Braelen Addison is a twenty-two year old music producer and audio engineer from Santa Cruz, California. Addison has had early success by scoring a documentary for PBS that made it into the Latino Film & Arts Festival in Palm Springs in 2019. On top of that Addison recently released Weather for Gardening.

Addison mentions “Weather for Gardening is an alternative rock/indie pop album. Think of acts like Rex Orange County, Kate Bollinger, or LUMP. I listen to a lot of The Beatles, Radiohead, Tame Impala, bands that are sonically dense but meticulous with their production, and I think there are elements from them that show up in my work.”

The album begins with “Storm” which actually does sound like a storm at first. There’s a gust of wind and delicate instruments start to show up. I even heard what sounds like radio transmissions. Right around the one-and-a half-minute mark the instruments fuse together and a groove emerges. It sounds great. I liked the off-kilter instrumentation and approach. The vocals are well delivered. They are expressive, dynamic and emotive. Great opener.

“Harbor” contains some piano and vocal work that by itself would have sounded good but the extra atmosphere really adds quite a bit. The synths sounds for the song weren’t typical but worked well. There are also some parts I just wasn’t expecting. The song has a nice blend of experimentation and accessibility.

“Ripples” is an appropriate sounding title for the song. There are elements which sound like a ripple effect. The song is subdued and dreamy. It’s a song I found very relaxing at least at first until the song picks with energy after the two-minute mark. The song goes back and forth between minimalism and more epic moments that fully surround you.

“Mildew” is one of the catchiest songs and the first one that did remind me of Tame Impala at least in terms of the music. It’s  a fun tune and has a couple of notable grooves. The contemplative piano works well with the beat.

“Window” is also quite catchy and I loved the vocal melodies. Weyes Blood came to mind. The instrumentation is top notch but perhaps the coolest thing was the mix of the warm melancholy and upbeat qualities. It’s a hard juxtaposition to create but works here.

“Analogue” had a sense of longing to it while “Stiletto” might be the most single worthy song in the batch that contains some rocking moments. The smooth and fluid “Willow” is a fun one and “Winter” is an intimate folk song that transitions to lush beat. Last up is “Trellis” which contains cascading piano and vocals to create an intensely beautiful and intimate last impression.

​As an engineer myself I was more than impressed by the production which was all DYI. The songwriting combined with production created a great album from beginning to end. Recommended.

Yusaku Iida is a Japanese electronic music producer and DJ. He works under the artist name NYORAI and recently released 雨​の​音 (rain sound). Iida mentions “The track depicts the changing seasons of spring, summer, autumn and winter in Japan and the spirit of Zen(禅).” The music to my ears is in a similar lane to artists like Aphex Twin and Amon Tobin.

“ソラ (sora)” is an intro that took me into an enchanted forest with slick beats and a lot of tones and textures that were synth based. It has an airy like quality to it. The song definitely piqued my interest. 

“錬金術 (alchemy)” sounds fantastic in terms of the production especially the drum programming. It’s a vibrant song that feels kinetic, lush and also quite serene and calming in ways. It quickly became evident to me that it is the type of music that can be enjoyed passively but to get to most out of it you need to pay attention. There are lots of little details that make the song intriguing and with a good pair of headphones you can fully immerse yourself. 

“忘却 (oblivion)” contains this morphing drone, delayed percussive elements and cosmic sounding synths. The Aphex Twin like vibes were a little more overt here as I felt a sense of vertigo. While I was listening to this song, Autechre and Oneohtrix Point Never also came to mind. I really enjoyed the experimental qualities of this song.

“雨の音 (rain sound)” really creates an environment with rain and thunderstorms. The darker, night time quality felt more aligned with an artist like Burial. It’s also very cinematic and I could imagine this being used in a movie. There’s some very cool sound design here. 

We get back into a beat heavy song with “ao.” There’s a tranquility to the song. It felt very meditative and zen like. I absolutely loved this feeling and it sounds just as cool with the percussion which happens about halfway through the song.

“空想 (daydream)” creeps in with some of the sickest percussion yet. I was reminded of early Bjork on this song. Iida should see if Bjork would do a guest vocal track. The centerpiece of the album is “国境 (border)” which is a little under nine minutes long. Suffice it to say this is an epic song that gets experimental in inventive and unique ways. Iida explores a lot of different terrain from the otherworldly textures to contemplative patterns of energy. He is also in no rush here. This is the arguable highlight.

