Dark Star Honey Tree is the efforts of brothers Vincent and Victor Armour. The duo is getting ready to release their sophomore effort entitled Sol Secondus. Sol Secondus has twenty tracks and what you might consider a unique dichotomy. The band will play an atmospheric pop/rock song followed by a field recording that on average lasted about thirty seconds.
I have to admit I have ambivalent feelings about this. The short ambient breaks between songs felt marginal and kept breaking up the ebb and flow of the actual songs, which were the meat and potatoes of the album. Furthermore the ambient breaks didn’t transition into the song and felt like their own separate island. The best thing about Dark Star Honey Tree is that they are electric. There are multiple styles and the band does have some originality. Perhaps the most challenging aspect for listeners is the singing. Some of the singing works and other times I was having a harder time with it. One of the brothers occasionally sings in a high-pitched voice which unequivocally has a nasally inflection. Other times the brothers really pull off exceptional harmonies. The first track is “First Secondus” and is the only ambient piece that didn’t feel like a filler. I was hoping for more pieces like this but this was the only one I got. They combine warm tranquil pads with vocal snippets of people talking and piano. It’s a gorgeous piece but really isn’t indicative of anything else on the album. For example, the next song “Oort Clouded Boundary” is an atmospheric rock tune. I need to point out that the vocals during the verse were above the mix but I couldn’t understand the lyrics. The singer runs his words together to the point where I would need a lyric sheet to understand anything. “Oort Clouded Boundary” isn’t the strongest song on the album but the duo makes up for it. The band is at their best when they get experimental and think outside of the box. Take for instance the electronic, off kilter song “By Our Luna.” The song is hard to pinpoint and that's why it works. The best vocal performances belong to “Caelus Axis” and the upbeat “Asteroid Families.” The mystical sounding “Falter Before Neptune” and “A Decade for Mercury” are certainly other highlights. Sol Secondus is definitely ambitious and not all of it works but it has enough inspired moments that I encourage you to check it out and make up your mind. Recommended.
0 Comments
Hailing from Albuquerque, New Mexico Jose Ortiz (lead vocals/rhythm guitar), Tyler De La O (lead guitar/backing vocals/synth), Nate Hewitt (bass/backing vocals) and Casey Frew (drums/ backing vocals) are Treehouse Basement.
The band released their first EP Nowhere Land and it showcases a rock band with proclivities to play jangly tunes, which veer towards groups like Franz Ferdinand, The Killers and The Strokes. Truth be told there are a lot of bands out there right now that have a similar sound and Treehouse Basement isn’t reinventing the wheel at this point but they do have some talent across the board. There are plenty of slick guitar riffs throughout the six songs and I can’t complain about the singing either. It’s obvious even the first time that the band is on point and has an innate chemistry. As for the production and record quality it’s slightly above demo quality. This is music that begs for glossy, pristine production and it’s not quite there yet. Some of the highs are piercing and I was hoping for more separation between the instruments. All in all the songs still shine through but I hope they are able to get a boost for their next release. The EP opens with upbeat and dance worthy “Acquiesce” which is arguably the highlight. I immediately noticed the copious amount of stellar guitar riffs. The riffs are played fast and with metronome like timing. It’s a catchy tune and I thought the breakdown around the two-minute mark was the most inventive aspect of the song. The band goes off in multiple directions and flexes their technical and creative skill. “Banana People” is up there with the first track in terms of quality and felt more original. The band carves out a bit of a signature sound on this track. The next tracks “Sol y Luna” and “Painted Petals” were also solid tracks that were sewn from a similar cloth. “Stairwell” started strong but I can’t say I was a huge fan of the Sublime-esque vocals style on this song during the verse. The album closes strong with “Skeleton Man.” Nowhere Land is a solid EP with minor mishaps here and there. I encourage the band to actively seek what separates them from other bands because the style they play is extremely ubiquitous right now. Successful bands will need more than just luck to find a large audience. The band should be well on the their way as they are off to a good start.
Become A Fan
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 Ensh Both Of Them Milenko 3.5 Hellstrom From The Ashes Of The Earth 3.5 The Noah G. Fowler Project The Noah G. Fowler Project 3.3 Odguer Hernández Animal de Galaxia 3.6 Valerie Kuehne & The Wasps Nests The Apocalypse as Witnessed..... 3.2 soft idiot life is boring 3.4 Twin Man Edgil's Fables 3.2 Dan Aid The Quiet Place 3.7
Volume 1 by Tek will transport anyone born between the late ‘70s and early ’80s back to their childhood. The compilation album with artists such as Phaserland, Pengus and Matthew Kwid feels like it is completely smothered in ‘80s synth soundtracks when it was at its peak. Volume 1 is a fun ride but not the first time we have seen this resurgence happen. The movie Drive had a retro ‘80s soundtrack and the record label Italians Do It Better got people interested in this brief moment of time.
