Allen Orr aka Paper Pools recently released his debut EP entitled It’s in Our Mind. Orr mentions he “was born and raised in the Jehovah’s Witnesses, a millenarian Christian denomination he left behind, before setting out on a winding journey of self-exploration. It’s been a long, strange trip, but it’s all right there in the music: the peaks, the valleys and the years of the soulful longing.”
After a quick intro simply called “Intro,” the EP starts off with “Evil” which is an upbeat and catchy tune. It sounds somewhere between MGMT and Tame Impala with an emphasis on the former. The instrumental parts are funky and cosmic sounding while the vocals are well delivered and smooth. It's strong with a distinct hook. Great opener and I was excited to hear more. “Familiar” is also funky but a little lush and sprinkled with a midnight misty quality. It's synth heavy and a couple of artists came to mind including Blood Orange. The song is slick and borderline sensual while feeling refined and classy. Great vibe and energy that would sound great in a club or late night lounge. “Turn On Your Lights” contains some very inventive synth sounds. The song has an incredibly catchy hook. I loved how this song builds with more layers as well. The verse contains long looming and ominous pads. This synth did sound a little odd at first because it gave an introspective like quality but it sounded better in the mix when other elements were added. “Through Air” is more or less an interlude leading to “Flying Friends” which starts with organ, a heavy hitting beat and smooth vocals. The funky bass adds some dynamics with other elements sliding in. I loved how the layers came together on this song. You will quickly start bobbing your head and moving your feet. This song has a clear ’70s vibe but also is quite contemporary in the spirit of Daft Punk. Last up is “Portraits” and again it evokes a sense of the night. It’s slick with neon lights, fast cars and images of Ryan Gosling in the movie Drive entered my mind. The song has an epic ending which is cinematic and dynamic. It felt like a closer. This is a great EP. It goes by fast and on my first listen I found the songs memorable and repeat worthy. It’s a seamless experience with well-written songs and exceptional production value. Fans of the aforementioned bands should enjoy this.
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When I first heard the name Forgotten Torment I thought I would be listening to a metal band. I was wrong. They are a post-rock/shoegaze music project from Germany that started in early 2022. They recently released Burn again which is a full length with ten songs.
The album starts with “Intro: walk” starts with what sounds like footsteps. You can faintly hear birds in the background. “On the rocks” is where we are introduced to the band. It starts with a clean guitar picking patterns and some lead guitar. I was getting a ’90s alternative vibe right off the bat. Somewhat ironically the next song is entitled “So 90s.” In addition to guitar work there is an atmosphere provided by long pads. I was expecting drums and bass to enter the mix but that didn't happen. So far these songs felt more ambient to me than anything else. The dueling guitar action continues with “Exploding tonight” and there’s a little more fuzz. For the most part it sounds like a calculated jam session. One guitar has a little more rhythm while the other provides occasional fills. It’s pretty in a melancholy type of way somewhat aligned with a band like Mogwai. “Darkness night” is pure ambience. It’s a slow burn of a song and goes deeper into the sense of melancholy. Despite the name, “Interlude” felt like another fully fleshed song. It’s a little brighter but still contains introspective qualities. “Meet me by the forest” is another slow burn. Chords are slowly strummed in this dreamy soundscape. “Frost” contains lyrics but they are barely audible. They are way in the background. It’s lush and somewhat serene sounding. They further their signature sound with “Dream” while the closer and title track “Burn again” is a tremolo infused song. When I think of shoegaze bands I think of My Bloody Valentine, Ride and Slowdive to name a few and when I think of post-rock I think of bands Godspeed You! Black Emperor and Explosions in the Sky. There are some slight aspects of that music but this often felt more aligned with a band like Windy & Carl. This feels like an ambient project especially due to the lack of percussion. That’s not a bad thing in any way but feels a little different than what was advertised. The songs run into each other as they should with this type of album. There are no hooks and very few transitions that sound distinct and the dynamics are relatively neutral. This is a solid release if you want to enjoy a bit of melancholy and are in an introspective mood. Take a listen.
