Isa Scheufler is a musician originally from Brazil who currently lives in Brooklyn. She explains that, “When I arrived in New York, I rediscovered my musical roots left aside a few years ago when I was still living in Brazil.” This inspiration was from her experience as an immigrant in the US. This ended up being Oficina which is a ten-song album.
Out of the ten songs only two are sung in English. Her main arsenal is her ukelele and her vocals although she does implement other instrumentation. The album starts with “Sequoia” which revolves around organic percussion, piano and ukulele. There is a nice mix here of folk and traditional Brazilian music. It’s an enticing combination and I really loved how her vocals sounded which was quite beautiful. The language itself is so aesthetically pleasing and you add that to a good singing voice and you are just about set. She shows off her range here. “Body” was one of the few songs that were sung in English and ii is quite powerful. I loved the line. “I didn’t ask for this body / does anybody / but I will get used to it eventually.” There is plenty more to appreciate as the album progresses. The slightly melancholy and pensive “Nova Iorque” is emotionally resonant. “Soma” was a highlight. It a very hopeful sounding song with bright piano chords that light up the verse. Her vocals are catchy and warm and when the horns come it’s celebratory and fantastic. “Escolhidos” was another standout. It sounds like she is utilizing harp as well as Eastern percussion on this song. The closer “Melô Narcisista” is not to be missed as well. This is a great batch of songs. Despite the fact that I couldn’t understand most of the lyrics I thought it was an enjoyable ride from beginning to end.
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Charlie Pierron Bizouard, Antoine Hardy, Tim Robin and Charles Dum are four friends that got together in late December and created Space in Bloom. Their four-song EP Excursion is influenced by two contemporary artists like Mac Demarco and Tame Impala as well as classic rock bands like Led Zeppelin, The Who and Pink Floyd.
I could clearly hear both areas of influence starting with the first track “Slowdown.” The song starts with reverb filled guitar and gothic chants. It’s very meditative and ethereal and soon enough lead vocals come in. I was expecting the quick change where they bring in some funk and classic rock. The band submerges into serene soundscapes not unlike something you would hear from from Pink Floyd before going back again. The band explore soundscapes on “The Island.” It’s very cosmic, serene and hypnotic. That being said they provide a good amount of energy. Take for instance the impressive bass work which keeps the energy kinetic. They do an excellent job finding pockets to rock out in. They resurrect the ghost of Jim Morrison on “The Candyman.” The lead vocalist has a similar inflection on this song and the song also sounds similar to The Doors. On that note, they often cross over into Pink Floyd territory. The band closes with an almost eight-minute song entitled “Excursion.” It’s very The Dark Side of the Moon. The song is also catchy and goes in a number of different areas most of which feel epic and embrace reverb laced guitars. The band has some serious talent. They are wearing their influences on their sleeve but as they progress I’m inclined to think that a more signature sound will emerge. This is a good start and I look forward to hearing more.
Harley Hulme is Petro. He recently released Skin & Bone which is an eight-song album. He mentions that he wants to “create a sound and a world that has made it possible to feel a longing for something you may never of had, or emotions for a memory that never existed.”
The tools he uses to get there are usually down tempo beats, a good amount of atmosphere and intimate singing that often purposely avoids a lot of range. The music in general definitely veers towards melancholy. You can hear this on the opener “Psycho” where you are greeted with piano and percussive elements. Lines like “don’t succumb to the grief and rage” go past melancholy. This song has a ring of madness to it. I was thinking of Incels and the recent Joker movie also came to mind. The good times roll on with “Six Feet Under.” The opening lines “One day I’ll be six feet under” is so dark and nihilistic it comes off a bit tongue-in-cheek. There is a slight surge of energy when the beat comes in and he taps into a James Blake type of energy that was great. The hum of melancholy and monotony is suggested about on “Home”. Up next is “Because of You” which is a very airy ballad and has a tinge of ’80s synth pop. It’s one of the highlights. “Papercut (Interlude)” is a short but effective filler. The energy hits its peak with “Don't Need Your Love” which is a clear highlight. He sounds similar to Majical Cloudz and it was nice to hear some hopeful sentiment. “Skin & Bone” is also a good song and he hits the falsetto. He ends with the most dramatic song entitled “Time.” Hulme has some issues here and there staying in key. That was the only real technical critique I had. I thought the album was heartfelt and honest. The second half of the album seemed to really blossom and display his talent. Take a listen.
