Corey Rieman and The Dilemma Band, hailing from the heart of Connecticut, has been steadily gaining prominence over the past couple of years, leaving an indelible mark on the music scene. Their journey is marked by electrifying performances at major festivals, a burgeoning social media fan base, and an ever-increasing wave of acclaim.
Immerse yourself in the irresistible world of their sound, a sonic cocktail that first ensnares us through "The Woo Song." This composition nestles comfortably between the sonic realms of Mac Demarco and Ween. The vocals exude an enticing sense of spontaneity, while the guitars resonate with pristine clarity, all set to a backdrop of irresistible grooves. "The Woo Song" may feel like an impromptu jam session, lacking a discernible hook while the vocals meander through uncharted territory. However, it encapsulates a magnetic groove, ensuring it remains a commendable musical journey. In stark contrast, "Sweet Woman" offers a departure into a different realm altogether. This composition boasts a more structured and intimate demeanor, unfurling as a tender acoustic ballad. The true luminaries here are the vocals, captivating us with harmonies that tug at the heartstrings. The guitar work, marked by its delicacy and emotional depth, weaves a tapestry of lush, resonant notes. "Fix You Up," aligns itself more closely with classic rock. This track unleashes a sonic tempest, punctuated by fiery guitar distortion. A subtle undercurrent of funk permeates the song, rendering it the most technically intriguing of the trio. Noteworthy are the experimental percussion breaks, invoking echoes of a John Bonham-style drum solo. Through this trio of tracks, Corey Rieman and The Dilemma Band elegantly flirts with a diverse array of styles, executing each with finesse and charisma. Their ability to traverse these musical realms is nothing short of impressive.
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Hailing from the sun-soaked realms of California, Pistol for Ringo is a musical collective comprising the talents of Steve Arm, Brian Murphy, Shane Smith, Ben Arnold and Matty Muir.
In my sonic expedition, the inaugural encounter was with "Chasing the Impossible," a composition that initiates as a contemplative reverie. A minimalist canvas painted with vocals, guitar, and an evocative atmosphere sets the stage, gradually yielding to the weightiness of drums and bass, ultimately achieving an epic crescendo. Noteworthy is the lyrical perspective, adopting a third-person narrative that invites the listener to immerse themselves in the song's narrative. "Gemini," in stark contrast, boasts a more overt classic rock demeanor. The track exudes a propulsive energy, an unrelenting forward momentum that consigns the past to oblivion. Its dynamism thrives on intricate syncopation, characterized by the interplay of the intermittent drums and bass, making for a compelling auditory experience. The enigmatic "Case Of The Tuesdays" unfurls a dark and introspective visage, a deviation from the conventional "Case Of The Monday" lexicon. Pistol for Ringo fearlessly dances to their own rhythm. This composition, akin to "Chasing the Impossible," possesses a moody allure that casts a beguiling spell. Its seductive groove, a gradual and simmering ascent, captivates the senses. Pistol for Ringo, undoubtedly, solidifies their place in the musical landscape. The vocalist's resonant baritone proves to be an invaluable asset, particularly in the realm of somber compositions. The quintet's sonic offerings are deserving of exploration, an invitation to delve into their distinctive musical domain. Rest assured, a listening rendezvous with Pistol for Ringo is a decision worth making.
Austin's very own Honey Made transports us back to the golden era of legends such as James Brown, Sly and the Family Stone, and Earth Wind and Fire, all while infusing their distinct contemporary flair into the intoxicating blend of primal soul. Their unwavering dedication to R&B roots is strikingly evident, revitalizing a timeless genre with their unique perspective. The band's illustrious journey has already seen them grace the stage alongside luminaries like George Clinton & the Parliament Funkadelic, Sierra Leone Refugee Allstars, The Motet, Lee Fields, Tomar & The FCs, Funk You, The Soul Rebels and Flow Tribe, firmly etching their name into Austin's musical folklore. Now, they set their sights on an ambitious mission: sharing their fervent musical concoction with a broader audience, extending beyond the confines of their local scene.
