Justin Genzo and Chris Bonnette have been creating music together for over a decade. The duo known as nhbrs recently released a four-song EP entitled The Drive. Their music is synth heavy, atmospheric and pop oriented. The vocals often have a delivery I associate with pop-punk which often contains a youthful high-pitched register.
The band gets going with “Three Am” and you are greeted with some ambience before a digital beat, multiple synths and more come into the mix. It’s a catchy tune and as I mentioned the vocals lean into pop punk and the lyrics also reinforce the topics usually associated with the genre. Up next is “Summer Night” and this song is a highlight. The bass and guitar adds a lot to this song and melds well with the serene soundscapes. Most of the lyrics seem to be about overcoming adversity and common coming of age themes. It’s a well-written song with a number of memorable melodies. “The Drive” is a solid song as well. The guitar lick is catchy and the duo does a good job using different colors and tones to present a wide variety of moods. Last up is “You Know” and it has a number of notable builds in the songs. The song is lush and there are some repetitive melodies such as when he repeats the line “You know I’ll be waiting there for you.” This felt like music made by young musicians for a younger audience. The themes, lyrics and concepts have so much in common with the coming of age themes that pop up time and time again. I liked that the duo approached it from a synth pop angle. The songs seemed notably well produced but cohesive making the EP feel smooth if you listen from beginning to end. This is a solid start and I feel these songs have a lot of appeal to a broad audience. Take a listen.
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Griffy is a psychedelic, power pop/rock trio from Bloomington, Indiana. They released I, Amplify back in 2019 and are back with St. Astronaut. The band makes accessible rock songs that touch a number of sub-genres.
They get going with the title track “St. Astronaut” and this contains one of my favorite riffs on the album. I thought the verse grabbed my attention with a steady bass and lush guitar patterns. There’s a sense the song is building but is also in no rush. The bridge and chorus hit and distorted guitar enters into the mix. There’s a big anthemic and ’80s sounding vibe at this point. However they go back into the verse with a little more energy next time around. All around a great opener. “Proximity” Is a very catchy tune. The chorus in particular is very sing-along worthy. I was also getting an Americana flavor on this song. “Zeus” is a little more aggressive and has more of an attitude. I liked how reverb was used in this song with the guitar which creates a whirlwind of ominous sounds. “Drop Dead City” is very different and starts with what sounds like a transmission, ambient guitar and occasional drums. It’s cinematic sounding but does explode into an epic section like I was expecting. “Quiet Parts” was a highlight. It’s also arguably the most single-worthy song that combines elements of post-punk and feels dark in a good way. “Told You So” was giving me ballad vibes but also had some beautiful atmospheric moments. “Passing Through” is another catchy one and sort of combines a lot of styles the band explored on previous songs. “Truth = Fire” is the most raw sounding song that gets closest to punk. They follow that up with “Eternally” which is very atmospheric with an infectious chorus. There is another highlight called “No More Words” which has a great beat and one of the best vocal performances. They close with “St. Astronaut (Reprise)” which is a more electronic sounding than the original. My only critique is the album felt a little scattered at times in regards to the direction. There were times I was settling into a certain mood and then the changes in tone and style pulled me out of it. I would say this was pretty slight all things considered. Overall, this is a good album with some very well-written songs. The band sounded great and I felt the chemistry between the members. Take a listen.
Odious Blot is an independent singer/songwriter who recently released Around, Around. The artist plays all the instruments and even engineered the album as well. That’s a lot to handle and the artist does give us some insight into his process. He explains: “The songs on Around, Around are all based on songs written on acoustic guitar. They're built up from there with the addition of electric guitars, electric basses, keyboards, drums and occasionally some sax samples.”
The first song is called “Around, Around” and is an airy tune with clean guitars, drums, bass and more. I thought the vocals were catchy and the song felt accessible upon first listen. He sings about vicious cycles and there’s a very cool guitar led breakdown in the middle. “Tired of Running” is upbeat and joyful sounding. The feeling here is bright and feels like a spring day where the weather is perfect. It’s a dynamic song with sincere lyrics about a romantic partner. “Every Time” is a fun one and I loved the lead guitar fills on this song. There’s a hint of Peter Gabriel at least in the voice to me. The chorus is strong and has an empowering message that seems to be about moving on with your life. “Angels Upon Us'' is a jazzy tune that has its moments with prominent vocal melodies while “Hope” is a very warm tune that sort of fits into easy listening at least in terms of the aesthetics. “Love Me” is the centerpiece to me. The song drives and is a little more pensive and even dark in some ways. Radiohead came to mind at points. Last up is “Learned by Now” which has some fantastic guitar work. His skills and talents on the guitar shine here as there are multiple melodies going on at once that are technically difficult. My only critique is in regards to the recording quality. The artist did a good job overall but he was tackling a lot of duties and too many in my opinion. This is a case where I think handing off to a mastering engineer would have helped out. I noticed the recording quality and sonic imprint does vary on some songs and that’s really the area where a mastering engineer can really shine. Overall, this was a solid release with some songs that really shined. Take a listen.