The self-titled EP from Fair, Fair is the latest release from this vibrant indie-rock outfit. It opens with the bright and bold “Hands Free”. Fast-paced drumming, screeching power chords, and a crunchy bass guitar rhythm set the groundwork for tender, melodic vocals. It’s a simultaneously pretty and rock-fuelled journey. I adore the melancholic guitar arpeggio during the instrumental section towards the end of the track. It makes me nostalgic for something I haven’t even experienced. I don’t know how else to describe the emotions that it evokes. It’s beautiful.
“What Else Can I Do?” opens with a plodding bass drum and tender guitar, married with tender vocals, for that matter. I thought I had this song accurately predicted in my mind, so I was definitely knocked for 6 when the drums exploded into a cacophony of sound, as did the guitars. Fair, Fair have nailed the classic “wall of sound” on this song. There are some wonderfully-heartfelt vocal passages and synth riffs, too. The song reminds me of other indie and alternative artists that manage to expertly tow that line between beauty and chaotic noise: Radiohead and My Bloody Valentine are two good examples. “Water Weight” is a sinister and haunting track, driven by a dissonant and ever-so-slightly distorted guitar rhythm. I love the late introduction of a tight yet gentle drum beat and sizzling lead guitar. The track feels almost apocalyptic. I wasn’t expecting anything so dark from this band, but I absolutely love it. The guitar. Wow. Just wow. And as it fades out, I have no idea what to expect from “My Life at the Credit Union”. Math rock. That’s the next U-Turn that Fair, Fair takes. The drum fills and crashing cymbals are so complex and hypnotic. I love the screeching guitar work, as well, but I definitely find myself paying the most attention to the drum-work. Even the gentle mid-section features fantastically-intricate drumming. Still, the screamo vocals and distorted guitars towards the end of the track added an extra, and very welcome, layer of chaos. The EP closes with “Horse Dewormer”, a sudden burst of sunshine after a pool of darkness. They return to the upbeat indie sensibilities that they displayed on the opener, coming full-circle. There’s a lovely vocal melody in the verses on this track. It’s a bright and summery way to end the release.
Multi-instrumentalist Mickey Kahleck, aka Kooky Bombshell, has recorded and performed in roughly a dozen or more Twin Cities/Minnesota bands over the past 20 some years. Recently, this music veteran has gone solo and has finished putting together a home studio this past spring. The self-titled EP Kooky Bombshell is the first of what Kahleck hopes will be many more releases in the future. Recorded and mixed at The Bubble Room in the south metro region of Minnesota, “Kooky” used an Apollo x4 and run that into Logic. He also used lots of amps (Marshalls, Hiwatt, a ’68 Laney for the bass), Moog synths and modules, a digital Mellotron, Les Paul and Stratocaster guitars, and finally a high end Roland V drum kit, using raw samples directly from Superior Drummer. The recording was mastered by Bruce Templeton at Micophonic Mastering. Kooky Bombshell blends an influence of retro-pop, electronic and ‘70s meets ‘90s rock, giving listeners “a pleasant serving of eclectic diversion.”
The opener, “I Want All the Sounds” begins with a heavy synth sound, angelic like, soft signing and crisp action on the hi-hat cymbal. The bass drum rhythm pulses steady and builds up along with the song’s, very spaced out, futuristic electronic style. Extra pops and hissing coming in after the second verse adding more textures and layers. And then the song fades out. A mysterious feel with this first track. “Make the Call” opens up with a heavy hitting bass/drum rhythm and a piano melody. The constant repeating drums and energized power guitar chords, reminds me of indie rock bands from the early 2000s, like say what Coldplay used to sound like. Great energy from start to finish with this tune. “Christ in Jeans” has got one hell of a heavy guitar sound - I absolutely loved it! Deep and mean sounding, harkening back to the hard rock days of the ‘70s, but the song’s melody also sounds fresh and new. I like the chilling backing vocal track here, too, as well as the guitar solo. Another great track in my opinion. “Work Together” switches gears into the realm of synth pop/electronica of the ‘80s. If you like bands like Kraftwerk and Devo - you’ll like this track. I’m just simply blown away by how much this song sounds completely opposite of the last one. “Night Life” is the longest track on the EP and it also features a synth beginning. There is also piano, drums and a style that’s more rock-pop than electronica. I guess I would categorize this one as having an early new wave sound that features classic elements of rock and pop - like one foot in the late ‘70s, one foot in the ‘80s. But it’s hard to say who or what band I would compare this song to. The last track “Pariah” has got a terrific groove and feel to it, one that shouldn’t be missed. The guitar hook is catchy, the rhythm section rocks hard and steady - it’s just an all-around great closing track. I’d say this one has got a classic ‘70s rock sound, but I also feel there are some raw, post-punk sensibilities in there, too. All things considered, for his first solo outing, Kooky Bombshell nailed it. I enjoyed every song on this EP. Each track seemed to have its own “thing” going, but somehow all the tracks fit together really well.
