The Looselips are based in Chino, California and formed under Dylan Harris in 2019. Harris along with a couple of musicians recently released Who Are The Looselips? There are three songs all under the umbrella of rock.
The EP starts with “Everything” which revolves around jangly, reverb laced guitar, a steady bass and a pulsating drum kit. I thought the song was instantly catchy. Harris has a palatable voice that I found warm and easy to enjoy. The song is a tender, but not saccharine, love song. It was a great opener. I thought the songwriting and structure was top notch. I was getting a slightly different flavor on “High on the Low.” There was an ’80s flavor on this song somewhere between The Smiths and INXS. The chorus is fantastic and very infectious while the transition back to the verse has a ’90s alternative quality to it. Last up is “Green Eyed Wonder” which is the arguable highlight. This song has a hint, perhaps more than a hint, of ’50s pop and rock. I have to say I really liked this style and he knocks it out of the park when it comes to the vocals. It really works well with the lyrics which veer back to that era as well. The lyrics are reminiscent of the romanticized ideal pattern that was happening with songs like “Dream Lover” and “Earth Angel.” The EP is short and comes in around eight minutes in length. That being said there isn’t an ounce of fat on these songs. I also felt like this EP displayed different styles but nothing was too far away from each other. It wasn’t like he was attempting hip-hop. I would say this is a great EP and hopefully we will get a full length or just some more music in the not too distant future.
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Singer/songwriter Sean Keel, from Austin, Texas took second place in the 2019 Austin Songwriters Group Songwriter of the year contest, and has two records on Pandora, and one at Electric Lady Bird. The album reviewed here, Long Ways till Winter, is a solo album and it follows up his 2018 release, The Battle of Bywater, which he and his son Lukas collaborated on in their band, Bill the Pony. It was recorded and produced at Tommy Byrd Studios, Austin, Texas. His most recent recording, Speak Friend and Enter, came out in January. In Keel’s “off time” he is a research mathematician professor at the University of Texas, Austin. Long Ways till Winter is a lyrically heavy, bare bones folk/country music endeavor. If you like any of Tom Waits, Townes van Zandt, Guy Clark, John Prine or Leonard Cohen, you many hear echoes of these most well-known and seasoned songwriters.
Kicking things off is “Corn Palace” and yep, as you may have guessed – this song is about that South Dakotan “wonder of wonders.” Keel’s guitar is warm and inviting, tender and soulful. His voice sounds weathered and reassuring. It reminds me of one-part Prine, one-part Springsteen and one part a buddy of mine who lives in the next town over with whom I’d jam with once in a while. If there were ever a song that can move you to tears it’s “Soup Line” – man, if you can relate to what Keel writes about, you’ll get what I mean – especially the song’s last line. Musically, it doesn’t get much more real than this. “I just know I am” is a slow, happier sounding tune, complete with a banjo and a little extra percussion and backup vocals. The words here suggest about getting a little bit older and rambling on, even though you may not be sure why you need to – you just know that you do. “Just that one time” is a recollection of stories about fishing, hunting and that one special love interest who worked behind the bar who you kissed only once. Keel drops a lot of hints of upper northern Minnesota terminology, (Red Lake, Walleyes, the rez, Milacs), so much so that this Texan songwriter convinced this native Minnesotan listener he’s lived there all his life. “Abilene” is a song about family, specifically about a mother and a daughter. Gentle sounds of the banjo, an accordion I believe, and backing vocals are present here. The bouncing rhythm of “Bird” reminded me of Neil Young’s “Harvest Moon.” Keel sings about summers with his brother shooting glass bottles with guns and learning to like his brother at about the age of 10. The melancholy romantic vibe on “You Kiss Hard” reminds me a bit of Harry Chapin’s style of weaving a story and vocally. Another singer Keel reminds me of is Ray LaMontagne. Overall, this is very tender