January Mind is the most recent release from Georgia Lee Johnson. She explains: “January Mind is a nine-song indie-folk album which explores themes of isolation, belonging, reckoning, broken and transformed relationships, and the yearning for a home within oneself and the natural world.”
Johnson worked with top tier talent on this release. It was engineered, produced and mixed by critically acclaimed singer/songwriter and producer Jordan Klassen and mastered by Harris Newman at Grey Market Mastering (Arcade Fire, Basia Bulat). Suffice it to say the album sounds fantastic in terms of the recording quality and production. Her music feels to me like it’s under the umbrella of folk. People have compared her music to artists like Adrianne Lenker, Steeleye Span and Joni Mitchell which makes sense. I would like to add other artists like Julie Bryne, folk legend Vashti Bunyan and Feist. The album starts with the title track “January Mind” which is a certified highlight. It starts off a bit moody and pensive with earthy-based organ but quickly picks up energy when the bass and drums enter. The song is fairly funky all things considered but still roots based and has such a strong hook. Great opener. “Seasons” is a dreamy and somewhat timeless sounding folk song. Her voice soars on this song and is backed by organic instrumentation. The brush work on the drums was a nice call and the lyrics are heartfelt and poetic. She continues to knock it out of the park with “Privilege” which is lush, a little dark and actually reminiscent of the band Beach House. There are some gorgeous vocal harmonies a little after the two-minute mark. “Open Ocean” has a slight spaghetti western vibe between the guitar and percussion which I’m always a fan of. The hook blossoms with angelic harmonies and feels like I was in the middle of a majestic island. “Numinous'' is a mostly a cappella song that felt like an interlude but still worked very well with the flow. “Annie and Me” is more of a classic ’70s type song. The percussion picks up the energy on “Birdsong.” “Who To Pray To” is a little darker and still a great song. Last up is the intimate and emotive “Like The Sun.” This album is a hidden gem. Johnson hits it out of the park with this release creating a cohesive but varied experience. This is a release I encourage you to listen to and share. It deserves way more attention than it’s getting. Highly recommended
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It’s unfortunate that the world endured a brutalizing pandemic before realizing the potential of the “work from home” model. Because if the 9-to-5 soldier can hash out white collar greatness in pajamas, then surely the dutiful musician can compose and record music with a globally dispersed band. Who needs a central studio when striving for quality-of-life? Such is the story of The North Chapter, comprised of Mira Fajfer (Berlin), Gabriel Cazes (Paris), and Alexander Nerlich (Mainz), theater professionals all three.
Their EP Miosis is a collection of four dystopian tunes. Even the cover art – itself a collaboration between an Austrian and an American – conveys the fear of a knowing dread; arthritic fingers in final gated distress. Fortunately, despair breeds redemption. Miosis is, after all, the constriction of the pupil when met with bright light. And since hope embodies the fractals of the band’s so-called “dreampop kaleidoscope,” the listener is prescribed a 16-minute dose of buoyancy for these harrowing times, as opposed to a fistful of Xanax. The songs are only challenging in the sense that they mince the construct of the traditional voice-chorus-voice model in lieu of repetitively menacing effects. “Don’t Be Afraid,” the opener, begins with disjointed minor piano keys. It doesn’t so much unfold as it creeps through a bevy of sultry, electronica-cum-jazz. “Czas Się Obudzić,” sung in Polish, continues the use of programmed loops to a disorienting effect before “Miosis,” the title track, allows a melody to swerve lazily amidst the blips and squeaks, until the whole piece devolves into an industrial whine. The most accessible song “Falling” is also the most uplifting, and gift wraps the promised “hint of redemption” in tender, unassuming tones. Because, thematics aside, these subtleties are the real gems of the EP. One need not rely on heavy-handed lyricism to impart emotion, even if Roger Waters might argue otherwise. There is something very ’90s in this doom-laden digital mash. You won’t come away humming these tunes so much as hearing their electronic artifacts ricochet inside your head, long after the last note is sounded. It isn’t quite “metal machine music” for kinder millennials so much as a Frankensteinian tapestry of swapped samples from three separate locales. And that’s exciting, particularly for those with a penchant for tonal agitation. Shared studio time may have actually been a negative, as it risked buffing out the coarseness of musical tensions. While The North Chapter may not be pushing any boundaries with Miosis, they certainly exist apart from any predetermined norm (not to mention each other).