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The team of Colleen and Steve Murphy (sorry guys and girls, they’re married!) form the core of London, Ontario’s Westminster Park. Their first album was released way back in 2003, and they’ve often been compared to classic alternative or folk pop bands like R.E.M., The Velvet Underground, New Pornographers and Belle & Sebastian. Their newest release is called Songs That Rhyme With Alone, which they call “a nine-song collection with space to pause, reflect, and take the rhetoric, restrictions, and repetitiveness of pandemic-living down a notch.”
Speaking of the pandemic, this album was recorded at the Murphy home during stay-at-home orders in Ontario, in the library-looking room featured on the cover, including actual birds heard right outside the window! For inspiration, the band has been “obsessing” over the English folk group Haron, along with Lee Hazlewood and Nancy Sinatra, and Brazilian guitarists Joao Gilberto and Antonio Carlos Jobim working with Stan Getz. The band explains: “Our strategy was to eschew overly aggressive and in-your-face approaches many artists employ to make their point and imbue this album with elements of our personality, relationship, and up-and-down pandemic experiences. This isolation and emotional rollercoaster influenced songs and sounds on the album. Some lyrics deal specifically with our home life, while other lyrics are looking externally to the world we see outside.” Both of the Murphys sing, with Steve adding guitars, ukulele, piano and percussion. Filip Stasiak adds electric bass, double-bass and cello. Mixing and mastering was by Ben Srokosz of Ooak Productions in Chatham, Ontario. Aside from download, there’s a very limited run of vinyl pressings available, including original artwork. “Words That Rhyme With Alone” starts with the sound of the actual birds through the window of the Murphy’s home studio. Maybe it’s the pandemic at work, but I think this is maybe the third album I’ve reviewed this year with real-life birds chattering behind the music! The song itself has a chord structure very close to Tom Petty’s “Free Falling” at least until the lyrics start. Steve Murphy has a classic folk voice, deep and evocative like Peter or Paul (without Mary) or other singers of that era. The tempo is slow, steady and deeply felt. Murphy overdubs his acoustic guitars with some nice electric melodies, while Filip Stasiak’s bass nicely fills out the bottom. Next up are the “rosy bossa-nova vibrations” of “Don’t Cry My Dear.” This is the song influenced by Brazilian guitarists Joao Gilberto and Antonio Carlos Jobim. The shuffling beat (with appropriate pauses) is just right, the guitars are tangy, and Colleen Murphy’s background vocals smooth as silk. Stasiak moves over to cello for a short but evocative solo. The call and response between Steve’s lyrics and Colleen’s “vocalizing” (singing without words) has a real late ‘60s feel, like a song from an early Woody Allen comedy. “We Are Ugly” slows the tempo way down and becomes very intimate, where you can actually feel the room where the recording took place (especially the piano and cymbals). The song deals with the fact that we all hide our physical (and even moral) imperfections, though we all share them. Steve’s vocals are quietly confessional, while Colleen again impresses me as a singer every bit as good as Stevie Nicks, and I’ll take that to the bank! “Instrumental” is just that, a short interlude of quietly strummed guitars, though one of them seems just a hair sharp. With “A Lack of Understanding” we’re finally gifted with a full vocal performance by Colleen, with Steve adding his voice here and there. The arrangement is again simple and clean, with mostly acoustic picking, cello and glockenspiel. Lyrically this one almost feels like a grownup lullaby. “Forever in Love” returns to classic folk song form, with another sincere Steve vocal and tentative piano following his picked acoustic guitar. “I’m Staying In Bed” features ukulele and describes the kind of morning we’ve all had, where the only logical response to the day’s terrors is to get right back under the covers. It’s a sweetly funny sentiment, and the performance (mainly uke with lots of vocals) is open and loose. “Chasing Songs” starts with Stasiak’s always classy cello and Steve’s piano, producing clear echos of Paul McCartney in his chamber pop moods. Steve takes a solo vocal and it’s one of his better perfomances. “Was I wrong / spending my life chasing songs?” is a question many of us have entertained! The low frequencies are quite striking toward the end. “Life Moves On” could almost be “Chasing Songs Part Two,” with the mood and tone elevated to optimism and positivity. Steve again sings about singing, and is joined one last time by Colleen on chorus vocals and Stasiak’s cello. During the spoken word conclusion, you can almost see the stage lights dimming (though the tweety birds kind of breaks that illusion!) There’s many wonderful songs here and just as many nice performances, and fans of folk or acoustic music should definitely check it out!