Off Land is a project by Tim Dwyer. Oh where to start with his album Field Tangents. As long as I’ve been into music that has this type of meditative stillness it seems like people are either fully on board or just don’t seem to get it or dismiss it calling it boring. I’m fully in the former and have had a love affair with artists like Stars of the Lid, Fennesz, Windy & Carl and many others of the ilk. Dwyer seems to get where this music needs to go and doesn't avoid going straight to the center of the bullseye.
Ambient albums like these benefit from cohesion and a seamless quality. There are sixteen tracks total but I need to almost feel like it’s one hum emitted from the same source. Take for instance Ambient 1: Music for Airports by Brian Eno which is often considered the best ambient album of all time. If you listen to that album there is just no denying the whole is greater than the sum of its parts. It seems to be emanating from the same source. And of course there are some moments and pieces on Field Tangents which you might prefer but for me it had that quality I look for in albums like this. The source of the material seemed to be a balance between nature and our dreams. Dwyer draws you in with field recordings of nature, Sometimes it sounds like kids playing in the street, other times you can hear birds and other things in an environment. These field recordings find themselves in a symbiotic relationship with warm drones, hums and a variety of synths and sounds. These songs have the feeling as if you are observing from a former life. The field recordings are ghostly and feel like shadows of the past. That being said it’s not coming from a place of terror. The tones and textures paint soundscapes that pull you into serenity and tranquility. What you are really never confronted with is dissonance like that you might hear on a track like “Rainfall” by Fennesz some or “Narkopop 6” by Gas. There is a sense of purity here that lands closely to the album art. It’s something like this. As you submerge yourself in a body of water to cleanse, you lay there still and for a brief moment as you gaze into the horizon, your mind settles and the cosmos aligns.
Ree Backus is a lifelong singer-songwriter from Black Forest, Colorado. But this hasn’t always been the case. It has been an uphill battle to get where she is today. With many roadblocks that include an oppressive home life, it wasn’t until 2016 when she turned 32 and had just had her third kid that she was finally able to break away from a community that was holding her back. She decided to openly pursue music, taking strides to play at open mics and make a record.
And Climb This Mountain is a product of Backus’ persistence. The singer-songwriter pens songs from her personal experience. Inspired by events in her life, her songs speak about the human experience in the confessional singer-songwriter vein. With a unique singer-songwriter sensibility, Backus wears her heart on her sleeve on these heartfelt and warm acoustic tracks. Climb This Mountain opens with “Nothing But To Love” that starts off to some numerating on the acoustic guitar. The vocals are honest and warm with a honeyed approach. This is a happening acoustic song. The sounds of bells chime in and out of this track. The song has a sparse, stripped down feel. On this upbeat and catchy track, Backus sings, “Nobody tells you how painful rebellion would be/ They only sell you sweetness of destiny…Nobody tells youo how mournful love will be/ They only sell you paperback poetry.” The title-track starts off with the acoustic guitar backed by a drumming backbeat. Backus sings, “See that mountain I’m going to climb it/ Baby will you come along/ Will you stay and wonder how high it is/ What will you need at the top/ And I know you are afraid to go/ You and I both know/ We’re better off together.” This song has a happening folk acoustic sound. On “Remember You Happy,” the mandolin sounds off with a melodious tune. The vocals sound crystalline and true. The acoustic guitar also joins in. Reminiscing about better times, she sings, “I choose to remember you happy/ I choose to remember you smiling/ I love you and I'll remember you happy.” This is a dynamic ballad with a real resonating quality. The track contains a lulling lullaby feel with a soft and soothing vibe. This is a relaxing acoustic track. Toward “What Is Alive,” the warm