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Manic Xpression is a two-person studio effort based in southern New Jersey. The duo, made up of Mike Pagano (drums/percussion) and Chuck Miller (guitars/bass/electronics), released their debut Better Later this past summer. Recorded in their home studio using Cubase Pro and mastered by Tom Nunes at Atomic Disc, the pair used a full complement of UAD interfaces and satellites for recording and processing. As for the album itself, the band calls it “a throwback to the progressive rock music of the '70s with some new wrinkles added in.” Those who have heard their music, their sound has been compared to the music of King Crimson, Rush, Kansas, Frank Zappa and their favorite band of all time Gentle Giant.
The music is a combination of live drums, guitars, synthesizers and virtual instruments with some of the virtual instruments being recorded on a MIDI keyboard. The duo’s songwriting starts with most of the tracks as a guitar riff or riffs, which lays down the basis for each composition. Making music purely for their own enjoyment and for anyone who may appreciate it, the band has no commercial aspirations. The opening track “Spring Shuffle” and later, “Spring Shuffle (Slight Return)” were from a "pool" of ukulele riffs, and I got a sense right away in the song’s opening riffs. This opener has got a lot of twists and turns, drum fills, guitar riffs, fun harpsichord sounding keys, and other electronic “do-dads” going on – a lot is packed within this fun tune. “The Walk” starts off with a smooth and cool bass line, bluesy in its delivery, alongside a bluesy guitar riff and keys that are programmed to sound like a horn section. Pretty cool stuff. Next up is “The Secret Sea.” This number begins with an acoustic guitar and flute duo, along with some violin. The drums are dry and have a great live sound to them. The band’s overall style reminds me of early Kansas or perhaps Emerson, Lake and Palmer. I really liked this one. “Nightmare” has got a certain “spooky” feeling to it – frenzied, nervous and tense. A lot of fantastic change ups, featuring plenty of stops and starts between Pagano’s drums and Miller’s fast guitar work. “Carousel” starts with a crisp hi-hat being played, and then a full progressive/orchestral explosion jumps right in. The keys, guitars, bass, programmed electronics – it’s all there inside this very complex and textural number. Some of the more intense progressive parts made me think of King Crimson, but also some of Led Zeppelin’s and Edgar Winter’s stuff. Maybe it was the way the guys played their instruments together (i.e., drum fills to guitar riffs and keyboard solos). This is the band’s longest tune and one of their very best, I thought. The main theme from “Gofer Baroque” was written on keyboard, according to the duo. This one was fun to listen to – very lively – with an added horn section and plenty of fantastic instrumentation. “Shakedown” lays down the funk – this song was another fun one to listen to. Catchy keyboard/guitar riffs that just seemed to roll right off the musicians’ fingertips. And that live drum sound was sweet to the ears! I’d recommend this one. For those who like a harder edged, rocking tune – there is “Scimitar.” This song lays down heavier guitar action, a faster rock rhythm and plenty of attitude. You could say this one is more along the lines of progressive metal, without being too heavy in either genre. A nice balance, in other words, and another song I would recommend listening to. “Transversal” is one of the group’s more textured and dynamic songs. It’s also one that features a lot of programmed keyboard instruments – harpsichord, horns, and some sort of flute/circus organ thing. “Spring Shuffle” appears again, this time sub-titled as “Slight Return.” This one has very intricate guitar riffs going on, along with keys that have a slight harpsichord sound to them. Another lively tune with quick change ups and drum fills. The band’s last track is “Better Late Than Never” and it starts off with a low and groovy drum/bass/keyboard shuffle rhythm. I would say this last song has got a more experimental/avant-garde quality to it. If you’re in need of a solid, progressive rock album, all instrumental, and/or a longtime fan of this genre, I would highly recommend giving Manic Xpression’s Better Late a try.
