Lynn Slimmer, previously recognized for A Fool's Errand, returns with a stark departure in the form of The Fire In Me, marking a significant shift with the introduction of vocals. Diving headfirst into the realms of rock, the album presents a diverse sonic landscape. "Digital Reign" leads the charge, boasting a dark, classic rock groove infused with an unabashed attitude.
The track seamlessly navigates through various vocal dimensions, employing a pitch shifter on the verse and transitioning to a more conventional vocal delivery on the hook, an attention-grabbing technique. Vocal manipulation takes center stage on "Breathe No Fire," employing what seems like a phased filter, while "Praying" echoes a straightforward rock ethos tinged with influences from the musical eras of the '70s and '80s. "The Fire In Me" emerges as a standout track, exuding a driving force that feels tailored for radio airplay, emanating infectious energy. Contrastingly, "Fiddlesticks" injects a playful essence reminiscent of '90s alternative vibes. "All Rise" unveils a heavy-hitting metal anthem, offering an unforeseen but welcomed shift, while "Like A Fish In A Glass" employs classic autotune effects on the vocals, draped in a wash of white noise fuzz across the guitars. The album progressively delves deeper into heavier territories with tracks like "King Midas In Reverse" and "It's Okay, It's Alright." The album culminates with the standout track "Make A Difference," characterized by a compelling groove and a memorable hook, serving as a fitting conclusion to the high-energy journey. The Fire In Me radiates with a relentless energy, showcasing commendable vocal performances and a commendable array of sonic variations, establishing itself as a captivating listening experience.
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As an International Recording Artist and seasoned concert performer, Miguel Angel Alvarado's expansive collaborations speak volumes, as outlined in his Reverbnation bio. Today, we delve into a selection of his remarkable compositions, each a noteworthy sonic experience in its own right.
'1000 years' initiates with delicate strings and grand orchestral swells, setting a theatrical stage. Alvarado's vocals, reminiscent of operatic finesse, resound with a vibrato seldom heard, while the infusion of electronic beats seamlessly weaves disparate genres into a unique musical tapestry. In stark contrast, 'Only Hope' emanates intimacy, with an exceptional piano performance steeped in nuanced emotions. The song's weighty essence evokes the ambiance of a poignant Broadway musical, drawing listeners into its emotional depths. Yet, 'Besame Mucho' emerges as a standout among the trio. Infused with a palpable Latin essence, Alvarado's vocals, adorned with a different linguistic hue, lend a captivating charm. The inviting blend of bongos and guitars further amplifies the song's allure. Emotive and multi-layered, Alvarado's music traverses diverse emotional landscapes. Each track unfurls a distinct facet of his artistic prowess, urging listeners to embark on an explorative journey through the myriad dimensions of his sound.
Ghost Prom is a band based in upstate New York which was created by the husband and wife team of Cameron and Eden Crosby, who describe themselves as: “Two kids from a missing milk carton who never got found, died and became ghosts. While ghosts we got a couple guitars, lived off s'mores - coffee - cigarettes and started a band. We play exclusively proms." Ghost Prom’s newest release is titled Void Sweet Void. It contains three previously released singles, each featuring similarly eerie cover designs (old photographs of strangers with faces scratched out). In fact their entire visual aesthetic is quite striking, including the main page on their website.
