Dead Lights is a rock band that hails from Boston and have been writing, recording, and mastering this album for a few years. This album, titled We are Finite is a concoction of fast-paced, heavy moving rock ‘n roll sounds that’ll have you headbanging as a backdrop of ominous and dreary lyrics lace your ears. These guys have a huge amount of musical talent, evident in the amazing guitar and drum sounds throughout this album.
The first song of the album is called “Move Ahead” and has a fast-paced, punky, rock n’ roll sound right from the first beat and follows us throughout the entire album. The electric guitars come in blasting together, and unless you have no soul you’ll be immediately headbanging with them. The lyrics come in soon after, and are very direct and to the point. The singer has a deep voice, similar to early 2000’s rock bands. The guitars are excellent, and lace the tracks of this album with fast-paced finger picking, dancing, and heady riffs that accompany the vocals and drums perfectly. The vocals throughout the album are raw and in your face. The singing is not the most impressive part of the album, and somewhat monotone. While the singing is not the most outlandish highlight, the drums and guitar constantly display and amazing array of talent. The last minute of lots of the track in this album, like “In the Hills” for example, tend to have badass guitar solos or rocking riffs that give this album a lot of life and energy. The guitars are impressive and may be the highlight of the album. They display lots of different sounds, from heavy metal rock to more calm, soulful sounds. The song “The Devil in Rock n’ Roll” for example changes into a more southern rock, blues sound let by the guitars. It’s a fun album driven by a wide variety of guitar riffs that keep you on your toes and moving. There are lots of interesting concepts in We are Finite. The majority of the tracks have very dark and ominous themes that deal with frustrating, dead-end type of scenarios. It’s a cool concept to listen through and the lead singer has a voice that’s perfect and easy to listen to with that kind of backdrop. The entirety of We are Finite is a badass rock ‘n roll album that displays a fun array of guitar solos, riffs, and loud in-your-face sounds that’ll keep you headbanging and following along. The lead singer has a raw and unique voice, and is accompanied talented musicians that display their versatile talents
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It was in 2008 that Keith Monacchio decided to go solo. I haven't heard the bands he was in but I have to say I’m pretty glad he went solo because his album The Dust-Up sounds fantastic. I’m not sure of Monacchio’s age but he has a voice where it at least sounds like he has seen a lot in his life. A mix of soulful, nostalgic and proud. There is an innate American quality to his voice.
Although this is a solo album, Monacchio brought in a bunch of pros to assist with the songs which includes Jay Walker (bass), Tom Kale (drums) and Jerry Steele (pedal steel). It’s worth mentioning Sean Glonek produced this album. There isn't a dud on the album but there are some highlights. It’s hard to deny the first song ”Angels On The Horizon” is one that is easy on the ears. From the warm organ to the catchy chorus this is a song that doesn’t take much effort to enjoy. My personal favorite song was “A Little More Time.” The song moves along slowly with swelling horns and a very soulful vocal performance. A good mix of blues and Motown. Monacchio also sounds good when it's just him on guitar and harmonica. Proof of this can be heard on “Million To One Shot” or “The Wheat Field.” He closes with another great number entitled “I Won’t Give Up” which might bring a tear to your eye. At the end of the day Monacchio is the real deal. His music is raw but not in a production sense. It’s raw in a human way that feels emotionally resonant. I feel like a lot of music that is heavily produced loses that; luckily for Monachio he reminds us of why that element is so important.
Tim Matsing is an artist from Sweden who released a indie pop/garage rock.album entitled Trial and Error. It’s an extremely lo-fi album that despite the production has some solid songs.
In regards to production I’m pretty forgiving but there are a number of issues here that are just too salient not to point out. There is some harsh high frequency on some of the songs that could have easily been removed. Using a low pass filter and removing anything above 11k would have helped immensely. The drums are almost non-existent because of this. Furthermore with recordings that have this many high frequencies you simply can not crank unless you want your ears to ring. The album opens with “Jack Kerouac.” It's a simple song yet pretty catchy. The delivery is a bit sloppy but for the most part it felt like it fit with the song. Bit of Mac Demarco vibe here. Up next is “The Wealthy Pauper” which has shades of The Velvet Underground. The guitar solo was enjoyable but I thought the harmonica solo was where it was at. Out of nowhere is a traditional blues song “Barbed Wire Fence.” The song feels completely random coming off the first two songs. “Happy” is loose garage rock. I have to say I loved these lyrics about the ever popular “safe spaces” college students seem to propagate. He sings, “You don't need a safe space, nobody really does / You don't need to go to that imaginary place, that bubble will burst / You could be happy.”.The high frequencies were too much for me to bear on “Modern Man.” There is no denying that Trial and Error is inconsistent in a number of ways - from the style of songs he presents to the recording quality. Despite this there are some well written songs. I’d like to hear Matsing give a little more thought as to establishing a cohesive style on his next release. I’d also at the very least eliminate some of those harsh high frequencies with a standard EQ you can find in any modern DAW. Overall, I enjoyed Trial and Error ad with a little more attention to detail I think Mattsing can bring it to the next level.