Sweet Pepper Jelly is the sophomore release from Seattle, Washington sextet Great American Trainwreck. The band, formed in 2017, is fronted by Stephanie Ward (vocals/acoustic guitar). She’s joined by Chuck Dunklin (tenor guitar/mandolin), Andy Basinger (keyboards), Dan Rogers (bass), Dave Bush (percussion) and Judd Wasserman (vocals).
This album fits right into the Americana genre. The tracks feature guitars (electric and acoustic), piano, and organ over straightforward bass parts which are locked in with drums. There’s a little pedal steel (capably played by Matt Teske) worked in here and there for good measure. Ward’s sweet vocals take the lead most of the way with Wasserman’s backing work blending nicely. They describe their music as a blend of “multiple genres, including southern rock, bluegrass, and classic country”, and that’s precisely what they’ve delivered. Great American Trainwreck sets itself apart from your standard Americana group with its use of keyboards. On Sweet Pepper Jelly, they’re much more prominent than we’ve come to expect. Basinger’s organs and pianos are everywhere, and many songs feature solo sections on both organ and piano. With all of this playing, he must have been exhausted by the end of the recording sessions. I hope the band gave him an extra session fee, or least a gift card for a manicure. The songs, penned by Ward and Dunkin, are straightforward and catchy. They tell us that they aimed for “melodic hooks and intense harmonies without sacrificing simple song structure and thoughtful lyrics” and they’ve succeeded. Little passages throughout will catch your ears and have you singing or humming along. There are winners all over the twelve-song set, but my two favorites were “Hold Onto Me” and “Great Divide.” “Hold Onto Me” is a solid pop-country ditty that grabs you straight away with its opening guitar leads. The vocal harmonies really shined, and Basinger drops in a particularly funky overdriven electric piano solo. “Great Divide” finds the band letting it out a bit, and features another Basinger electric piano solo. Bush finally gets his turn in the spotlight with a drum breakdown that morphs into a drum-and-bass groove where he digs into the bag of tricks for the vibraslap and other fun percussion bits. The ending reminded me of a Dream Academy tune, if it had been run through a Nashville production studio. Other fun tracks to check out include “Lay With You” (with Basinger doing his best Floyd Cramer impression) and “Rail Rider,” which presents itself as a dance track with its horns and rhythm guitar figures. Give Sweet Pepper Jelly a taste: you’ll find something to spread into your Americana rotation.
ROBRO mentions on his Bandcamp page: “If you like retro video game music, or guitar instrumentals, from players much better than myself, like Yngwie Malmsteen, Tony MacAlpine, Jason Becker, Paul Gilbert etc, then you should definitely check it out.” I totally get the virtuoso guitar player comparison but I have to admit the video game reference didn’t make sense. There's a genre called chip-tune that specifically uses 8-bit sounds to make music.
On his EP Sanctafrax I would say this ’80s filled guitar god type stuff that just sounds like it was recorded in a bedroom instead of in a studio. Up first is the title song “Sanctafrax” and basically it sounds like every Van Halen song you ever heard with all the classic 101 guitar moves they were doing back then. It does open up nicely and I thought the guitar work was creative and technical. Nice. “The City's Poppin” is a solid song. The clean guitar is funky and the lead work impressive. “Relentless Pursuit” is more atmospheric and contains an airy synth. The lead guitar work is definitely the star here. “Outer There” is more ballad and slower in tempo but felt like a good fit at this stage in the EP. “Come Back” is slick as well with almost more of a Santana like playing style at points. Last up is “Robro Went Back To His Home Planet” which is atmospheric and probably the highlight on the EP, all things considered. There is a rhythm section but it’s virtual and is mainly there to support the lead guitar work. These songs did feel like they would benefit from additional players on the drums and bass. That being said, the guitar work is worth the price of admission. This EP is all about the lead work and guitar. The recording quality is about average for a home recording and has a lot of the typical issues I hear in the mix in terms of EQ, compression and balancing. Overall, I thought the artist did a solid job. This was a fun EP. I love hearing really good guitar players do their thing and that’s what you have here. Take a listen.