cadences of the mandolin and acoustic guitar mingle intermittently on this track. The percussions provide a more upbeat pulse. This a sweetly rendered acoustic song with reverberating oohs following through on the chorus. About living life to the fullest and living life the way she wants to, Backus sings, “I always wanted to climb a tree/ Bravery always escaped me/ But I’ll be the first one to paint a dream/ Finally to live in what’s alive.” “Right For You” starts off to soft strumming on the acoustic guitar. This is a simply rendered track. The sparse instrumentation with simply the lone sound of the acoustic guitar accompanying the vocals is like a breath of fresh air. There pervades a soothing acoustic melody with a great relaxing vibe. The closer, “The Light Between Us” opens with the cadences of the acoustic guitar supporting the vocals. With gossamer poetic details Backus paints a delicate picture: “The sun is setting mountain glows and I hold you in my arms And all the heartache of today melts away in the light between us.” The song contains some stellar lilting melodies that like the previous tracks also elicit a lullaby-like feel. Through all trials and tribulations, Backus has made this record as proof of the resilience of the human spirit. Like on the title-track, “Climb This Mountain,” with every ‘mountain’ that she has come to in life, there hasn’t been one where she hasn’t been able to surmount. This EP offers a beacon of hope for those who need to know someone like them has made it to the other side. A welcoming change of pace from your regular Top 40 fare out there, Backus has definitely fashioned an accessible record with relatable storytelling in the confessional vein and harmonious melodies on Climb This Mountain. Navigating between dream and reverie, for the most part, the majority of the songs have a lullaby-like feel. Dream-like, these tracks have a soft lilt to them that makes them haunting. After a long journey, these groups of acoustic songs feel just like coming home after a long time of being away. A real sense of arriving and comfort is eluded from these startling set of songs. Nostalgic and heartwarming, these tracks will have you reminiscing of better times. Be sure you have a listen today!
Terence Ginley, George Neighbour, Jack Sayer and Jack Howe are New Nervous Kind. The band formed in 2016 and recently released an EP entitled Going nowhere. I think their Bandcamp page says it all. They are trying to be a no frills indie rock band. That’s certainly the vibe I was getting with these four songs. The band doesn't seem to be attempting anything that’s reinventing the wheel and I’m perfectly fine with that. Sometimes a band just building on a base is a perfect recipe.
The band is tight and have chemistry. They do what they do really well. It’s that simple. The songs are fun, catchy and repeat worthy. There are the type of songs that you can put on almost whenever. It’s the kind of music that can sound good on a Sunday morning, while at the gym or after a long day at work. The band gets moving with “Going Nowhere” and the first minute or so I was thinking The Strokes. There is a similar quality but as the song progresses that reference became a little less apparent although it’s still there. The chorus is explosive with some slight shades of emo and pop punk. I’d say it a very infectious song. You can’t deny the single worthy hooks on this tune. The band has more success with “Pictures” which has a good amount of forward moving energy. They are as advertised and the pop punk aesthetics seemed to be a little more overt on the guitar. The vocal and guitar lines both contain a number of memorable melodies. “Borderline” is perhaps the best yet. It’s certainly a very joyous song and has a quality to it where you want to start clapping along with it. “Tickle love stain” has just a tinge of nostalgia to it. There is a moody synth here but the hooks are still there. It was a fitting closer. This is a great band. The songs contain zero fat and bring out the goods. Take a listen.
Romantic relationships are hard at any age. I look back about twenty years ago when I was eighteen and realize just how much of a mess my first relationships were. No one knows what they are doing at that age. No one really knows what they are doing now that I’m an “adult” but at least you’ve picked up a couple of things along the journey.