"Upstairs," their electrifying anthem, is an exuberant celebration. It exudes an effervescent, party-like atmosphere, channeling the spirit of '70s funk and soul with remarkable finesse. The brass section, vocals and every sonic element converge in an exquisite, harmonious symphony. This track pulsates with an infectious energy, tailor-made for the electrifying ambiance of a live performance, where the audience is compelled to move to its irresistible groove. "Do Ya?" mirrors this infectious vitality. It's an unadulterated joyride, brimming with an irresistible allure. The clever lyrics, initially hinting at a metaphorical intrigue, humorously unravel into a delightful ode to the joy of hot sauce for food, injecting a playful sense of humor that will undoubtedly tickle the listener's fancy. In the triumvirate of tunes, "Perfect Getaway" emerges as the most dynamic and versatile. It unfurls with an intimate, almost sensual tenderness at certain junctures, only to transition into explosive bursts of energy. This track, too, leaves an indelible mark in the Honey Made repertoire. Honey Made, in sum, is an exhilarating whirlwind. Their spirited approach to their craft is a breath of fresh air, an invitation to revel in the joy of music without the burdens of excessive seriousness. While I have yet to experience their live performance, one can't help but anticipate that it promises to be a rollicking, dance-inducing affair, a testament to the infectious essence of their sound.
In his lifelong odyssey through the realm of music, Danny Vash embarked on his sonic voyage from a tender age when the very notion of sound's magic first beckoned to him. At eight, he was already strumming his guitar strings, a harbinger of a musical journey that would prove to be both impassioned and unswervingly dedicated. Music, for Vash, is not merely a medium but an irreplaceable connection, a profound resonance that defies replication by any other facet of his existence.
Proficient in both guitar and bass, he meticulously crafts his own compositions, bearing the weight of vocal duties with deft finesse. Upon delving into Danny Vash's auditory narrative, my ears were serenaded by the enchanting strains of "Judgement Day." This melodic time capsule spirited me back to the sonic zenith of the 1980s, a period I have the privilege of recollecting. The track emerges as a formidable anthem, armed with colossal guitar riffs and thunderous percussive artillery. The rhythmic backbone is a testament to precision, punctuated with a judicious sprinkling of fills. Yet, it's the lead guitar that claims the limelight, casting a mesmerizing spell upon the listener. "Highway Wars" carries a kindred spirit, akin to legendary acts such as Mötley Crüe and Cinderella, emblematic of the glam/metal era's unapologetic and ferocious energy. It gallops forth with an infectious groove that refuses to be ignored, encapsulating the very essence of the genre. In stark contrast, "Hard Life" unfurls a somber, dynamic tapestry. A shadowy ambiance shrouds this composition, creating a mood that is nothing short of bewitching. The indomitable hook embedded within this composition left an indelible imprint on my auditory memory, making it an undisputed standout. While the epoch of this particular musical style may have receded from the mainstream, the resonance of the era that has deeply influenced Vash continues to reverberate among a substantial demographic. As a denizen of this realm, I can proudly count myself among the ranks of those for whom the magic of ‘80s metal persists. If you, like myself, are a devoted acolyte of this bygone era, Danny Vash's music promises a journey that will feel as familiar as it is invigorating, an auditory adventure that resonates with the true spirit of the genre.
In the annals of music history, the Many More band has weathered the years, morphing through a series of transformations that led to the unveiling of their latest incarnation. The band boasts an impressive lineup: Fraser leads with vocals, 12-string acoustic and harmonica, while Chris wields the electric guitars and provides backing vocals. Adam takes charge of the bass and contributes to the backing vocals, Marco brings his electrifying guitar skills to the table, and Ron masterfully handles the drums.
"Cross My Heart," is a mid-energy rock song that seamlessly draws from the rich musical tapestry of the '70s, '80s and even the '90s. It's a straightforward composition, delivering a robust verse, a hook that punctuates with brilliance and a guitar solo that electrifies the senses. Notably, the bass work shines, and the resultant sound conjures a bridge between the sonic realms of Tom Petty and The Cars. In "The Ring," we're treated to a masterclass in classic rock. This track is steeped in the very essence of the genre, so much so that if it graced the classic rock airwaves, one would scarcely bat an eye. The band's execution flaunts a myriad of rock essentials, and it's the prog influences that truly steal the spotlight, casting an enchanting spell over the composition. Our final destination, "Help Me," unfolds as the most epic offering in the repertoire. With a revolutionary spirit akin to that of The Who, it exudes lyrical echoes reminiscent of Pink Floyd. An unmistakable "us vs. them" sentiment courses through the song, and it's here that we find the album's most captivating chorus. Many More doesn't seek to reinvent the wheel, but they fervently keep the flame of late '60s rock burning bright. Their latest endeavor stands as a testament to their unwavering dedication to preserving the classic rock ethos.
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In their capacity as a husband and wife songwriting duo, Ted and Alice infuse their music with a rare intimacy that sets them apart according to what I was reading. Ted's rhythmic guitar work melds seamlessly with Alice's skillful handling of auxiliary percussion, creating a harmonious canvas that serves as the backdrop for their tightly woven vocal harmonies. This synergy breathes life into their emotional storytelling, imbuing it with an authentic strength and conviction. Notably, Ted and Alice deviate from the typical quest for image and celebrity, choosing instead to pour their energies into crafting songs that resonate with the profound emotions of their audience.