J.K. Halvorson is an independent musician from Colorado who only started songs around five years ago. Although Halvorson is still very new to songwriting he delivered Down from a Mountain which showcases where he is at as a musician and songwriter.
The songs are stripped back with guitar and vocals being at the center of the mixes. I would put these songs in the folk and singer/songwriter category. The album starts with the title song “Down from a Mountain” where he strums a couple minor and major chords and sings with what sounds like a vibraphone at points. There’s a solid hook and overall it’s a nice start. “Somebody's Something” is more upbeat and there’s some warm lead guitar as well. The recording quality was very lo-fi on the next song “Please Save Me a Seat” as well as on “Trying to Catch Hold of a Bird.” That being said, the vocals were strong. “Out the Backdoor” is one of the highlights. At this point in the album the songs were starting to bleed together. There was a very similar tone and emotive quality to them. “Bright Green Dress,” “All by Myself Again” and “They Come and They Go” have their moments with the vocals really being the main strength to the songs. “It's All Downhill from Here” has its moments but “Come Back to Bed'' felt like a highlight. As an engineer myself I would say the most important next steps for the artist would be to work with an engineer to help with the recordings. The songs are sparse; there are a lot of things that can be done to help with these recordings. These recordings reminded me of songs you might hear in a small cafe. I was picturing Halvorson playing these songs to an attentive audience. The songs are simple but well written and this is an artist that is just starting to display his talent. Five years in writing songs isn’t very long at all in my opinion but he displays here he has a good sense of melody and can write poetic lyrics. Overall, this is a solid first release and I look forward to hearing more as he evolves and continues to practice his craft.
Singer/songwriter Tom Abbott takes charge with his great indie rock and anti-folk sound. Abbott is backed by a full band and includes Gin Ruzhanksy (bass/vocals), Avery Logan (drums), Stuart Rverse (piano), Matthew Shifrin (accordion), Lucy Little (violin), Cate Byrne (violin), Lysander Jaffee (viola), Giulia Haible (cello), Paul Ahlstrand (saxophone/clarinet), Daniel Rosenthal (trumpet/flugelhorn) and Joe Stewart (trombone). With raspy vocals and a lush orchestral accompaniment, Abbott’s rush of sound truly delivers. The Boston-based artist has produced three full-length albums and it is here in his latest album In The Dust that we truly see Abbott settling into his groove as an artist and owning his sound.
In The Dust gets going with the title track “In The Dust,” where some guitar and wind instruments come in for a faded and fuzzy sound. Abbott’s voice sounded like it was sung far from the mic. The recording is swimming deep in reverb. Next, the strumming of guitar, clarinet and piano comes in on “Something I’ve Been Thinking About.” Abbott’s vocals come across feeling warm and reverberating. The accompaniment on piano feels like a strong highlight. The trombone and trumpet made for another great addition. On “Fork In The Road,” once Abbott’s vocals came in, I was feeling some great pop-based flavors. Gradually, a piano tune joins in on the vibe. More acoustic guitar renderings come through on “Vivian Girl.” Next, the moodiness of this song comes across for a punk and grungy approach to the music. I enjoyed this heavier vibe which reminded me of Nirvana but with horns. More acoustic guitar orchestrations sound out on “Gone.” I could hear the longing and regret in the vocals as the strings arrived. Some energized guitars and piano come rushing at you on “Armageddon.” The sound is very feel-good and uplifting for a track about the end of the world. This was a song packed to the brim with fast-paced vocals and driven piano melodies. Noodling on the guitar greets the start of “Cold In There.” Next, a very country-bent sound comes across on this recording. The vocals sound very spoken word, like they were separate from the music. But this changes up toward the fully charged chorus where Abbott belts it out with a heavy Americana twang. Right from the get-go, Abbott’s vocals and the music comes in with little to no hesitation on “Leech (The Perfect Song).” Abbott really embraces a startling energy here. I was immediately feeling the pop vibes. Turning back to his more acoustic-based sound, the guitar alone comes in on the start of “Full Of It” as Abbott’s somber vocals accompany it. The vibe feels very moody as some cello and violin adds to the yearning vibes. I thought this was a great way to send-off listeners with this slow but burning closer. According to Abbott, “In The Dust peeks into the mindset of a fresh college grad thrown head-first into 2020’s COVID-infected world.” Like pretty much everyone else, for the past year, Abbott has been dealing with a lot of things including confusion and self-doubt. Like his album art, the ten-track collection is an amalgamation of Abbott’s thoughts: cluttered yet experienced all at once. At once disorderly and chaotic, these tracks show us an artist driven to give us his brand of indie rock, alt and anti-folk heart and soul. This was a solid album and I look forward to hearing more from this artist.