Stylistically, Ghost Prom music has been described as “an intricate tapestry woven from diverse influences (Elliott Smith, Sam Shepard, Early Johnny Depp movies, Townes Van Zandt and Peter Doherty) that have shaped their lives. Through lyrics that explore vulnerability, addiction and the triumph of honesty, they invite listeners into their world, sharing their struggles and triumphs as a source of solace and connection.” The opening track “5am” immediately sounds like old time rock n’ roll, but played like a vinyl record on the slowest speed. The guitars have a uniform chunkiness (along with a slippery, bendy quality) that binds the track like peanut butter. This is one of those songs where the verses are not that striking but the choruses erupt like an explosion from the earth’s core. Not necessarily louder (though they are) but more rich and involving. Cameron handles the sleepy lead vocal duties here, with Eden joining on the harmonies, and it makes for a beautiful pairing. The band explains their sound here as resulting from a “wrong note” during the chorus which turned out to be “the missing element that had eluded us.” There’s also a blast of slide guitar that recalls a Mr. George Harrison. The vocals in “DESTROY” feel to me like Paul Simon by way of Elliott Smith. This track feels very different, with a tribal beat and lots of reverse guitars and other sounds surrounding the jangly chords. Some of the guitars amazingly mimic race cars speeding past the speakers! Overall a bit more dense but undeniably intriguing. “Kickstand” shows a more intimate side of the duo, with gentle classical guitar and quiet vocals. When the full-band sound kicks in, there’s a ’60s pop organ that fits nicely. “I’m So Tired” shares a title with a classic John Lennon song, but also shares that song’s palpable ennui and even its chunky, lumbering guitar sound. “Let Me Alone” is described as “a down-tempo, country-leaning neo-noir folk tune… a comforting entry into Ghost Prom’s softer side.” Elliott Smith has been mentioned before but this is a track where I really feel his presence (and I say that as someone who watched Smith play solo in a cramped record store). Even the backing keys and guitars compare favorably with either/or and XO, though the pedal steel guitar is a surprising and beautiful touch. “Gramma” feels like the stellar vocals of the Fleet Foxes were combined with the loose grit of The Weakerthans. The subject matter’s a little sad to talk about but, if I don’t listen too hard I can let the bittersweet harmonies and tough, jangly guitars wash over me. The band’s paperwork calls this “a distinctive blend of Small Room Indie Rock and Countrygaze, reflective of Great Grandpa, Oso Oso, and Kurt Vile.” With “My Buddy” the steel guitar comes to the fore, and I quickly had to check if “country” was part of the band’s genre list (it is not) but they mention Patsy Cline right up top so this may be a momentary diversion. Truly committed or no, I would totally buy these guys onstage at the Grand Ole Opry. “Backseat” has the quavery, barely-hatched quality of a White Album demo, as envisioned by (yet again) Elliott Smith, especially in his four-track days. The vocals forge a winding path through the guitars and deep drum beats, like a dark overgrown forest of sound. The track abruptly cuts off, though, which is a technical glitch that should be fixed. “Murray’s Song” returns to the nascent folk-country tones these guys obviously love but were loathe to mention up front, and whoever is playing pedal steel needs a special credit. This was a consistently surprising and enjoyable album that I’m making part of my permanent collection. Discover for yourself!
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Western Bloc, the brainchild of versatile musician and producer Barry James McCarthy, presents The Unclean Fraternity of the Smiling Alligators, marking the second release of 2023. Originally hailing from London, McCarthy now calls Calgary, Alberta, in Canada, home.
This prolific year has witnessed not only this album but also an ambient release under the moniker Military Grade Peace and a collaboration with UK electronic artist VCF-1, jointly known as Revolutionary Angels. The Unclean Fraternity of the Smiling Alligators commences with the captivating "All Hell Breaks Loose," weaving a tapestry of keys, bass, drums and synths. The vocals resonate with shades reminiscent of The Cure's Robert Smith, while the prominent drums add a dynamic flair to the hook. "I Am Subterfuge" exudes a playful nod to '70s funk, infusing infectious energy that urges you to move. Drawing parallels to the ’70’s era David Bowie, the track boasts a contagious liveliness. A standout among the tracks, "Scheme Of Things," radiates with brightness, aspiring to anthem-like heights, capturing a sense of celestial grandeur. The fuzzy shoegaze essence of "As If A Plane Had Crashed Into The Sun" echoes the stylings of The Jesus and Mary Chain, incorporating a drum machine to create a unique sonic atmosphere. "Time Machine" stands out with its jazzy walking bassline and a vocal delivery that shifts from Tony Bennett-esque tones to a distinct hook. As the album unfolds, numerous highlights emerge. "The Unclean Fraternity of the Smiling Alligators," despite its quirky title, exudes a lounge-like vibe, offering a novel and distinctive experience. "Mushroom Elvis Bus Ride" and "Scaring The Aliens" carve their own niche, each presenting a unique twist. This album defies easy classification, embracing an originality that sets it apart. Its distinctive sound and eclectic nature make it a recommended listen for those seeking something refreshingly unconventional.
Spike Ivory, architect of his distinctive sonic realm, laid the foundation of his sound in the late ‘70s and early ‘80s. In the subsequent years, his musical odyssey took a defined turn with the release of his inaugural album in the mid to late ‘80s, where Ivory's multi-instrumental prowess left an indelible mark on each track. Despite embarking on a major label production deal, unforeseen circumstances prompted a departure from the mainstream music trajectory. Undeterred, Ivory persisted in his creative journey, weaving tales through his songwriting, gracing local stages and navigating the touring circuit. In a recent venture, Ivory unfurls a fourteen-track album called Outside Looking In that, for the most part, intricately melds rock and country elements, underscored by a palpable Americana flavor.
