to the dance floor. A hypnotic groove ensnares the senses, coupled with rising pads that emulate orchestral strings, rendering it a formidable dance party anthem. Lastly, "Right There" stretches to an impressive eleven-minute mark, evoking melancholy and drawing comparisons to ambient masterpieces in Aphex Twin's catalog. With Decision Presented, Zhishi's evolution in production reaches new heights. This album stands as a testament to his commitment to the craft, showcasing his prowess and evolution in creating immersive sonic experiences. It's a journey worth embarking upon – highly recommended. |
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