and more stripped down musically. “Then he was” is another great singer/songwriter story about Northfield, Minnesota, Lenten fish fries, Billy the Kid and Grainbelt beer – geez, this guy has got to be from Minnesota, right? Anyway, this one reminded me of Springsteen from The Ghost of Tom Joad. Next up is “Coming for Christmas” – a song about coming back home and seeing “ma” riding the horse you named “Pony” and chopping up some wood for the long winter. This one’s deeply personal and reflective, both lyrically and rhythmically. I loved the accordion accompaniment that was added in, too. “Dirt” is written in the way a blues-folk number would be, where the first three verses are repeated and the fourth one is different. The words here are symbolic, so they don’t really read in a literal way. “Almost feels like you” has more instruments added, like piano, bass and perhaps a bit of percussion. A warm, love song if there ever was one. “Lou Hartman” tells the story of one Hartman, “a farmer’s son” who loved learning but went to “juvie jail” one too many times. I think this song hints at preachers doing un-preacher like things, if you catch on. Also, the eventual burial of Lou Hartman – a somber number all around. The words to ”Water Falling” suggest the aftermath of an unrequited love, or about a love that once was full, but which time grew apart as the years rolled by. “Blanco” tells the story of a women or two women who reflect on their past lives and also a guy who “feels the past as emptiness in the here and now.” Those are some powerful words, man. Basically, it’s a song about coming to grips with your past. Musically, this is another one of Keel’s most introspective songs. Wrapping up the album is “Cornflower” one of happiest sounding tunes on the entire album and Keel’s guitar playing is livelier and quicker here, too. And, in two lines Keel is both humorous and critical – “what kind of man splits a 12 pack with children” and “what kind of man shoots an elk on tribal land.” Structurally, both in words and melody, but also in how Keel sings “sky water, sky water, splash” reminded me a lot of Cat Stevens. Overall I was very impressed by this release and I look forward to hearing more.
The last time we heard from Tom Galloway was on his release Cross Currents which was back in 2018. Galloway is back with another release entitled Rearview. This release is an EP that comes in around twenty-three minutes and contains six songs.
This is primarily a rock release but there are a number of sub-genres he flirts with. The EP opens with “Let It Play” and there are a couple melodies throughout the song that reminded me of the band Rush. In fact there is one song in particular that “Let It Play” sounded familiar to that I think fans of Rush can figure out. It may or not have been a tip of the hat to Rush but either way Galloway makes it his own and I thought it was an adrenaline dripping introduction to his music. Up next is the title track “Rearview” and this song is where Galloway’s style and aesthetics seems to fit perfectly with his delivery. It’s a mix of country, Americana and rock. The song is a classic tale of time. It takes into account our past, or the rearview mirror, and the more straightforward declaration that we don’t alway know where we end up in this life. Galloway submerges in nostalgia on “Mercy of Your Mood.” This song actually felt more like contemporary Americana in the spirit of The War On Drugs. It’s arguably the most single worthy song in the batch. I was happy to hear some brass on “Feel That I’m Fallin.” This song reminded me of a particular ’80s artist that is on the tip of my brain but I can’t remember. It’s more of a big sounding ballad and pretty unique sounding compared to the other material. Galloway goes back to his trusty Americana infused rock on “If You Never Will” and ends with the celebratory and organ fueled “Lazy Days” that was a heartfelt and warm song that covers you in solace. This was a very enjoyable release from beginning to end. The production, delivery and songwriting was top notch. Take a listen.
Be Perfect is the debut EP from London-based multi-instrumentalist Dandy Lion. The pseudonym for Priscilla Eyles brings strength and openness to a project that pushes against negative thoughts regarding love and creativity that so often affect people. Coming together over six years, the thought and care put into this EP is obvious.