A little more movement comes with “輝く (shine)” which I felt was the sun arriving after a long thunderstorm. Last up is which is “エンドレス (endless)” which is also bright with long frames of light and sound. There is a sense of infinity here which is perhaps why it’s called what it is.

​I loved this album from beginning to end and the quality of the songs are up there with some of the aforementioned artists. This is a nice treat towards the end of the year. Highly recommended.

dave park is an artist from Richmond, Virginia who recently released the last time the sky was blue. park makes some comparison to Sparklehorse that I got to see live in concert and he says that the music was influenced by them. I can hear it in the music although I would say park infuses more Americana into his music.

The first song is entitled “A Random Ghost” and revolves around looming pads, strummed acoustic guitar, a steady 4/4 beat and vocals. It’s a well constructed song and I liked the way it unfolded. There was a lot to appreciate here including the dynamics and memorable vocal melodies. I would say it’s a solid opener although I did kind of want a chorus with some vocals to the song.

“Fire into the Night Sky” is a minute long and feels like a vignette. The song contains moody pads, a consistent beat, a lead synth, some bass and drums. It goes by fast. We get a more fleshed out song with “Suckled on the High Falutin” which is the arguable highlight. It’s a pretty straightforward tune but I loved the tone as well as the vocal melodies. It’s a little dark but also sort of playful and fun. The chorus is memorable and I felt the song had zero fat on it. There’s also a brief but solid lead guitar section. Great song all around. 

“The Last Time the Sky was Blue” is another more moody and atmospheric vignette. It’s a little over a minute and introspective sounding due to the long pads. Last up is “Are You Happy” where park plays into his strengths. The synths and guitars work very well together here and this is another highlight. It contains another strong hook. The vocals are delivered in a loose way and while there is some melancholy in there again it felt sort of playful.

“Fire into the Night Sky” and “The Last Time the Sky was Blue” felt a little unnecessary to me because they sounded like a different style but still felt ok with the other songs. On that note the more organic songwriting with vocals is the artists strength in my opinion. 

​Overall, I thoroughly enjoyed this EP. The songwriting is top notch and park is a good singer who can deliver the goods. There’s a good amount to appreciate here so take a listen.

Voice Of Glass was founded in 2002 by American guitarist David Meek and Ukrainian-Bulgarian vocalist Olya Meek. The band has accomplished a lot in their twenty years together but today we are going to be concentrating on their three- song release entitled Hours. One thing that sets this release apart is their collaboration with David Warner who provides cello, violin and even some back-up vocals.

The album begins with “All That Surrounds” which starts with a somber soundscape of pads and acoustic guitar. Vocals quickly come into the mix and are delivered with earnest and honest seriousness. Drums and lead guitar quickly followed and I was getting an ’80s and ’90s flavor when this happened. The orchestral strings don’t disappoint either and by this point the song takes on an epic quality. Some of the vocal parts are treated with reverb and delay to really emphasize the soaring qualities. The song essentially builds and builds and was an impressive opener. Their experience certainly shows on this song.

Next up is “The River” which begins with a distorted swell that lands on distant  lead guitar and strummed acoustic guitar. Similar to the previous song this song is epic in scope. It has some attitude as well which I thoroughly enjoyed. It’s also quite mystical and mysterious sounding. The lush strings sound fantastic around the two-minute mark. The mix of rock and classical contemporary was very cool sounding. I thought the vocals were quite catchy as well and could imagine a large group of people singing along. There’s even some whistling in the song along with killer crescendos around the four-minute mark.

Last up is “Hours” which begins with a beautiful arrangement of acoustic guitar, pads and orchestral strings. These are the most intimate moments on the album. It’s a song about longing, love and connection or that’s at least how I interpreted it. There’s a lot of space for the vocals which displays some of the more nuanced tones and textures of the singing. The song does build with intensity as it progresses but not with percussion. Take for instance the vocal approach which is the most dynamic part of the song. I loved some of the closing lyrics where Meek sings “Can’t you see I’m alive.”

​The band goes three for three with very well-crafted songs. They have a lot of experience and I felt that throughout these songs. I have to admit I wasn’t aware of the band prior to this release and have since become a fan. There’s a good chance you will too so take a listen.

Everything But The Everything is the project from Izzy The Gent. In the past we have reviewed a number of his singles including “Blue Sun” and “Dream.” The latest single is entitled “Never Said featuring Sophia Prise.”