The High Violets initially formed back in 1998. Today the group consists of Kaitlyn ni Donovan, Clint Sargent, Colin Sheridan and Luke Strahota. They recently released B-Sides & Rarities. They mention: “Eight songs on the album highlight the musical trajectory from their 1998 beginnings as a youthful, blissed out starry eyed shoegaze band to an impeccably produced addition of dream pop.”
As a big fan of the genre since the ’90s I can say this felt like authentic shoegaze to my ears. I grew up on bands like My Bloody Valentine, Slowdive, The Jesus and Mary Chain and other like- minded acts. This album fits perfectly into that zeitgeist. The album gets going with “Up Towards” and this song soars and is full of the criteria which define shoegaze. In typical shoegaze fashion this song is smothered in reverb with the vocals are guitars often combining to feel like a beautiful wave of white noise. The drumming is also quite good and keeps the momentum going. Up next is “Chinese Letter (Demo)” which is another great song. The song is lush and also quite catchy. I loved the vocals, steady bass and shimmering guitars. ”Carry On” utilizes a little tremolo in the mix. This song is quite dynamic. There are hushed vocals at points where they sing “You carry on” but they also rock out to this same mantra. “Gravity” is another standout track which is very ambient. There’s some exceptional mixing here with vocals peaking out against the guitars, bass and drums. The band is a little more grounded with “Invitation (Jeff Saltzman mix)” which felt like the most single worthy song on the album. They rock out on “Sublime Maze” and this song had some killer lead guitar while the slower moving but warm “Ballad” is the arguable ballad in the batch. They close with a catchy tune that leans towards melancholy called “Altogether” but the message feels positive. This is classic '90s shoegaze done by a band that needs more recognition. Their songs are well written and fans of the genre should love this. Listen and share this one.
Luca Brunetti is an Italian guitarist, composer and producer who has had a long career and produced a huge repertoire of tracks for television programs, fiction, multimedia. He also recently released Empty Pages. This is more or less a double album containing sixteen songs.
These are instrumental songs and the guitar is usually at the center of the songs. That being said Brunetti does a good job switching things up and introduces different textures, tones and instruments throughout the album. The album opens with “Down The Hill” which is a jazzy and rock based song. It’s a very warm sounding track which is one of the other words I would use to describe how this album sounds. The guitars on this track are silky but the occasional pads and exceptional drumming also help in creating a lush soundscape. “Until The End” is a little more melancholy and narrows down on guitar picking. The drums are absent on this song making it feel more pensive as well. “At Night” has a similar mood but it’s a little hypnotic because of the guitar pattern he is playing - a little like a lullabye. “Travel” is a full arrangement. This song is very atmospheric and the first time on the album where it leans more towards world music. It’s very serene and relaxing. The title track as well as “Don’t Worry” go back into guitar picking mode. “Lampare” was one of the highlights and also one of the more dynamic songs. It’s still very atmospheric and relaxing but has a decent amount of energy as well. As the album progresses a lot of the attention is focused on single guitar work. Another highlight however was “Before Silence” which is a super clean and jazzy song with some great bass and drum work to support the guitar. The album is very well produced. I have zero critique in this area. My only critique was the album did feel a little long and may have benefited from ten of the best songs instead of 16, if you’re listening from beginning to end. Overall, this is a really good album. I would recommend it especially if you’re looking for something soothing and relaxing to listen to.
Brad Byrd has an impressive resume. His music has been featured in films and on TV throughout the years. On top of that he has ties to prominent musicians. Byrd recently released Where Were You When The World Stopped which is a five-song EP.