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Heavy Looks is a dynamic power pop rock band based out of Madison, WI. In 2014, the band released their debut EP, Senses Growing Dull, and in December 2015, the band released their first full-length album, Waste It Right. They recently released a seven-song album entitled Apathy.
The album deals with a timeless topic that most people can relate to. It’s about a bitter breakup and the dissolution of a toxic relationship. That being said, these songs don’t feel filled with vitriol. The songs are catchy and often upbeat. The album opens with “Gaslight” which is an infectious and catchy song. I was getting big ’90s vibes with this song and I loved the hook. It’s undeniable power pop that sounds big and powerful but also quite fun and sing-worthy. “Get Away From Me” has a different singer and also sounds quite good. The lead guitar has a good amount of reverb and the song drives. It’s a slick tune that moves fast and works because of the catchy melodies. I also have to say the vocal harmonies were subtle but worked wonderfully in the song. “Shake Me Up” was another good one. There’s a mix of power pop, garage rock and surf. The hook is just a blast with the drummer hitting hard and the vocalist singing the title of the song. Oh how I loved the grooves on “Grin & Bear It.” This song had a little more of a classic rock flavor. It’s smooth and dynamic but can also get quite epic. The thing I thought was cool was how the momentum changed. “Big Boi” is what might be considered a ballad. The powerful female vocals are undeniable. It definitely aligns with the energy of a rock goddess like Patti Smith. They get back into catchy power pop with “Get Over It Day” which is a fast moving song. The band closes with a highlight entitled “Apathy.” They flirt with grunge here and the ending is a perfect climax to end things. Overall, this album was a blast. The variation of vocalists was more than welcome because they both sounded good. More importantly the songs are well written with no extra fat. These are relatable songs you can rock out to and sing along with. Recommended.
Crepuscular is the recent release by George Eid. Eid mentions on his Bandcamp page, “The writing process innately self-reflective, Crepuscular served as a form of self-therapy as well. It's about distilling the past as recursive experiences relative to the individual.”
The album starts off with “Most Days I'm a Six” which begins with melodic guitar picking and vocals. My first thought was that Eid sounds a lot like Matt Berninger from The National. His baritone if exceptional and truly the center of the album. I thought the song was great but the screaming by what sounds like another vocalist felt like an odd juxtaposition. “Nancy Boy’ is very ambient sounding. The guitars are laced with reverb and there are some great melodies. It’s introspective and melancholy but again there is another vocalist who does some intense screaming. This is the basic formula throughout the remainder of some of the songs. There are beautiful and melancholy tunes that are interjected with very aggressive and angry screaming. “It Is Well (Reprise)” contains some great guitar work while the haunting “Best Wishes” is a piano led song with heartbreaking lyrics. Eid sings “My friend / This place is a pit / It’s dark and it’s quiet / And safe and full of best wishes.” “Milk & Honey” is the arguable highlight. There are some notable vocal melodies here. Some of the best moments are when Eid sings “It’s not that I don’t love you all / And it’s not that I’m not grateful / I swear, I’m not being selfish / But I just can’t seem to forget.” “Solvitur Ambulando” contains lush guitar work which is covered in hall reverb. I think “Birdsong” was the highlight. It's a fantastic tune with memorable notes. The closer “somedaysimaseven” sounds like it could have been from a different artist because of the experimentation. That being said, it's a beautiful sound collage. I would like to hear more of this style of future efforts. My main critique is something I alluded to earlier. These are intimate sounding songs. Eid sounds fantastic as a baritone. The screaming that occurs is often jarring and almost instantly deters from the emotional center of the songs . It would sound appropriate on high energy emo but not minimalistic pieces like this. Overall I thought there was a lot to appreciate here. The songwriting is top notch and the songs are emotive and provide a sense of solace. Take a listen.