The bass lines are always strong on his songs and that’s no exception here. After a brief swell and drum fill the bass locks in with the beat. Similar to some of the previous songs I have heard, this song has strong roots with post-punk. The guitars are fuzzy and have a good amount of reverb on them. There’s also a faint near constant guitar that provides some of the atmosphere.

​On the verse Prise sings “Nothing comes in / nothing going out” with a slightly mysterious and seductive energy. She sounds great although her power is soon unleashed when she displays her dynamic range. Prise’s powerful vocals come through at the higher octaves and she is easily able to switch. 

The chorus arrives and the melodies are catchy and infectious. In addition to that the drums hit harder, there are additional vocal harmonies and just intensity in general. The song just drives and you feel it the longer the song goes. No breakdown is needed here as it rides a wave till the very end.

This feels dark with those post-punk roots firmly in place but the mix of shoegaze and dreampop is the cherry on top. It sounds somewhere between bands like Joy Division, My Bloody Valentine and Ride. 

​Everything But The Everything has teamed up with a number of vocalists all of which I thought fit his music. Prise is no exception here. The vocals are not only powerful but create a sense of danger. In my opinion that’s what rock is all about. Take a listen.

When you press play on Jason Lyles latest album Tandem, you’ll be pleasantly surprised by a smattering of genres. From the ’50s-‘60s doo wop era to ‘90s alternative rock and ‘80s indie pop, the artist brings to the table his gift for bringing a nostalgic sound to audiences everywhere. The 11-track record is filled with around 43 minutes of pure retro sounds. Lyles keeps the good vibes coming with this release blending a wide range of genres on this album that combines sounds both new and old listeners everywhere can appreciate.

Tandem begins with “Pants On Fire,” where right from the start, Lyles comes out of the gates with this addicting pop song. Filled with rumbling bass lines and larger-than-life guitars, Lyles’ vocals are like a blast from the past as he belts out the lyrics energetically. I was loving the positive vibes of this track that felt distinctly like something to come from the ‘50s and ‘60s. The guitar solos were also spectacular. On the title track “Tandem,” some acoustic guitar rolls in alongside some synths and strings. I loved the orchestral elements in this section. The retro keys and electric guitars reminded me of the sort of music to come out of the ‘90s. The soaring emotions on this song made for a great listening experience. Guitars and horns jumpstart the uplifting “Bargain Bin.” The upbeat energy and catchy vibes made for a great sound. The horns went on to add a big band vibe which I loved.

Up next is “Wildflowers,” where the acoustic guitar rolls in with a very intimate vibe. Sounds of the fiddle also enter. I felt carried away by the folksy rock sounds. Lyles adds his own take to this Tom Petty cover. Some moving acoustic guitar comes in alongside some electronic beats on “Gravitate.” I was reminded of Beck here and also of ‘90s alt rock overall. The melodies and vocals take flight for an emotional liftoff. Some synths flow through the start of “Counterfeit” alongside some acoustic guitar. Next, some beats drive the sound home with a very warm vibe. The combined vocal harmonies sounded dynamic. This was definitely one of the highlights on the album. 

“Every Little Second” starts off with a big bang. Lyles comes in in a punk rock fashion. His sound recalled in my mind Green Day. The rock flavors were definitely full-on here. On the highly addictive “Random,” beats and synths enter for a riveting feel. I was loving how ‘80s pop this track sounded to my ears. Strings, guitars and synths light up the beginning of “Underground.” I was immediately getting a folk and acoustic vibe from the sounds. This felt like a warm and stirring way for the artist to send us off with this closer. 

​The energy and enthusiasm that Lyles shows on this record is definitely contagious. Listeners everywhere will feel the urge to stop what they’re doing, get up and start dancing. Moving and uplifting all at once, let’s hope that Lyles keeps the momentum going and releases more albums in this vein soon!

official website

Cucurbitophobia is an experimental music project formed in 2018 by composer-producer-instrumentalist Rob Benaquista, who “set out on a journey to create music that echoed many of his favorite Horror, Sci-Fi, Fantasy, and Adventure themed movies and video games” along with dark ambient, prog, experimental and avant-garde classical music. As such he’s released multiple albums, EP’s and singles “which explore different themes related to Horror folklore, mythology, and the supernormal.” Cucurbitophobia has even been featured in a short horror film titled A Stroll Through the Woods from the Midwest Horror Network in Chicago. Their newest release is titled Autumnal Apparitions.