Jolliff is half joking around with her album title This is not Jazz. There are also a couple of closely related genres like blues and R&B and some genres that aren’t as closely related like electronic. This is not Jazz doesn’t fit into a Django Reinhardt version of jazz. It’s more aligned with Amy Winehouse with vocals being the most important part of the music.
She opens with one of the highlights entitled “A Melodrama In D Major.” The beginning section that is a cappella is quite gorgeous. The vocals are smooth, soft yet emotionally powerful. I also have to compliment her on the production. It sounds quite good especially for a home recording. The instrumentation during the first half of the song is just as soft as her vocals which includes a whimsical harp. As it progresses more lush instrumentation comes into the mix along with a spoken vocal sample. Up next is “Girl Gang” which is another success. The chorus is especially catchy here and the vocals are more dynamic, Her vocals definitely have an R&B flavor here. Unfortunately, the production and audio quality takes a dip on “Voice memo 2.” This song could have very well been recorded on a phone. I don’t think there is much jazzy about “Make me a BOI.” In fact this is more or less a rock song mixed with a bit of Lady Gaga. Overall another solid song with a good hook. On the other hand “Jazzy Liesy” is one of the jazziest songs on the album. Here her vocals are very smooth and I thought the production was top notch for the most part. Maybe a little too much distortion on her voice at one point. “Heroine” is arguably the highlight on the album. It’s unequivocally one of the best songs on the album. I thought both of the voice memos sounded out of place on this album but that's really my only minor issue. Other than that this has a number of good and some great songs. Recommended.
Candy Isles is the recording project for Jason Reyes. The project started in 2015 after the disbanding of his band Peachpit (not to be confused with Passion Pit). So far he has released two songs both of which are on Bandcamp.
The recordings are lo-fi. I’d say about a twenty-five percent improvement on recording quality and he will be in a good place. The songs are a bit muddy and boxy with not enough separation. Some of the typical things you hear in DIY recording. The title track “Candy Isles” is a good track and I have to admit it reminded me of Deerhunter right off the bat. It was not only the way he treated the guitar but the style and even the singing. I’m sure he's probably aware of the similarities. If he's not I’d be really surprised. All things considered this is a solid song which like some Deerhunter songs contains elements of shoegaze. The vocals are buried pretty deep in the mix and I can’t say I could make out much without the lyric sheet. There is a good amount of ambiguity in the lyrics which I tend to appreciate never quite knowing exactly what he could mean. He sings, “Crying in the candy aisle / Heaven’s been unsweetened / For a while / You rested on your spine / Crushed it up / Grounded fine.” The end of the song melded into a lush hypnotic arrangement which on top of Deerhunter has a fragment of Broken Social Scene. Up next is “New Glove” which has a similar style to the title track. His vocals are a little more dynamic and pronounced here. A very good song from beginning to end. Catchy, unique lyrics and a nice peak towards the end. I like this style of music and like what Reyes is doing. This is a good start but I want to see Reyes have a more distinct style down the line. There is doubt this is feasible with some out of the box thing and tweaking. He laid a good foundation for him to grow with these songs.
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Formed in January of 2016, Tongue is a brand new rock band that incorporates elements of art rock, alternative rock, indie rock and post-hardcore into their sound. The members of the trio are based in several parts of New York, and each of their previous participations in other bands have prepared them musically for this new project. More Revealing is Tongue’s debut album and was released in September of 2016.
The seven-minute-long, monumental rock anthem “Hundredth Form” begins the album on very strong footing. Chris Curtin provides vocals in a few select portions of the track, but most of the song consists of solely instrumental sounds from screaming electric guitar riffs, synchronous bass lines and lightning-paced percussion. The energy of the song starts high and only increases as the song progresses, making for a relentlessly upbeat, epic musical journey. The next track on the record “Seventh” tones down the energy just a bit and settles into a solid alternative rock groove led by a catchy electric guitar riff and Curtin’s vocals. The variations in percussion and vocal tone make a big difference in the feel of the smooth, relaxing parts of the tune in comparison to the more hard-hitting and energetic portions. “Curve” continues in a similar vein, blending post-hardcore and ambient elements into an interesting, intriguing mix of sounds. Harmonic notes from a mellow electric guitar, complemented by pulsing bass and a steady drumbeat, lead the listener into “Patchwork,” a somewhat quieter and more subtle piece that highlights Curtin’s vocals before progressing into a streamlined yet aggressive jaunt into alternative rock. Surprisingly, echoing percussive notes end the song with hints of electronica, a new direction for the band to explore. Few surprises are found as the album comes to an end with “Grapes,” a traditional rock track that employs reverb-laced guitars and vocals to create a full soundscape that crescendos in intensity as the song builds to the very end. As a whole, More Revealing is extremely poetic, dynamic and eclectic, all while maintaining a foundational and characteristic sound and style that makes Tongue a band well-deserving of many fans. This album will undoubtedly serve as a launchpad for the band’s future in the music industry.