Friend of the Lonely is the artist name for Thierry Edouard of Montreal, Quebec. That band name reflects a lovely sentiment, and in fact Edouard says “it’s who I am, who I aspire to be (and) what I fear and embrace.” Edouard had dreamed of creating an album since he was 15 years old, and now ten years later his debut EP is titled in the moon. Edouard explains that the album title “is a reference to my French heritage, which is an expression used to describe someone who’s in a state of daydream; and then directly translated to English, which makes the title just uncanny enough to be kinda cool.”
Edouard is strongly influenced by female indie singer-songwriters (often British) while his guitar playing may show traces of John Mayer from when he grew up. Edouard also made a point of producing these songs entirely on his own, which was a sometimes difficult process. He often recorded songs two or three times until he felt they were right. For collaborators, he used the website Fiverr to locate drummers, backing singers and someone to mix the tracks. Edouard loves the fact that his players came from all over the world, including Italy, Vietnam, France and Serbia. Edouard himself sings and plays acoustic guitar along with electric guitar, bass and ukulele. His other players are Maja (vocals), Malek Potvin (harmonica), Francey Karema (drums), audiobyhugo (drums/mixing/mastering) and Nicholas Berg (mixing/mastering). Thematically this EP is about “acceptance, in a bittersweet way, of a given relationship.” “Hey Stupid” starts the collection literally outdoors, with chirping stereo birds and a wide-open feel to the acoustic guitar (which Edouard built himself while studying guitar in college). Aside from his obvious talent on guitar, Edouard has a beautiful singing voice: lower pitched with just a hint of a rough edge, effortlessly navigating the sweet melodies he’s written to sing his lyrics. Edouard explains that this song is about “making dumb decisions, like telling someone who's in a relationship that you have feelings for them, knowing full well they will not feel the same way, but doing it anyway; because the only way to move on from that person, and make peace with the fact you will never be together, is by telling them how you feel, even if that's a fucking stupid thing to do.” The amazing harmony vocals are by Maja from Serbia, who Edouard found on Fiverr. After all of Edouard’s written caveats, I was surprised at the professionalism and confidence of both the performances and recording quality of this track. “Not Everyday” is thematically similar to “Hey Stupid” but now features the online band that Edouard has put together, including Malek Potvin on lonesome harmonica. Edouard himself takes an easy acoustic solo, and his lead singing and harmonies are now pitched even lower for a rich, sonorous quality. This song was inspired by a real life relationship where Edouard’s partner winds up with someone else, and how that’s really okay. “How I Remember You” seems to start with a low, blustery wind, or maybe a muddy river. The drums are courtesy of audiobyhugo, and they are a little startling in this context. audiobyhugo also mixed this track and it’s got that modern, purposely gritty sound that moves Edourd’s song into a different era. Edouard also bathes his vocals in deep reverb with a clean, ringing electric guitar. I would never know this song and the previous two came from the same album! It’s noticeably longer at six minutes, and as Edouard explains: “It’s a song with many textures and it's all kind of hard to describe. The gist of it is, sometimes someone leaving your life is akin to trauma; and thinking about their future hurts beyond words, so to cope, you create an image of them set in the past that lives rent free in your mind to soothe your emotions.” It’s interesting to me that the theme of this song is quite similar to the previous two, while musically and sonically it’s very different. There are three distinct sections, including an extended guitar solo at the end. The final track “Song for the Lonely” brings the album full circle with both birds and a splashing river, as Edourd sings and plays a sweet ukulele. Edouard reveals that he went through 50 singers on Fiverr before landing on Maja from Serbia, and he’s so happy with her performance, he now wishes he’d muted his own vocals! That would certainly make for an interesting bonus track down the road, but the version here works beautifully. Lyrically it’s about “two loners that come together to be a little less lonely. I always thought about this song as a sort of a musical palate cleanser after the deep vibe that was the previous song.” If Edouard is still feeling any crisis of confidence about his own musical or recording abilities, this short but enchanting EP should put that to rest. Can’t wait to see where he goes from here!