That push begins with a cover of Kate Bush’s “Running Up that Hill.” Dandy Lion’s alt-pop aesthetic makes this cover uniquely their own, adding a darker side to it. The song has a similar energy to the original, but with a skittering, less danceable beat. The beat and style mimic the act of running up a hill: it’s uneven and rugged. “Running Up that Hill” is a strong start to the project. The entirety of Be Perfect continues in the same vein as the opener. “You” and “You Can’t Make Me Happy” have catchy bass grooves and intricate beats. The latter has an acoustic guitar riff sprinkled throughout that adds a lot to the track. “I Can’t Deal With You” features some abrasive (in a good way) electric guitar and synth. Both are heavily distorted and darkly catchy. The closing title track dives into Dandy Lion’s thoughts on the creative process. They grapple with ideas of success and perfection, saying, “Do something / be productive / be perfect.” Artists commonly put this type of pressure on themselves and having it laid out in such explicit terms is very effective. Be Perfect is a strong debut showing from Dandy Lion. The project’s aesthetic is fully realized, and the songwriting is strong from front to back. I love that Dandy Lion doesn’t provide any concrete answers to the struggles they face on the EP. There is no perfect love or art or way of being, as the EP’s title suggests is possible. Instead, it is the struggle of each person to let go of that perfection. I think Dandy Lion is still working through this. But they are well on their way
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Discarded Memories is the recent release from Dominic Sanderson. The young artist who is currently in school for music and English literature found himself in the same situation as countless others across the globe. Also similar to many other musicians he decided to make the most of time and make music in his home.
I have to say there aren’t many young musicians who sound as ’70s influenced as Sanderson. This is closer to my generation but even I’m a little too young to remember when King Crimson and Yes were at their peak. The music has an overt seriousness to it that I have to admit sometimes works for me because it does feel over the top in a good way. Any mention of mythology, mysticism, space and time brings me back to one of my favorite movies - Spinal Tap. The movie cleverly poked fun at bands like Pink Floyd, Led Zeppelin and a mix of ’80s bands. Sanderson begins with “Empty Circles and Grains of Sand (Part 1)” and he quickly introduces sounds that have an ’70s aesthetic. There are synths that sound like old Rolands from back in the day and the instrumentation sounds like old school prog rock. The song is around twelve minutes long and you get everything from cerebral and mystical sounding ambient sections to blistering prog. Sanderson was going for something epic in scale and pulls it off. Sanderson makes the wise decision to scale back the epic qualities on “When Light Will Come” which is a solo acoustic guitar. That being said the song certainly has a flair for the dramatic and is also technically impressive. “The Cracks Appear” is a vocally charged song. I loved what he was doing with the vocal harmonies. “Smashed Beyond All Recognition” is an instrumental song which is again just drenched in ’70s aesthetics. Pink Floyd seemed to be an obvious influence. He closes with the more angelic and ethereal sounding “Empty Circles and Grains of Sand (Part 2).” It was around twenty years ago when I was in a similar situation to Sanderson. I was going to school for composition. Twenty years later and I’m still writing songs. I say this because it’s quite obvious Sanderson is not only passionate about his music but has the talent to back it up. Truth be told this most likely is just the beginning of musical journey and I thought this was a promising start to his. I look forward to hearing more. Recommended.
Kyd Kalydoscope is the "one-man band" alter ego of Dave Johnson. He recently released his eponymous album Kyd Kalydoscope. It’s a complete DIY release on the lo-fi side and is a rock album at its core. The music for me spanned a couple of decades when thinking of the strains of influence I was picking up on. To my ears I heard ’70s classic rock, ’90s hard rock in the spirit of Kid Rock and quite a bit more. The one thing I found myself noticing while listening to the album was that most of the songs felt like I had heard before in some capacity. There was just a sense of familiarity.
There are fourteen songs total which is close to a double album's worth of material. I definitely felt there were some songs which I personally connected with more. That being said since I felt like a lot of the individual songs were derived from specific slivers of time. Hence, I think personal favorites would be arguable and dependent on taste. “Pre - Existing Condition'' was a mix between ’70s rock and bands like the Black Crowes from the ’90s. It’s upbeat and a fun song. Johnson has a spirited vocal delivery and this is actually the case with all the songs but this one in particular I really thought he did a great job on. “In the Hole” was another one of my favorites. This song is funky but smooth. The groove is great and I enjoyed the killer lead guitar that comes in and out of the track. “Trouble” was the highlight for me. I thought there was good vibes on this song and it was undeniably catchy. The chorus was fantastic. “Fine Print” was hard driving classic rock with some attitude. I also really enjoyed the more solemn and pensive closer “In Time” that is basically just guitar and vocals. The recording quality was varied but good on this album. Some of the songs were noticeably softer and had a different sonic imprint. That being said this recordings were good for home recordings and as an engineer myself I know how difficult mixing your own songs can be. Overall, I’d say this album is primarily for fans of rock. Truth be told I have to admit I also think these songs will resonate a little more quickly with people over thirty-five. There are just some styles and aesthetics that I very clearly remember growing up with that younger people might not be aware of. On that note I encourage everyone no matter what their age to check this out.