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Andy Latham is an indie-rock artist recording in Chicago. Given his own side-business, which creates guitar pedals, Latham clearly has a deep love for music. He’s been a songwriter for more than a decade and recently built a home studio to try and create higher-quality music. Joining the growing world of independent home-musicians, given the affordable nature of music software, Latham has recorded, programmed and released an album to showcase his work entitled Dearest Automation.
Dearest Automation is a ten-track release and it opens with a rather unique track entitled “The Advance.” Softly played piano notes, acoustic guitar and jazzy, stylistically-lazy drumming all combine to create a folky, intricately rhythmed piece. Latham’s vocals drone in a spacey, psychedelic manner, washing over the complex multi-layered mash of instruments. The chorus boasts a Muse-esque bass buzz and sliding, reverberating guitar which floats off into the deepest depths of the cosmos. Almost as if written, sung and performed by a different artist, “Surrounded by the Sound of the Rain” is a garage-rock anthem driven by a loud-quiet dynamic and heartfelt, powerful, but soothing vocals from Latham. A gentle, simplistic, guitar arpeggio supports Latham’s nostalgic lyrics, which pose questions such as, “If I turn my head, will you be there?” Meaty power chords tear through the chorus and add a dimension to Latham’s music unseen on the opener. Some may not like such diversity within a single album, but personally I find it adds scope for greater exploration and avoids falling into the trap of creating ten scarcely-separable, dull tracks, all for the sake of a good flow. “A Quick Silver” is another intriguing track. A catchy bass rhythm, matched by a synth organ, progresses the track onwards. This song boasts alien synth patterns, crashing drums and occasional bursts of quietly-chugging guitar in the verses and explosive chords in the chorus. Latham’s vocals drone into the furthest reaches of this spacey, alien track, but the highlight of this track is the several different, catchy, simultaneous synth and guitar patterns. Layering and production seem to serve Latham well on this release. This is truly an epic display of Andy Latham’s efforts. His programming knowledge and experience with sound quality, along with guitar pedals, is quite evident on this album. Musically, I found the diverse songwriting to be the most interesting aspect of Dearest Automation. With everything from garage rock to psychedelia, this release has something for all lovers of independent rock music.
Rainbow’s End is a 22-year-old recording artist based in London. The electronic/alt-rock one-man effort began making music at university as a coping mechanism for the dull nature of studying. His debut album Into The Rainworld portrays the chaos present in his mind.
The opener to this ten-track release boasts an atmospheric, pulsating noise which grows and contorts into reverberating, ethereal guitar and a thumping beat. “Free Fall” aptly describes the sensation of listening to this spiraling descent into chaos. Whirring synthetic noises skitter and contort in the backdrop, eventually welcoming space for melancholic, understated vocals. The dark, intense feeling induced by this track is always coupled with an upbeat sense of energy and empowerment. The track packs a lot of kick, yet still seems almost otherworldly. Just as it reaches its climax, all instruments break down other than that initial, pulsating, synthetic sound, which eventually fades into the abyss. “Colouring The Skies” also champions the ethereal, but in a slightly slower, joyous piece focusing less on washed away vocals and more on clearer lyrics and vocals at the forefront. I was not quite as fond of the vocal style on this track, but that could have just been my personal preference about the mixing. The songwriting and instrumental performance was still brilliant; surf-rock guitar and organ-esque synths combined to create a very sleek, smooth pop piece. While maintaining quite a consistent tone throughout, a sudden build to a climax at the close of the track was an unexpected surprise and one that seems to pay off as intricate bonkers guitar riffs collide and crash into one another alongside increasing synths. Just as I thought I’d sussed out this album, “Ghost Cars” knocked me off my feet. This gritty track, driven by a fuzzy, intense, guitar rhythm is a short-but-sweet instrumental piece; other than what could possibly be Rainbow’s End’s voice fluctuating and blending into the atmospheric, windy synth that paints the backdrop in this haunting piece. Multi-layered chaos surmises this insane, ghoulish track. It’s short and there are no saddening lyrics to hook you in, and yet it’s one of the most interesting tracks on the album simply for the musical intensity present. Into The Rainworld is a great debut effort. I loved some elements more than others, but I think the immense production skills, songwriting capabilities and instrumental prowess evident here could really build into something even greater on future releases. I look forward to seeing what comes next on this artist’s journey.