The music on this album feels less like a tip of the hat to ‘80s electronica but that it was actually made back then. It really does have authentic quality that is manifested through the aesthetic choices and tropes, which were established over thirty years ago. On top of that the synths that were used were made in the ‘80s not some virtual instrument that you can pop up in your DAW. The album starts off with “First Class to Tokyo” which if played at a party you could guarantee at least a couple of people would break out the infamous robot dance. It’s surprisingly tranquil in some ways yet dance worthy. The dichotomy is a pleasant deviation to where most mainstream dance songs in 2015 sound like they have to be filled with an ongoing intensity that you can’t hide from them. The good times continue with “Let's Meet Up” which implement 808 style toms and some lead guitar that also manages to utilize a very ‘80s sounding hall reverb. As the album progresses it continues to impress with songs that are well written and feed into the general theme. “Aijou Jazz” does have an elevator music/jazz vibe that works quite well while “Bon Voyage” is upbeat, bright and quite joyful. The fact that there aren’t any lead vocal parts may be an issue for a marginal minority but I think most people will thoroughly enjoy the ride of Volume 1. It’s the kind of album you can pop in and listen to straight through or if you need a rush of ‘80s nostalgia you can take a quick bump. The attention to detail isn’t only impressive but really essential to what these group of artists pulled off. I think most people in general will enjoy this album but for people in their mid 30’s such as myself it's as close to a flashback to the ‘80s you can have without actually having a time machine.
The tides could be seen as the filtration system of lakes and oceans. They keep things moving, constantly cycling, and filtering out the dreck and scum and algae to make for a livable ecosystem.In the same way, Jyväskylä, Finland's Fresh Tides is sucking all of the BS out of guitar-centric indie rock to make for a slick, clean, cosmopolitan sound that is both elegant and wild at the same time.
Fresh Tides is inspired by the likes of Tokyo Police Club, Foals, Blood Orange and The Killers. That means you're getting sharp, polished, melodic guitar hooks, dreamy relaxed vocals and levitating beats. The overall feeling is of drinking dreamsicle floats at a disco on the beach at the sunset. The album opens with "Rome" which is irresistible, infectious indie pop. I think it's safe to say the first time you hear it you will be humming along. The palatable melodies coming from every instrument feels joyous and upbeat. The band continues to impress with "Soothing" which contains the buoyancy of a band like Passion Pit while "Daydreams" has tinges of post-punk. Theyclose with "Lights" which is arguably the most funky and upbeat song out of the four. Every song on the EP is strong and doesn't display many kinks in the bands armor. That being said it does make you wonder what a full length would sound like and if they have anymore tricks up their sleeve. Fresh Tides makes a very considered sound. Their bass lines are intricate, the guitars aren't overdone, but are immaculately arranged. This is Indie Rock 3.0 - bands that know what they're trying to do, and exactly how to do it. They know when to get wild (the pyrotechnic fade-out of "Soothing"), but overall, they are as unruffled as virgin silk. A certain anything-goes spirit of exploration and experimentation is the trade-off, but that's not necessarily a bad thing. Lord knows there's enough art rock out there. We need bands that can deliver well-written and expertly executed songs. Fresh Tides do just that on Daydream, and it is a fresh vision indeed. Fresh Tide is a talented bunch.
Become A Fan
Mary Bue is an artist who has been releasing music for around fifteen years. Before I spent time with her latest release Holy Bones I explored some of her previous efforts including Where The Monarchs Circled and East To The Sea. As it turns out her earlier work revolved around a piano, vocals and melancholy. It reminded me of Tori Amos at times. It was certainly well performed and often beautiful but quite different than Holy Bones.
Holy Bones contains a full band and the guitar is the central instrument this time around. It’s more dynamic and artists like PJ Harvey and Mazzy Star came to mind. On top of that I think it's safe to say the songs feel more aligned with pop music. Take for instance the exceptional opener “Candy” which bursts with emotion and contains memorable vocal melodies. Her lyrics are like a mantra gets gets embedded into you head. She sings "I want candy/I want money/I want my mommy/I want my daddy/I wanna be lazy". It was apparent that Bue has a voice the fits like a glove around melancholy as well as cathartic release. A great combo if you ask me. The next song “Cheribum” which is only a minute-and-a-half long has even more pop sensibility. The title track may be the highlight on the album. You can certainly hear shades of PJ Harvey on this track and I thought the synth was a nice touch. They lyrics are also some of the most thoughtful and poetic. She sings "who'll believe you/who'll forgive you when your closet breaks open with ghosts? raucously holding a toast? when your heart breaks loose from its shackles". Bue continues to rock out with “Heart’s Desire” while “Put Up” is a catchy track that contains seamless transition that make listening to it such a pleasure. The most melancholic track goes to “Veal.” It’s a solid choice before the closer “A Million Moths” which contains gorgeous guitar pick and huge sounding crescendos. Holy Bones is a treat to listen to and at eight songs it goes by fast. It has great flow from beginning to end and I can’t see many holes in her game. Take a listen. You won't be disappointed.