Daytime Moon is the latest release from Nuno Henry Silva. Similar to his previous release, it's stripped back and lo-fi. On his Bandcamp page he mentions that some of the songs are from 2019 as well as 2020. It seems to be a compilation album of sorts.
The album begins with “More Often Than Not” which deals with themes like perseverance, will and routine. Musically, it revolves around strummed chords. There are poignant lines such as “You say that you’ll change / But more often than not It's only lies.” My interpretation of “The Worst In You” is that it was about not having the ability to change the ugliest parts that we see in each other. “Falling Apart” is a classic tale of unrequited love. I’m not sure if it was intentional but “Past Lives” felt like the second chapter to “Falling Apart.” My interpretation was that in “Past Lives” he is meeting up with a person that he parted with in “Falling Apart.” “Divide & Conquer” is not about this website. Silva mentions “One of the songs is called Divide & Conquer, but it has nothing to do with you guys. It's just something my old boss used to say a lot.” “Some of Us” seems to revolve around the subject of lone wolves. There are people who like to be in relationships and some who actually prefer a more solitary existence. “Snowfall” is the arguable highlight. The lyrics are like pockets of solace. Silva sings, “And all we have is all we need / All we want is ours to keep / So lift your head up to the sky / And watch the snow fall / Deep into your eyes.” Last up is the instrumental “The Turnaround” which demonstrates his skills on guitar. This release is very similar in spirit and style to his previous albums. If you enjoyed Silva in the past you will enjoy this and if you haven’t heard him before this is a good place to start.
Johnny Gifford is an artist from Fitchburg, Massachusetts who recently released Bravo, Bravo. He mentions on his Bandcamp page, “Recorded entirely & organically on 4 track cassette tape using the Tascam Portastudio MF-P01. I really limited myself to only 4 tracks per song and used one 20-minute tape i had lying around, just to make my life harder.” Gifford might be too young to remember that it was actually the norm not that long. At any rate I thought it was cool.
The first song “Butterscotch” revolves around a rickety lo-fi guitar, a couple sine waves and spoken word. There is no other way to describe the vocals as melodramatic spoken words. It reminded me of my college days hearing philosophy majors at an open mic trying to conjure some deep and meaningful information. I’m not saying that in a pejorative way but this was the feeling I was getting the whole time. There is some very welcome levity with “Congress 2.” The song revolves around guitar, bass, drums and horns. It’s the horns which are really the star of the show here. I enjoyed the melodies and general vibe of the tune. “Hearts of Colorado'' is very different. It’s lo-fi drone metal at its best. There are distorted guitars with some hall reverb and monotone vocals which are barely noticeable. The vocals are very low in the track. “Philmont Grace” is a little over a minute and sounds like a dream sequence for a horror film. “Remnants” is the highlight and more reminiscent of ’90s indie rock in the spirit of early Pavement. This release is all over the place in terms of style and theme. Some of it sounds like a B-side from early Caretaker, some like ’90s indie rock. I can’t say this was a cohesive release to my ears and I didn’t find a signature sound that would make me recognize the artist. That being said I enjoyed the tracks when considering them individually. There are some solid ideas on this release. I wish Gifford luck as he evolves and continues to grow as an artist.
Inkservant is the moniker of twenty-three-year-old Josh Stone from Louisville, KY. The artist explains, “Inkservant was created in early 2020 as I was completing my college education at the University of Cincinnati.” Stone got to work in his college apartment and created Ugly. “Most of the songs were originally poems/stories that I wrote back when I was a senior in high school. I have always really loved rock/punk/alternative music, so I thought it would be fun and rewarding to try and turn some of those poems/stories into songs.”