Venom by Ryan Rei is a song by song account of young love that started in high school. The album starts with “California Girl” which is the song that explains how they met. It’s made up of a couple of jangle-y guitar chords and what sounds like a drum machine. It’s catchy enough and has a ’50s pop vibe to it in some ways. It's one of the highlights on the album. The story continues with “At Love You” which is another catchy song revolving around guitar, bass, drums and vocals. Rei’s lyrics are honest and go through a lot of the issues people have when playing this game of love. “Venom” may sound sinister but it’s not as evil as it sounds. Rei explains, “Its intent is to organize the thoughts I had while these events were happening.” That being said the lyrics seem to be his pull toward her. “I Kinda Win” Rei explains is the only happy song he has about her. It certainly sounds like it. I would say it’s also one of the highlights on the album that is catchy with memorable melodies. “Always Losing You” is a lamenting piano ballad while “11 Million Minutes” is a very distorted rock song where he vents about the relationship that went bad. “Cat and Mouse” and “Fooled Again” seem to revolve around similar topics. “Anachronism” sounded like a play. This is a mix between spoken words and singing. “I'm Sorry…” and “On A Sunday” are strong songs and end the album. There are still some issues here and there technically with staying in the pocket but other then that this felt like a step up for Rei. As I mentioned before these types of albums are often cathartic experiences for the artist and I hope the process of making this album helped him get to the other side.
The Stern Victorians is a project from David Symonds. He made music, got into TV films and then went back into music. Symonds made a goal of writing and recording a hundred songs. I’ve been writing and recording for twenty years and still have a way to go before I reach a hundred.
He mentions that his album economy was inspired by the musical ethos of Pink Flag by Wire. That’s a great band so either way I suggest listening to Pink Flag. I really liked these songs but they don’t have too much in common in a number of ways. It felt like a mixtape so let’s get into it. Up first is “Broken Sliding Door” which features off kilter melodies and unconventional chord progression to an extent. There is some dissonance in a good way and I loved the way the way the bass interacted with the guitar. It’s more lo-fi than the other tracks. I was reminded of Minutemen in a way. A short but unique punk song. It felt raw and visceral. I loved “Consider this…” but for completely different reasons. The mood here's a little more Beatles and folk. It starts with warm acoustic guitar and is basically saying “fuck off” in a very tender way which I found funny. What sounds like xylophones enter into the mix giving it a lullaby type quality. When the horns come in with the drums it definitely felt like Sgt. Pepper's Lonely Hearts Club Band era of The Beatles. “Body Objectification Time” is another departure. This was like a mix between The Violent Femmes and a song you might hear from the The Rocky Horror Picture Show. This was a very cool song and I absolutely loved the vocal melodies. Next up is “DeadCentre” which mixes elements of ’50s pop and surf. It’s a little off balance though as if it’s being listened to through a bad dream. “Husks” is short punk/alternative while “The Church of Mistakes” is a beat heavy song with slick percussion and a prominent organ. The title track “Economy” is under a minute and sounds like old English punk. This is a great collection of tunes. I have no idea how to classify it other then this is economy. Take a listen.
Andy In Space is an artist from Phoenix, Arizona who recently released Friction. It’s a very DIY recording. The music is all over the place and goes from frivolous to garage rock and more.