Become A Fan
In 2010 The Fontanelles comprised of Dave Mehling, Darin Rieland, Beau Jeffrey and Jason Mcglone formed. It took awhile to get there but the band released their debut Strangers Please Take Care this year. The band did it right as you can tell that these songs weren’t just thrown together. They also happened to have the album professionally recorded, mixed and mastered.
If you were looking for quick comparisons the most obvious would be Wilco in a number of ways. Like Wilco the band utilizes a lot of clean guitar, have a warm Americana feel and the lead singer has some resemblance to Jeff Tweedy. I don’t know how much influence Wilco has on The Fontanelles but the tip of the hat seems obvious to anyone who has spent time with Yankee Hotel Foxtrot or A Ghost Is Born. At the end of the day the Wilco similarities, which seem apparent from time to time are the only slight issue I could see adversely affecting the band because everything else is exceptional. The songs are consistently good from beginning to end with a superb ebb and flow. Up first is “I Am The One” which starts off with a piano and vocals leading the drive. It’s heartfelt, warm and immediately easy to enjoy. The song makes a change that took me by surprise. It reminded me of Jon Lennon's solo material. It transitions into a fantastic instrumental part involving guitar, horns and exceptional drumming. Great opener. “Don't Be So Beautiful” is straight up apple pie Americana. It’s a song with infectious vocals and killer riffs. “Call Me Later” is another song that just feels so warm and heartfelt like the songs that came before. The band gets groovin’ at times I wasn't expected which added more allure to the band. The next song that stuck out to me was “Emily” not only because it was well written but arguably the most original sounding song. I thought the minimal beginning revolving around guitar and vocal was good but the transition into a cascading waterfall of instrumentation was great. The last song I need to mention is the seven-plus-minute “Stranger.” I’ll say that the song goes into a number of areas with the peak being the bluegrass/country inspired hoedown. Overall, Strangers Please Take Care is a great debut from a band that has a boatload of potential. Recommended.
The three-piece rock band The Shambolic revolves around songwriters Al (guitar/vocal) and Lee (bass/vocal). For seven years the band was playing, writing and touring. It wasn’t till 2014 that they decided to get off the road and record The Dead, The Dying & The Damned.
The Dead, The Dying & The Damned is a raw, rock album that contains a lot of dirt and grime. It’s unpolished, feels indignant and visceral and that really is part of the charm. The band has acknowledged that the singer sounds like Lemmy from Motorhead and there is just no denying that fact. That being said it works and feels appropriate for the music. These songs go down best with a fifth of whiskey in your hand and good amount of disdain for a former lover. Take for instance the opener “Death Of Me” which melds two chord punk style chord progression with a good amount of energy that makes you want to see the band live. The vocalist sings, “You’re gonna be the death of me / Hot and run like you threaten me / An obsession of your jealousy.” More fantastic lyrics balance humor and poetic ambiguity like a pro on “Jarhead.” He sings, “Me n my boots have climbed up mountains / Me n my boots have been out dancing / Me n my boots have faught n fell / Me n my boots have been through hell.” The band continues to slay with killer rock songs, which have tinges of post-punk like “Crawl.” “Here2Rok” gets sludgy and gritty while “I Like It” contains a number of impressive crescendos. The band closes with an absolutely epic title track. They take no prisoners on this eleven-minute song as they pull off guitar riffs that would make Black Sabbath fans proud and even delve into some territory that felt quite different than anything else on the album. I loved the army style snare rolls. I have never seen The Shambolic in concert but my impression after listening to The Dead, The Dying & The Damned is that they are at their best live. These songs sound live and the energy they have feels so immediate that you can feel it through the speakers. I’m not sure if I’ll see The Shambolic anytime soon but The Dead, The Dying & The Damned will certainly suffice for now.
So Many Mysteries by The Art Of Passing Time is an EP of psychedelia, garage rock, glam rock and electronica, fused together as if MGMT was hanging out with Lou Reed.