The songs revolve around guitar, programmed drums and vocals. Additionally, the songs as far as structure goes are pretty straightforward and simple. Stone utilizes 4/4 time and for the most part sticks to power chords. He gets going with “Goodnight, Baby” and it brought me back to my college days about twenty years ago. The riff and melody felt reminiscent of ’90s alternative and grunge bands. He continues to form his foundation with slight deviations in style. “Tonic Clonic” was more metal based while “Afterglow” reminded me of an ’80s power pop song. “Knife Fight,” “We Came To Party” and “Jungle Juice” all had a similar style to me. “Shattered Moon” and “Last Words” have their moments. This type of music really benefits from a number of musicians playing in a room. There is just no comparison from programmed drums to a real drummer as far as I’ve heard and I have been producing music since these programs came out. I think this release has some solid ideas and songs. If the pandemic ever ends I hope Stone can find other musicians to play with so some of his ideas can reach their potential. I encourage him to keep at it and continues to explore the possibilities within his music. This is a great start.
Blank State is a five-piece alternative/indie rock band from Manchester, NH. Consisting of Sam Drouin (guitar/vocals), Matt Hernandez (drums/vocals), Luis Hernandez (guitar), Jack Casazza (bass) and Joe Tworney (piano/keys), the band formed in the late fall of 2019 but the members have been playing together for ten-plus years and in various projects over the span of their careers. The name Blank State was initially intended to be the moniker for Luis’ solo project but then he decided it fit what the group was going for. What he calls “the meditative state that comes with completely giving into the music while playing,” the band hopes that audiences go on to find their own “Blank State” in the way the band does while playing.
Playing music that felt very much aligned with such bands like Bon Iver, Fleet Foxes and Beach House, the band really wraps us in swaths of layers with lush instrumentals, dynamic vocal harmonies and fragmentary lyrics that disparagingly echo the brokenness of humanity such as depression, loss and isolation as well as keeping things hopeful with moments of light and levity on Blank Slate. They leave a path open for the bit of darkness inside of all us and not too far from the path is the track to the light. This EP contains both spectrums, pinpointing a multi-faceted sound of ever-shifting shadows as well as highlighting all the grey areas of life. Blank State reels listeners in with “Terms Of Patience,” where catchy guitars, driven drums and lively percussions create a gauzy backdrop. The sounds felt very dream-like and within those hazy layers comes a haunting soundscape. The combined vocal harmonies felt very dynamic. The wash of instrumentals as well as the ebb and flow of music were poignant. I was greatly carried by the textures and sounds. Staccato guitar riffs sound out in a stop and go motion on “Okay.” The emotions from the vocals could be felt through and through and the band really dives into the driven sounds. I really loved their energy on this track. On “Foliage,” the sound of keys gives off a melancholy-tinged sound. The sole sounds of the keys accompanying the vocals project a sparse sound at first, then the addition of more instrumentals one by one eventually gives the song more life. The sound slowly builds and what comes across is unexpected. This felt like the ballad out of the bunch. I thought the traces of saxophone also went on to add more depth to this track. On “Aperture,” a smattering of drums and percussions meet the start of this song. Slowly the sounds of guitar riffs ebb in. The band jams for a good portion of the intro. Then once the vocals enter, you can really feel the track gathering in traction and flow. The music here felt moody and gloomy. The ominous notes pack together like storm clouds on the horizon. Overall, the wealth of sounds was great. The band lean into an emo/shoegaze feel on “Push & Pull.” Rumbling bass sets the tone to this song filled with angsty vocals and moody vibes. The dark riffs also felt like a highlight to my ears, and I could see why the band chose this particular track to close the EP. The band plays to great effect and once the music starts, I can feel myself detaching from the moment and entering the ‘zone’ they were talking about. I think the band is successful in creating a space for audiences to reach that same kind of state of mind they set out for while playing. The music, for the most part, felt very introspective with pensive lyrics and haunting music we can all get into. The band felt very shoegaze in that sense as well as offering their own take of other genres such as emo, alternative and indie rock. I think the band’s diaphanous and shape-shifting movements to their music makes them so much more than what a label or a construct can define. They bring to the circuit a unique vibe that felt like a collection of sounds under their very own umbrella. For now, let’s define it as music only Blank State can make.
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