Those first early steps for a band are rarely easy. Even with tight musicianship there's still the concept of an image to take into consideration. Be it a literal physical image, lyrical themes or musical style, people are attracted to the familiar. This is why singles are so important: we let the first taste inform us of how the rest of the album will sound.
The five-piece Infrared Penguin's debut EP No Chill is a concise package. At four tracks it's a quick listen with a blunt message: we are here to party. All but one of the tracks is a head-bobber, and while the themes vary lyrically they carry recurring elements in the music itself, creating a consistent vibe. “Chili and Chill” has classic funk staples. The title track's grooving bass line informs the rest of the song. The wah-wah guitar gives the feel of Isaac Hayes. Once the song truly starts the lead guitar takes a more modern rough aesthetic, a fusion that works surprisingly well thanks to the mix: these elements are kept crystal clear even when the song is at full swing. “Society” too is straight-up funk, albeit more experimental at points and with a full-on breakdown towards the end. Lyrically things are a bit divided. The humor is where I think they work best. The title track's retelling of the band's origins, from dreams of being a band to a disastrous live show, clicks so well because it's something anyone can get a sense of, if not outright relate to. It also helps that it's telling a story. The album's closer “March of the Pepe” is more difficult, a rundown of memes presented as an education on Internet culture. If you haven't a clue what they're talking about it's still a great jam. It thrashes with a pop-punk sensibility as the playing and singing climb in intensity. It's when the writing turns more serious that things feel a bit green. The previously mentioned “Society” begins with a great narrative and even a few sharp observations, but towards the end becomes too direct: “A life worth living is a life lived free / So do whatever you fucking please” would be a great parody of standard rock sentiments, but I'm not so sure it was intended that way. It clashes with the rest of the tune somewhat. Still, the sudden aggressive turn works from a composition standpoint. “Like a Cassette” has the frills of classic rock, and for a song about the acceptance and letting go of nostalgia that's a brilliant decision. It's that familiarity an audience craves; the hooks echo decades past and the narrative leads you through. From a few listens it's obvious Infrared Penguin has their minds set on what path they want to follow. They've done a solid job of updating their influences with modern tastes in mind. I only hope that they stick with it for a full-length album and let the party go on.
Folk music gets a bad rap these days. The stereotype of long-haired hippies singing about nature and peace has become stone-cold truth for many people. Unfortunately this casts aside many of the genre's undercurrents. What of the artists who tried to speak directly to the listener, relating the human experience? What of its political leanings? Have we forgotten them so soon?
Matt Beer hasn't at least not entirely. He and his hallucinations (a name given to his non-existent backing group—he's a one-man band) lean on the pop side of things: upbeat, catchy, sing-a-long repetition at times. But he stands neither in the real world nor in fantasy. He manages to stand between the two, creating gentle, somewhat hazy soundscapes with lyrics that can be raw and real yet delivered with a disarming gentle tone. “After the orgy” is the song from his release Coming Into Land that will draw the most attention (and really, is it so surprising given the title?). The introspection is Cohen-esque, reflecting on the self-doubt and bleak humor found in life's most intimate and strange moments: “You said 'I feel like my first day of school’ / She said 'You were never that young!'” You might find it hilarious, you might find it pathetic, but if you dig in deep you'll find some small part of it you can relate to (well, maybe not the orgy part, but at least what the characters are feeling). This is Beer's greatest charm as a songwriter: he delivers tunes as though they're lullabies but doesn't compromise the impact of the stories he wants to tell. The trick is also used in “PR for beginners.” It's a scathing criticism on presentation versus truth but the music is tonally the same as any other track. Sure, there's a few variations throughout the album - some keyboards here, a sax solo there - but it's all a mesmerizing, bright wave of sound, even when the lyrics are at the most downbeat. Note to future song-writers: that is how you surprise an audience. Despite this, there are a few moments that stand as mysteries. “The magic was black” isn't exactly surreal, but it's so non-specific that you can fill in the blanks of the story with anything you want and likely not disrupt what Beer was going for. It starts with a goodbye and ends with a goodbye after a meeting at a funeral. Anything you put in between won't undo the weight of the narrative. “Sea of beer” is confusing in a way that makes you think critically: are you “manning the lifeboats in a sea of beer” as he sings, or are you the one drowning, as he seems to want to be? At its best Coming into Land is heavy-hitting without being blunt, and this sneaky approach makes it a long-lasting experience. The cliché moments are few and far between (in my opinion This Afternoon is the only typical “folk” song here), but Beer's willingness to experiment with his writing pays off big time. |
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