The band says the Cucurbitophobia project (which means “the fear of pumpkins”) is designed to take us on a journey “through the malevolent and the majestic; a thrust into an existence witnessing the stark brutality and stunning beauty that nature has to offer.” This new album in particular “is a collection of works inspired by the Autumn season. A rustic, nostalgic, melancholy ambiance is prevalent throughout the album, portraying an ebb and flow between dark, experimental dissonance and lighter, sadder, ambient minor-key driven moods.” All this feels exactly right, coming on the heels of Halloween and heading into solstice. 

“The Cloak of Twilight” has a muted beat that feels like an elevated heartbeat, with a synth melody that recalls Giorgio Moroder, both musically and in its tonality. The mix is fun, in that a counter-melody migrates back and forth in the background. There’s also something like handclaps as if performed by creatures in a Matrix. “November Woodlands” is especially appropriate given the month that I’m hearing it, and features a lute-sounding stringed instrument playing against roiling winds and ghostly gusts. 

“The Ritual by the Creek” eschews a backbeat totally for a more George Crumb-type excursion. It’s basically plucked strings, shrill tones and an occasional synth explosion. It certainly seems to illustrate a ritual I don’t want anything to do with! “Witch’s Enchantment” has a very creepy, circular melody that kind of blows John Carpenter’s “Halloween Theme” right out of the water, again surrounded by disgruntled spirits. About halfway through a very muted electronic drum kit joins in. “Approaching the Dead of Night” creates its first rhythm with a sound very close to an industrial alarm. A piano plays another lovely, complex melody with emphasis on the hammers hitting the strings, with synth-created cellos sawing away in the background. Both this track and the previous one have been favorites so far, because I love the compositional skill they exhibit.

“As The Incense Burns” has the most complex and interestingly constructed beat (I’m not sure but maybe 6/2?). Melodically and instrumentally it sounds almost Japanese, though becoming more “westernized” as it moves along. There seems to be a lot of key shifting here as well, which also feels a bit unsettling. “The Spider Web and the Shattered Mirror” is the big six-minute conclusion, and it feels like movie music even more so than the other tracks. Sonically it could be taking place in the Addams’ home, and features all sorts of barely decipherable percussive sounds. Metal bars? Squeaking hinges? Ghostly footsteps? The melodies are a bit brash in their haunted qualities, very much like Vic Mizzy (“The Ghost and Mr. Chicken.”) This track does have an awesomely majestic build, though I’m never sure if Benny’s tongue’s in his cheek or not.

​Overall this album is way different from most things I hear, and should appeal both to listeners and the apparitions surrounding them!

Indie Guinn is a twenty-two year old guitar player/singer/producer out of Detroit, MI. He recently released his self-titled release Indie Guinn which is a ten-song album. The album is rock oriented although he flirts with a number of other genres.

Up first is “Prelude” which is an instrumental. The song fades in with a heavy cloud of reverb and notes from a guitar. It serves as an ambient introduction. We get into a more song based offering with “Insane” which starts with a couple of strummed chords and bass. The drums come in very deep and heavy. It’s not a rock oriented aesthetic and felt a little more aligned with hip-hop. The guitars have a good amount of phaser on them making the song psychedelic sounding. I liked the vocals but there’s no hook on this song. 

We get a very lounge-y and R&B infused flavor with “Sunrise on i-94.” It’s a very chill sounding song and the horns sound really good which give it a slight ’8’s quality. I really liked the song but was anticipating some vocal melodies.

“Let You Down” contains a very hard programmed electronic beat and wavy southern gothic bluesy flavor. I liked the attitude and approach here. It’s another well done song but again there’s no hook and I felt like one was coming. “Ystk” contains some great wavy guitars and vocals which have the auto-tune effect. “For Tomorrow” is a fun song with an upbeat energy and a beat that will make you want to dance while “If Only I'd Known” contains some slick guitar and reminds me somewhat of Santana. 

“Those Were The Days” is a soundscape that turns into one of the more rocking songs. I loved the production on this song. “Moon & Back’' contains exceptional production and some of the most infectious vocal melodies. “You Are My Drug” is the closer and a little acoustic sounding but sprinkled with modern production.

I would say Indie Guinn is off to a great start for such a young guy. I’ve been working with bands since the ’90s and he has all the tell-tale signs of a talented artist who hasn’t quite hit his potential yet. His biggest strength right now are his skills as a producer. Each song brought something a little different. The songwriting can be expanded upon. He has good ideas but the lack of defined hooks left me wanting a little more on some of the songs. 