The EP starts off with the title track “Where Were When The World Stopped” which is a stripped back acoustic song. There’s some warm atmosphere but for the most part this song revolves around vocals and guitar. It’s somber in the spirit of a band like Red House Painters. I really liked this song. The energy definitely amps up on “The Bright Lights (Fade Away)” where we get a full arrangement with drums, bass, electric guitar, etc. Byrd has a low baritone and sounds great here. There’s an intimacy to the vocals even though that’s not as apparent with the music. As the song progresses it starts to soar more. “When You Need Me” is more Americana infused and I was getting major Wilco vibes on this song. The hook is arguably the best on the album. “Just Make Me OK” swells at first with atmospheric elements. This is an intimate song but also a slow burn. The song continues to rise with energy and instrumental aspects. “Chasing Down the Sun” is another stripped back song but there’s some intricate string work here which is quite complex. There’s more of a traditional country flavor to this song and the harmonica was a nice addition to the palette. This EP has a pretty nice flow to it. It sort of rises with energy and peaks and then simmers down again. The production is really great in every way. I could hear all the music perfectly and never felt like I couldn’t make out the lyrics. Byrd has put in his time and dedicated himself to his craft. There’s no doubt about that and you can hear it in the music he makes. Recommended.
Tranquil Ends is made up of a father/daughter team consisting of Afton (the daughter) as the songwriter, lyricist and vocals and Darin (the dad) on songwriting, instruments, background vocals and production. The duo make music in their home-grown studio in Illinois and with their debut EP Consequence introduce to audiences their happening synth-pop sound that recalls a very Chvrches and Robyn vibe.
Consequence begins with “Burning Castle” that feels very synths-heavy in vibe. The electronic beats arrive alongside some percussion. Afton’s vocals are like a blast of fresh air. The sound of keys gives this track a great retro flair. This track was also soaked in reverb, adding a dash of distortion to the vibes. Some glitch-y synths sound out here for an alien-like vibe on “Hindsight.” Next, the electronic beats and rhythms come in for an electric sound. The synthwave music paired with Afton’s compelling vocals made for quite a blend of sounds. Starting off with some ominous synths and beats, the riffs reverberate for an echo-y sound on “Won’t.” The keys alongside Afton’s vocals have a soaring effect as together her singing and the music felt like more in the pop ballad vein as everything came together. Midway into the song, industrial-sounding synths come in for a heavy vibe. Right off the get-go, Afton’s vocals arrive on “Human 2.” I enjoyed the slow grooving buildup. This felt like a great trance and EDM track. Afton’s vocal harmonies float over the synths-based music. On “Friends To Strangers,” synths and beats arrive for a sauntering feel. Her vocals are able to capture a rich emotional listening experience. As she belts out “you say I can’t/ doesn’t stop me/ from coming back” you can really feel the emotions behind her lyrics. As shimmering synths come in for a radioactive pull, Afton’s distorted and fuzzed-out vocals enter on “Devil’s Grinning.” Next, some pulsating beats add a gravitating element to this song. Afton struts in with more of her vocal versatility to give us a very rap-like sequence. This really helped propel the track forward. The title track “Consequence” is a piano-led song. I was loving the quiet harmonies in the backdrop of this song. Slowly some synths and beats light up the vibe here for a dance feel. With this closer, Afton and Darin tie in a lot of dynamic elements to make up the great sounds here. I thought that at the focal point of this recording was Afton’s vocal delivery. At certain instances, her singing touches base with a vulnerable vibe while at other moments she sounds bold and daring. At points, this album gave off a very lo-fi vibe and I think by giving this recording some studio time will undoubtedly take this to the next level. Though the band is just starting off, I thought Afton and Darin showed a whole lot of potential with this EP
Matt Fort, a guitarist, songwriter and producer based in Blackpool, UK, started playing music at a young age. For the past ten years, the artist has been contributing to various bands up until recently. Fort has turned his focus to more solo-related ventures and Daylight is a six-track EP that highlights Fort’s sound that is a cross between alternative and classic rock. I could tell Fort has a lot of classic rock influences and he lists David Guilmour, Satriani, Brian May and even artists like Beck and Radiohead as bands he thinks he sounds similar to.