The first song I listened to was “Birds & Bees” and I have to admit this song felt a little odd but not in a bad way. Lyrically, the song sounds like a children’s nursery rhyme. That being said, it's a little haunting and psychedelic. The aspect that really threw me for a loop was the hip-hop contributions from 2Rah. I’m guessing they wanted to do something out of the box and that was surely achieved. The song “Pretty Vacant” was a lot more familiar sounding. It’s built around a familiar chord progression. I liked the vocal melodies which carry the song. Dynamically, the song remains consistent and is more about mood and melody. “Bank Robber” was my favorite song of the three. It felt like this was home for them. They sounded most comfortable here. The acoustic instrumentation and bluegrass type vibe works for them. I also think this song has great vocal melodies. The harmonies sound vibrant, warm and welcoming. In my opinion the duo’s strength is on the more traditional side. Don’t get me wrong, there was something intriguing about “Birds & Bees.” The novelty was there but from what I heard I feel like the bullseye for this duo is in acoustic traditional music. Take a listen.
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Tanner and Peyton Whitt, the duo known as Rags and Riches, have been a constant presence on the music scene that have been releasing songs over the last couple of years. Their latest offering, "Boujee Broke," is an infectious pop song that lures you in with melodic hooks while covering a contemporary theme.
The track starts with an alluring guitar riff, accompanied by a vocal delivery that oozes charisma. As the music unfolds, synth basslines and rhythmic percussion elements subtly infiltrate the mix, creating an intricate sonic mosaic. The vocals ride a fine line between rhythmic rapping and melodious singing, adding a distinctive flavor to the composition. A brief, tantalizing breakdown leads us back to the verses, and just before the two-minute mark, the song takes an exhilarating detour into uncharted territory. Here, we encounter the emergence of infectious dance elements that elevates the song. However, what truly elevates "Boujee Broke" is the euphoric zenith it reaches, akin to being swept away in the throes of a raucous, communal party. The song's infectious rhythm transforms it into an exuberant dance floor anthem, beckoning all to join in on the revelry. With a plethora of transitions and a constantly evolving sonic landscape, "Boujee Broke" delivers an almost hyperbolic sense of joy. In a world that often feels weighed down by its challenges, this track provides a much-needed respite, offering an auditory escape to a place where euphoria reigns supreme.
Tom Tikka & The Missing Hubcaps is back with a new album entitled Rainbows and Dead Flowers. It should be mentioned “Eleven of the album’s twelve tracks are co-written with his former bandmate from The Impersonators, Antti Autio and the album’s produced by Tom Tikka and Janne Saksa.”
The album starts with the titular song “Rainbows and Dead Flowers'” which is a soft but slightly epic sounding song. It’s nostalgic, very nostalgic sounding. The song is warm and inviting. I really liked what was happening with the lead guitar towards the end of the song. Great opener. “Fire and Ice” brings a little more energy and I have to wonder if this song was at least partially influenced by Game of Thrones. From the lyrics it sure seemed like it. This is a rocking song that feels positive and a bit wholesome sounding to be honest. “Hieroglyphs” brings even more energy and is sort of this funky rock/dance song. I liked the guitar work, especially the syncopated sections. The hook definitely pops and that bass line is sick. As the album progressed there was a mix of styles. I felt myself gravitating towards the more dance worthy songs. That being said, some songs like the cinematic “Something New” sounded like something Mike Oldfield would give two thumbs to. “What Comes Around Goes Around” was a highlight. It sounded like a contemporary version of ’50s pop with horns. Another high point was “The Loveliest Rose” which is extremely catchy. “Stalemate” and “The New Royalty” were well done mid-energy type songs. The album closes with “Let’s Make Love on Sunday” which is a light and warm song that you can sing along with. I liked how it goes through the days of the week which all lead to a glorious Sunday. I definitely had some favorites with this release but that’s just based on personal preference. The songwriting felt consistent and the songs felt cohesive which gave a nice ebb and flow to the album. Recommended.
Harrison Tinsley, a Californian artist who has been steadily releasing singles over the past couple of years, presents a distinctive musical approach that stands out in his body of work. Within this collection of songs, a few gems gleam with remarkable clarity.