​Overall, I thought this was a really good album that showcases different sides of his talent. I have a feeling this is just the beginning and look forward to hearing more of Indie Guinn in the next couple of years. Take a listen.

Steven Vellou and AudioBake are back and they brought a new friend along. On their new album Invasion of the Mind Snatchers Electra Volcana is added to the mix. This album contains thirteen songs. If you listened to and enjoyed their previous release Mentally Superior Yet Highly Deranged this will be an easy win.

The album begins with “Intervention Steals Your Soul “ and you are swarmed with a number of synths as if you are traveling down a wormhole. It doesn't take long for jagged guitars and a heavy hitting bat to enter the mix. The vocals are well delivered and the hook is quite catchy. It’s a great opener which sets the mood for the other songs although there is some deviation.

“Full-Time Punk” is an interesting one. There are some elements of punk here. However there are other elements as well. There’s a lead vocal but also another vocalist who seems to freaking out on occasion in the background. It was somewhat humorous. I was getting Ian Curtis vibes in terms of the vocal delivery.

“My Dog Stepped On a Bee” is a fantastic name for a song but seems to be about Amber Heard. The genre is hard to pinpoint on this one. It’s sort of sludge doom drone metal. Next up is the cyberpunk infused “So Disposable” which is a catchy tune which goes back to industrial in the spirit of Ministry and NIN. “California Gold Kush” is another hard to define song. It’s almost cartoonish sounding at that point. The song reminded me of Ariel Pink and dips into this ironic absurdity at least in vibe.

As the album progresses I thought there were a number of highlights. “This World Runs on Perfumed Bullshit” is a very original sounding song. It’s dangerous, frantic and fully embraces nihilism.

My favorite industrial tune was “We're in the Last Days of James Lloyd Evans.” I loved the beat and crooning vocals. There’s also a lot of  inventive sound design. Right around the two-minute mark is one of the darkest sounding moments on the album as if you are wrapped in a tornado of sound.

“Last Punk on Earth” is a fast moving song that feels a little tongue-in-cheek with vocals that seemed to have be tuned up an octave.”Does Hell Only Exist Inside My Head” is a darker tune with subdued vocals and crazy sound design while the closer “We're Here to Witness the End of the World” is a heavy and fast industrial yet experimental song.

​This is an eclectic and varied album. The songwriting is consistently good and I was more than impressed by the array of tones and textures. This is an original sounding album that doesn't hold anything back. Take a listen.

Lamia is the latest from clash bowley which I think contains the coolest looking artwork I have seen from the prolific artist. The half snake half woman artwork also seems to be a theme at least with some of the songs.

The title track “Lamia” certainly delves into those themes. bowley sings “In the sound of the slither / Is the soul of the snake / And it sends you all a-quiver.” This song also includes some of the most original sound design and percussion I have heard from. There’s a trip-hop beat that is panned hard left as longer sustained guitar notes and a slithering percussion element is occasionally implemented. It’s a smooth groove but man oh man does this song give you the imagery of a snake.

“Gooseflesh” is a slow burn. I’ve never quite heard him treat the bass like this but it sounds like it is reversed or morphing. The delayed snare works well here giving you a sense of entering an otherworldly dreamspace. bowley sounds great on vocals which rise above the mix.

Succubus is a supernatural entity that appears in dreams to seduce men, usually through sexual activity. It’s also the title of the third song on the album. The song revolves around fast moving and slick beats and vocals. On this song the bass is way in the background. This makes the guitar really shine when they come into the mix. 

As the album progressed I thought there were some songs which expanded on his signature sound. “Sleep” was very solid with some inventive drum programming and ambient texture and tones which surround you. The vocals delivery work here and blend into this introspective and melancholy flavor.

“Clean” is classic bowley in fine form with some poetic lyrics that hit hard. Bowley sings “My mind's a twist / I can't think straight / Six dimensional / Folds in fate / I need to scream / I need to cry / Covered up in sin / All bent and sly.” In my opinion this is a great description of what depression can feel like. If that wasn’t the intent he still hit it on the head.

Some of the other standout songs were “Silhouette” and “Life” which contains morphing guitar chord progression that gave this song a distinct sound. 

​This is another solid release from bowley. The song “Lamia” is one of the best songs I’ve heard from him. He was showcasing some new textures and sound design possibilities. On that note there’s a lot to appreciate here so take a listen.