“We Might Just Live Again” opens the EP with psychedelic minimalist drive, almost a cross between Foxygen and the Velvet Underground. The bass line is interesting, the drums a bit unsteady, but the synths are quite interesting and really add a strong layer to what’s going on. There’s a shift in feel partway through the song, which really elevates the energy and the vocal melody really soars there. The instrumental interlude near the end is a nice break from the rapid fire lyrical assault, which while interesting is so constant it’s sometimes hard to appreciate them. “Oh Look At Us” is based around pulsing piano and melodic chiming guitars. The melody and drive are quite catchy, and the guitar work really shines here playing with countermelodies and bluesy bends. Again, the lyrics and vocal are so continual, it sometimes feels like it’s a reading of a grocery list rather than playing into the musical backdrop of the song, which is a shame because the music is quite good on this song. “6 A.M.” is the best song on the EP with a catchy hook and a kaleidoscope of synths and guitars that swirl around entangling fantastic tones and countermelodies. Here the lyrics and vocal really sit nicely in the pocket, letting them really stand out and revealing some clever and thoughtful lines. The song is compact and well constructed with each section introducing new instruments or tones, making for great development. “If This Is Love” plays into an electronica vein with the programmed beats and stacks of synths. Some electric guitar work is displayed here with melodic accompaniments and a simple but very effective solo that transitions quite smoothly into a synth solo. The highlife influence in the groove lends almost a Talking Heads feel to it, which works quite well and effectively with the song. “Dancing Down The Landslide” closes the EP with a ‘80s-esque dance track. The top of the song walks a thin line between kitch and reverence, but once the guitars and double-time drums come in, the song has a real drive to it, interweaving with an excellent bass line throughout. The chorus is a bit repetitive, but does get the point of the song clearly across. Overall, The Art Of Passing Time has some real talent in constructing musical layers and backdrops. Some attention to space and how that could really help the vocals and lyrics could really help the songs soar.
The Noel Brothers is a group comprised of Todd Noel (lead vocals), Rick Noel (bass/ keyboards/vocals) and Todd Barriage (drums/guitars/vocals) that started in 2014. The band got to work quickly and released a whopping sixteen-song album this year entitled Retrophobia. It’s ambitious and arguably a bit overzealous of an introduction but nonetheless paints a complete picture of what the band sounds like.
Retrophobia is a broad pop/rock album and as I was listening I kept feeling this ‘80s vibe pop up that came from the singing style and structure. The album doesn’t feel particularly modern when compared with some of the most inventive underground artists around today but it has its place with well written songs and styles that I think a lot of people will instantly gravitate towards. That being said some of the songs are instantly catchy, single ready songs while others border on ethereal. The album starts with “No Way Back” which isn’t particularly indicative of what else is to be expected from the rest of the album. It borders on industrial and is one of the heaviest songs on the album. You can hear tinges of Nine Inch Nails at times between the piano and percussive elements. The next song “The Mystic Radio” makes quite a leap stylistically and between the female vocal harmonies and aesthetic qualities plays out like a pop/rock song you may have heard in the late ‘80s or early ‘90s. Luckily, the next couple of songs feel like they were cut from the same cloth. “Undertow” is a highlight, which mixes in a good amount of melancholy and nostalgia with the reverb-laced guitar and a field recording of the seagulls and water. The next track “Mirror People” has perhaps the most overt ‘80s feel between the inspirational sounding chorus and vocal delivery. Noel sings, “Mirror people on the chase / Like they're the greatest thing ever / Mirror people long to see / Their reflections on glass.“ “Psychological Girl” was a great song all around. The guitar riffs are striking and the vocal delivery is certainly catchy. I have to say that the female vocal harmonies added a lot to this song. “Need To Know” is an ambitious song that feels grand and epic in a Pink Floyd kind of way. The chorus is especially effective when he sings, “Like an iron in the fire / It's been haunting me right from the start / Who are you? I need to know who you are / It's unbearable.” As the album progress there are a couple more highlights such as “Zerobound” and “Neptune.” I have to admit Retrophobia is a lot to swallow for a debut and I kept thinking that putting the track count at around eight to ten would have made their introduction a little less overwhelming. Overall, Retrophobia is a very solid debut with great production and some repeat worthy songs. Recommended. |
Critique/insightWe are dedicated to informing the public about the different types of independent music that is available for your listening pleasure as well as giving the artist a professional critique from a seasoned music geek. We critique a wide variety of niche genres like experimental, IDM, electronic, ambient, shoegaze and much more.
Are you one of our faithful visitors who enjoys our website? Like us on Facebook
Archives
April 2024
|