In "It's a Boy," Tinsley artfully navigates a musical landscape that channels elements reminiscent of Arcade Fire, Violent Femmes and the broader ‘90s college rock ethos. The lyrical sentiment in this piece is unequivocal, as Tinsley addresses his son with a direct and unambiguous message. What sets this track apart is its visceral energy, evoking purity, emotional depth and a relatability that resonates with listeners. Another standout, "Break All The Rules!" ventures into the realm of a coming-of-age anthem, offering a playful and tongue-in-cheek commentary. Drawing inspiration from classic rock and Americana, the song exudes a spirited quality while subtly conveying an anti-establishment spirit that's more about self-discovery than outright rebellion. The final piece that left a lasting impression is "Emily," which displays an overt pop-punk influence. With an infectious and lively spirit, it seems to draw inspiration from bands like NOFX, Rancid, and Dropkick Murphys. Tinsley's musical prowess shines throughout this collection, revealing a considerable depth and versatility in his craft. Each track offers a unique glimpse into his artistic range, and there's much to savor here for music enthusiasts. If you're seeking a compelling and diverse musical experience, Harrison Tinsley's work is definitely worth a listen.
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Mansion on the Hill is the regal name for this five-piece combo from Philadelphia, PA. Their debut album For When I Can’t Sleep came out in 2002, and they’ve just released their second collection titled Eye Hustling.
The tenants of this particular mansion are Eddie Malandro (guitar/vocals), Carl Broll (guitar), Colin McCloskey (bass), Noah Williams (keys) and Ryan Curry (drums). They call their songs “vividly detailed tales of mystical mundanities over a sonic bed of twangy, twisting folk, and ‘ol fashioned rock n’ roll. This album punches, shambles, and stomps to the beats of traditional, American, frenetic storytelling brimming with tongue-in-cheek social commentary.” While Malandro was the principal writer in the past, guitarist Broll and bassist McCloskey have contributed their own original songs to this new release. Recording took place at Silent Partner Studio with production by Matt Barrick. “Eye Hustling” slams in with a power chord and feedback worthy of The Who, then gets right to work on some solid alternative rock. The guitars are loud and jangly, the beat jittery and Malandro’s vocals sharp and angry. It was driving me crazy whom he sounded like, and I finally realized it was ’90s indie star Freedy Johnston. The concept of “eye hustling” is very original and funny, and the quick guitar solo in the middle break is killer without being needlessly showy. A great rousing start! “That Girl (With the Flower Child Name)” has another great title and even more sophisticated, jangly chord schemes. Malandro’s singing is again searing and heartfelt, while the instrumentation recalls Elvis Costello’s organ-based rock paired with Mark Knopfler-like guitar filigrees. The lyrical imagery comes fast and furious, with lines like “We’ve been dying since the day we were born” and “I’ve got some kind of affliction, read all about it in the Sunday Edition” touching down and then whizzing past. Based on some of the words and the general feel of regret, I feel like this song is a sad look back at better times when Flower Children ran rampant. “Bluest Skyes” slows things down for a soulful, reverb-drenched reverie. Malandro’s voice suddenly sounds almost feminine or like Michael Jackson, proving to have remarkable range. This is a very radio-friendly track complete with glockenspiel and sweet dueling lead guitar breaks. Coming onto it separately, I’d have no idea it was the same crew from the first two songs. “Chips and Divots” brings us back to upbeat alternative rock with swooping wah-wah guitar, handclaps and background “woos.” It’s getting repetitive to say so, but the vocals shine and the guitar solo again kicks major ass. “Dirty Gold” continues in a similar vein but at a higher key and with the drums playing at what might be triple time. This time the bass gets a fairly simple but effective solo moment along with the lead guitar. “The Man (With the Tie-Dye Mind)” obviously links back to the song about the Flower Child, and is built on jangly electric guitars played high on the neck. Even before Malandro sings the line about “the last train to Tupelo” I was getting a total Western, desert town vibe with the ringing chords, windy backing synths and Malandro’s dusky voice. In fact the song itself recalls Freedy Johnston, not just the vocals. “Another Boy Wonder” is yet another surprise in that the Mansion Gang take a folk-country detour in the tradition of Jimmy Webb and Glen Campbell. The acoustic piano, harmonica, woeful acoustic guitars and strings (!) create a beautifully authentic ode to those “boy wonders” who always seem to jump ahead of you in the romance line. “When” is somewhat similar with its crystalline strummed acoustics, shimmery electrics, keyboards and sincere Malandro vocal with a callout to Neil Young. “Keep in Step” concludes the album with the longest track yet: a Tex-Mex ditty with a Spanish-style strumming and haunting guitar harmonics. It feels like a classic ode to the night before a duel or execution, filled with angst and foreboding: “It’s all right that I feel nothing where the pain should be… life is just a warning for a moment / it’s all done.” And so is the album! Oftentimes when I first put on a new album or artist, I’m initially blown away but later start finding cracks in the foundation. Not so here! Mansion on the Hill’s music just gets better and better, and demands your immediate attention.
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