Cardio Star was assembled in the late spring of 2021 in Oakland, California. The band consists of three former bandmates Toby Darci-Maher, Finn Capurro-Durkee and Jonah Lounds as well as June Kagiwada and Imran Sekalala. The band recently released a six-song self-titled EP Cardio Star. They mention “The tracks on Cardio Star reveal a deep love of the post-punk and new wave groups of the 1980s. With aims of fitting somewhere between DEVO and the Birthday Party.”
The band got going with “Landed Drag” and I was immediately attracted to the unique time signatures and angular guitar riffs. I was reminded of Talking Heads on this track. There is a similar inflection that I often heard with David Byrne. The music is so slick and sharp. It’s also quite dynamic. The song is overloaded in a good way with transitions. They seem to have a near endless supply of sounds and melodies. I also loved the wood flute breakdown. It’s an impressive open that displays some serious musicianship. “The Cardio Star (Waltz)” is a little more jazzy and feels more aligned with baroque pop. A more contemporary band came to mind on this song - Grizzly Bear. The song is very smooth and lush. All of the parts were well done but the bassist just kills this song. A little before the two-minute mark the band lands on a very cool groove that gets more intense. The horns are wild sounding. They find a way back to the verse and once again get into this wild section but this time they simmer things down. The last section is even more intense and feels like a wall of sound. “Fruit Head Thing” is a cool sounding song. They mention the Lounge Lizards and this song did sound a little like that with a haunting vibe. Scott Walker and David Lynch came to mind. The song has a number of cool and dynamic grooves but the vocals are arguably the most interesting of any song. There’s a clear affectation which is covered in a sense of urgency and even fear. The music is all over the place in the best way possible. There’s an ambient breakdown, a couple of killer bass lines but the song becomes amazing after the four-minute mark. The drumming is fast and the other instruments come in when they want in an explosive nature. “David Allen Handshake” has strong post-punk vibes but more on the playful side in the spirit of The Talking Heads. In under four minutes the band displays a number of infectious grooves and they also use space effectively here. “Still Thee” is about a minute long and an ominous sounding soundscape that feels like a nightmare going into the closing song. They close with a darker post-punk inspired song. It sounded like a little more upbeat Joy Division type of song. It also contains really infectious vocal melodies. There are some impressive builds here and not unlike the other songs have a lot of melodies and transitions. The musicianship of the band is top notch. Their technical skills are undeniable but more importantly they create captivating songs. I loved this EP. Take a listen.
Born in Vancouver B.C., multi-instrumentalist Adam Willey has been active in the Canadian music scene for over a decade. Willey recently released a three-song EP entitled Oddities, of Sorts. He mentions “Oddities, Of Sorts is a collection of songs that differ aesthetically, and are tied together with themes of uncertainty and vulnerability.”
The EP gets going with “Inspiration” which begins a slick guitar groove and jazzy sounding slick drums. I loved the vocal delivery here. One thing I did notice is that the vocals were panned hard left which is unusual but I didn’t mind it. The vocals are varied in their approach. Willey fits a good amount of words per second at times and then can also slow things down which sounded seamless. I loved what sounded like electronic piano and guitar on the breakdown where he simply sings “inspiration.” There’s a cool guitar solo which contains a good amount of delay and reverb on it. It’s a lush and inviting opener that felt pretty dreamlike as it progressed. I thoroughly enjoyed this song. “Just Because You Can” starts with an ominous sounding drone that sounds like you’re in the middle of a sci-fi movie. Other elements are quickly added like a fast-sounding drum beat and intricate guitar work. The vocals are monotone and sort of robotic sounding which have some sort of effect on them that sounded like a harmonizer and auto-tune. It works well for the song. This very cinematic song continues with a circular sounding synth. The vocals grew on me more and more. I loved the chorus when he sings “just because you can doesn't mean that you should/just because you should doesn't mean that you will.” “It'll Never Be Like It Was Again” contains some beautiful guitar picking. It starts off a little more straightforward than the previous songs. It definitely has more warm and inviting nostalgia that reminded me of Bon Iver. I loved all the instrumentation here which instills a state of calm and serenity. It sounds like there might be an upright bass in here which sounds great. The long pads and piano are perfect and add to the emotional resonance of the songs. I thought all three of the songs were well done and unique in their own way. It displays different sides to his talent but nothing felt too far in left field. I would say there’s enough similarities to create a signature sound. There’s a lot to appreciate with these songs. Take a listen. |
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