Daylight opens up with the title track “Daylight,” that starts off to a display of synths. The music then comes in with a sauntering drumming beat. The music grows and the guitars come in. There was a meandering approach to the instrumentals. There is no apparent rush as each instrument is spotlighted. Off to a sauntering groove, the music on “Harmonias Snake” had more of a slow burn vibe. As slowly the guitars and drumming beat build in the backdrop, you can tell Fort is big on melody as the sound takes flight. Some psychedelic guitars also round out the sound. More synths come across for an atmospheric pairing with the driven guitars and drumming beat. All the instrumentals came together for a great classic rock sound. On “Never Give Up,” some beats and loose guitar strands sound out for a sparse vibe. Next, some keys come in for a retro flair. The wall of guitars then arrives. The music changes up from hard-hitting energy to a more sauntering groove which leaves listeners on their toes, not knowing what to expect next. On “Parts Of The Whole,” some sparse guitar riffs erupt in the start of this song. As the drums race in, the groove becomes jauntier. The music unfolds and in turns highlight the bass and guitars. What sounds like xylophones give this track some more of the unexpected. Guitars and a sauntering drumming beat enter the sound on “Whirring.” Against the backdrop of instrumentals, Fort’s guitar work is a highlight. Fort describes Daylight as a conceptual album “… with variety of sounds that express a lot about where I am in my life, and express the journey and struggles I have been facing.” Fort has made an EP that carries the torch for like-minded bands of the aforementioned genres. With a sound that definitely carries, this is a great start and I look forward to hearing new music from him soon.
John Deluxe is a musician from Philadelphia. The artist recently released The Cure and mentions: “This album is my attempt to return to my roots. I enjoy traditional song writing and performances very much, so I wanted to touch upon that with this release as well as upcoming releases. I wanted to tell stories, and possibly motivate myself as well as others to find progress and positivity even during darker times.”
Within about thirty seconds of this EP I was getting major David Bowie vibes especially in terms of the vocals. To be even more specific these songs felt like they were influenced by ’70s style vocals. The EP opens with the title song called “The Cure'' which relies on a basic 4/4 beat, a couple guitars and atmospheric synths. It’s a fun and psychedelic song with a really great hook. Sometimes with psychedelic there’s a heaviness to it but not in this case. It seemed more playful. This song felt like a highlight to me. Up next is “All the Right People'' and there’s a mix between a ’70s and an ’80s aesthetic on this. The groove drives and the synths give it a nice atmospheric quality. Similar to the previous song the vocal melodies are memorable. The digital sounding horns which rise were great and added additional dynamics. “Darlene Betty” is a little more soulful and jazzy. There’s also some spoken word and the vocals feel like there is a conversation between two people. The mixing also helped in creating separation between the vocals. I loved how the groove builds into something very danceable. “I’ve Been Waiting” is the ballad and it felt like a perfect closer. This is such a glam heavy ballad. On top of the Bowie reference I was thinking of Roxy Music. Great closer. If you’re a Bowie fan the influence feels very apparent which is really my only critique. On that note the songs are very well written and delivered. It’s a nice throwback to glam and ’70s inspired psychedelia. Recommended.
Some of the beauty of a band is that it brings together people from different backgrounds to create a singular sound. There are of course varying degrees of this and when it clicks that’s what we call chemistry. Generation is one of these bands. One of the members mentions “I come from a jazz piano background, we have a cellist who came from a classical background, a drummer who is into math rock and some heavier stuff, and a guitarist with great stoner rock licks.”
Down to Fish, which is a great name for an EP, displays some of the magic the band was able to create when combining forces. They start with “Windowpane” which is a very chill and jazzy sounding song. The guitar licks are great and overall the band is in no rush here and steps back to create a lot of space for the vocalist. There are some more dynamic moments and some pitch bends which give the song a psychedelic quality. There are female and male sounding vocals on this song. “Sleep on it” is slick. The fast and locked in metronome like pacing from the drummer defines the energy. Other members are able to freely explore the space because of this. It’s another dynamic song and the cello and drum breakdown was a highpoint. “Sandstorm” felt like the highlight. I loved the cello on this song which creates a pleasant whirlwind of warm emotion. Towards the end there’s this crunchy organ and it begins to rock out. The guitar was a little too loud in the mix but overall a great song. “Animal People Rain Celebration” was another standout track and the percussion elements were driving the song. This felt very improvised and more like a jam band. I think the bass was a standup too which was nice. There’s some very cool transitions I was not expecting. The vocal harmonies worked perfectly. Last up is “Old Quijano (Live)” which was a little too lo-fi for my ears. I couldn’t make out much on this song. As an engineer myself I think the next step would be to work with an engineer to help with the recording and mixing process. The mixes were definitely solid but a number of tools like EQ and compression, if applied differently could have brought the songs to the next level. Overall, the band is very talented at their instrument of choice and sound good together as a band. I hope to hear more soon. |
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