Up first is “Friction” which is jangly four-chord garage rock. It’s a combination of programmed drums, guitar and vocals, and contains a couple of unique turns that feel organic. The melodies are there and I thought it was a solid song and one of the highlights and also for fans of The Strokes. Things take a turn for the silly and angsty on “Guillotine” with lyrics like “I’m not inciting violence I just want to keep eating / All my tortillas / And my quesadillas / On every single day.” I’m not sure how to classify this song other than genre blending. “Static Drip” is an electro-infused song with heavy synth that drives the energy while “Cognitive Consonance” deals with a lot of different themes like redemption, menace and salvation. “Invisible Bean” and “Gravity Calls” start to fall in line with many different genres. There was Zachary De La Rochad type rapping on “Gravity Calls.” “Maybe Tomorrow” is one of the more catchy tunes and more natural singing. The closer “Demons (Bonus Track)” features upright bass and twinkling stars. The singing has a different affectation from all the other songs. This felt like a very homemade bedroom project that should find its way into a full band with multiple members. From the digital drums which are trying to sound like organic to the garage rock energy. Some acts like Youth Lagoon for instance sound perfectly at home with a laptop. This has all the energy that thrives with a full band in a professional studio. I think there are some good ideas and my over twenty years experience as an engineer makes we want to tell this artist to surround yourself with other musicians and start playing. Overall, this is a solid release and I think there is a lot more potential to expand from here. I encourage the artist to keep honing in on her talent and finding other musicians to play with might be the key that is needed to hear it truly blossom.
RetroHixz is an indie rock band based out of Greensboro, North Carolina that formed in early 2018. The band consists of Brandon Watkins on guitar/vocals, Chad White on bass, Gavin Tranter on synthesizer and Luke Taylor on drums/vocals. The band specializes in various forms of rock; everything from punk to prog to pop and even psychedelic. They got their start by playing shows in the local DIY house show scene with other local bands such as Blackhaus, Condado and The Quarter Roys. They released a demo in October of last year and the four song EP became six – The Lifeguard was born. It was mixed and mastered by Alberto “Birdie” Velazquez. The group gets their musical influences from bands Pink Floyd, Daft Punk, The Strokes and Modest Mouse. In general, they’ve been influenced by everything from ‘80s prog rock to mid ‘00s indie rock and punk rock.
The recording opens with the EP’s title track, which the band describes as a “soft ballad sandwiched between a tidal wave of power chords that come as quickly as they go.” The concept behind the song, and the record as a whole, is that life is fragile and can easily slip away from us. I’m not sure I would call this opening track a “ballad” in any traditional sense, but production wise, it offers a great raw and echoey sound as if they band were recorded in a large ballroom. Stylistically, the song is split into two parts and feels very prog rock. “Ultraviolet” features a prickly, gentle melody while the drumming cuts through with a thrusting beat. The band’s harmonious singing rounds out the song giving it a fuller sound overall. There is a break in between verses where things get kind of psychedelic, lending more dynamics to the song. “Sisters” has more of that ballad-like approach with mixes of indie pop/rock. The synths take more center stage here, too. Overall, the play between verses and chorus make this tune a very likable one I’d imagine. “Waiting for Walls” begins with a piano/synth interlude and it’s by far the band’s longest number. I really like the beginning to this one, and in some ways, it’s really in a class by itself from the rest of the album. The solo and somber trumpet reminded me of some cross between a sad Chet Baker tune and Herb Albert. Also, the “electronic voice box” effect reminded me of the futuristic classic and disco rock from the ‘70s but also Daft Punk. This tune was definitely RetroHixz’s most creative song and if I hadn’t mentioned it yet, the trumpet really added an extra layer of uniqueness. Doing a complete 180, comes “Barefoot Moscato” a punk/new wave cornucopia of rage-filled tension. It’s such a contrast from the last song, but I thought it fit well – it gives the listener an excellent sampling of what this band can do. The band’s last tune is “Drunk of a Wednesday” and spirit behind it sounds fun and playful. I could hear Modest Mouse influence here for sure. In the end, The Lifeguard didn’t disappoint. I thought it was well rounded and offers a range of styles, melodies and other twists and turns. For me, the biggest highlights were “Waiting for Walls” and “Barefoot Moscato.” These two songs sound completely different from one another and showcase just how much potential RetroHixz has. Although, the production of the entire EP sounded, well, not as balanced or mixed as well as it could have been, on the whole I overlooked it. |
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