Made For Her is the recent release by Shaun Johnson & The Big Band Experience. This release combines timeless elements of jazz and pop with a contemporary flavor. Some of the music feels influenced by Frank Sinatra, Django Reinhardt and other artists from an older generation but not most of it.
“Sing Me Anything” which starts off with piano and vocals feels very much like I was at a piano bar. The song however bursts with elements like horns and bass. It’s dynamic and the song goes back and forth between instrumentation. The song is catchy and sort of reminded me of something I might hear in a Disney animation. “Multiplied by Two” is the highlight. The guitar work is great and I loved the jazzy feel to this song. I thought the vocals sounded natural and Johnson nails this performance. The additional vocals and what sounds like clarinet adds a lot to the song as well. “All Because of You” sheds almost all of the jazz and instead creates a very modern sounding pop ballad. “This Old Man” is a more lush song and another ballad which felt contemporary. “Say Goodnight” is the most single-worthy ballad with nice female accompaniment. There’s also “Multiplied by Two (Remix)” and “Love Me Tender (Live)” which close out the album. The first two songs on the EP were more my personal style in a number of ways. I liked the tip of the hat to jazz and pop from different eras. Some of the other songs were well produced but felt like contemporary pop and felt too familiar sounding to me. Johnson is talented anyway you slice it but the direction of the EP feels a bit scattered because he doesn't commit to the jazzy homage of the first two songs. Hence it was difficult to latch onto a signature sound. Overall, I would say this is a very good EP. He’s got a good voice and the songwriting is solid throughout. On that note I hope he leans into mixing the older style with a contemporary update even more on his next release. Take a listen.
Lyndhurst is a four-piece pop punk/emo band from York PA, and is led by frontman Ed Allison. The rest of the band consists of Kevin Kroushour, Tim Yinger and Mark Caruso. They recently released a single entitled “I'm Sorry For The Way I Am.” They mention: “The single is an emo anthem about realizing sometimes, you're the bad guy. The song was written and recorded entirely by Ed about coming to grips with wanting to be better and not settling for staying the same.”
The song definitely feels like the epitome of emo. There’s a lot of self-reflection, a lot of attention getting better and just a lot of lyrics which go into how he feels. Also similar to a lot of pop punk and emo the lyrics skip poetic language. There’s not too much use of metaphors or analogies in the song and Allison prefers to use straight language so there’s no ambiguity about what he is singing about. The song starts with some guitar picking and vocals. For the most part Allison is reflecting and lamenting about the current circumstances. It doesn't take too long for drums, bass and additional guitar to up the energy. There’s however a major change in energy about a-minute- and-a-half in where the song simply starts to rock out even more. The song rocks out for a solid minute before simmering down into a melodic breakdown. Allison isn’t done yet and comes back again and rocks out once more. If you’re a fan of pop-punk or emo in general this song should immediately resonate with you. Allison sticks to the criteria that define the genre. He doesn't experiment with or push it in ways I haven’t heard before but he does nail the aspects which fans of the genre love. There’s a video of the song I recommend watching. The production value is really great. I have to admit I was wondering where the rest of the band was. Allison is the only one in the video and actually jumps around to different instruments. Regardless, it's still worthy of a watch and a listen. Recommended.
Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating Some Swords. The Eve of the End 3.7 Benchwarmers Ode to Friends 3.7 Haydn I Know My Stakes 3.6 Northerland Tides 3.8 teargunk alloy lining is cheaper than my flesh 3.6 |
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May 2024
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