The opening track, "Carolina," sets the stage with slick slide guitar, a rhythmic backbone, and resonant vocal harmonies that exude warmth. "Outside Looking In" channels pure Americana, both in lyricism and melodies, drawing parallels to the sonic landscape reminiscent of the E-Street Band. The track boasts straightforward energy and indelible vocal melodies. Consistency prevails in both energy and songwriting across the album, with notable gems scattered throughout. Ballads such as "Are You Old Enough" strike a balance between nostalgia and sincerity, with the piano taking a prominent role in the spotlight. Standout moments include "Don't Hold Back" and "Regular Guy," while the closing track, "Someone To Believe," adeptly strikes emotional and musical chords, serving as a fitting finale. While the album maintains a commendable energy and songwriting finesse, a nuanced critique surfaces—a yearning for a couple of slower compositions, perhaps stripped down to guitar and vocals, to diversify the sonic landscape. In summation, Ivory delivers a meticulously crafted album that encapsulates the quintessence of Americana—a musical tapestry as authentically American as apple pie. Highly recommended for those seeking an immersive sonic journey.
Hailing from diverse origins including Pittsburgh, Houma, LA, and New England, The Train Wreck Endings stand out as a dynamic musical collective, gracing stages extensively across the East and Midwest. In their prolific career, the band has birthed seven original albums, a noteworthy single etched at the legendary Sun Studio in Memphis a testament to their creative prowess. At the helm of this musical voyage is Andy Hawk, not only assuming the mantle of lead singer but also demonstrating his instrumental finesse through poignant acoustic guitar performances.
Boasting two decades of honed expertise in writing and performing, Hawk's journey from Kittanning, PA, to his current Virginia musical abode adds a nuanced depth to the ensemble's narrative. Paul Bordelon, spearheading lead guitar duties and contributing backup vocals, injects an additional layer of musical richness. Chuck Bordelon, holding down the fort on bass and guitar, emerges as a steadfast and inventive cornerstone for the band, his roots tracing back to Houma, LA, infusing the collective with a vibrant musical tapestry. Completing this harmonious ensemble is Michael Gauvreau, a versatile instrumentalist not confined to drums and backup vocals but also leaving his mark on the band's Bourbon Rain album with his piano and horn contributions. “Ferris Wheel” unfolds with an interplay of strings and vocals, the subtle inclusion of mandolin adding a delightful layer to the mix. Soft, tender vocals render the track accessible, while a robust hook elevates its overall strength. “Spinning Like a Top” bursts forth as a full arrangement with the entire band, an adrenaline-fueled composition where horns shine with impeccable delivery. Motivational and joyfully spirited, the song emanates energy from every direction. “Gone Away” echoes the high-octane energy of “Spinning Like a Top” but with a touch more attitude, evoking hints of American influence within its sonic contours. Contrary to their moniker, The Train Wreck Endings' music is far from chaotic; it is meticulously delivered with precision and finesse. Each track is a testament to their artistry—take a listen to experience the symphony of their well-crafted soundscape.
Hollowed Sky, a familiar name for avid readers of Pitch Perfect, unveils a noteworthy transformation with their latest offering, "Hookworm," featuring the band's fresh vocal talent. Departing from convention, the track is a departure from the typical verse-chorus structure, opting instead for a narrative-driven approach that, according to the band, serves as a cautionary tale against persistent advances.
The opening sequence, characterized by tumbling toms swiftly joined by the full ensemble, undeniably fulfills the promise of a groove-centric composition. Elements reminiscent of Primus surface, adding an unexpected yet welcomed dimension to the sonic landscape. The precision and tightness in the performance are palpable, particularly notable in the exceptional guitar work that provides a feast of delightful fills, resembling sonic confections. The vocalist, demonstrating commendable versatility, initially maintains a comfortable range, echoing a feminine resonance of Maynard James Keenan's enigmatic, dark tones. However, a pivotal shift occurs halfway through the song, revealing an alternative vocal dimension that is not only mixed differently but ascends about an octave, injecting a sense of urgency into the delivery. Meanwhile, the band continues to dominate with an unwavering intensity. In the climactic final minute, the tempo takes a deliberate deceleration, guiding listeners through a super-slowed section, only to reemerge with renewed vigor. The band, seemingly relentless, revisits the groove one last time, leaving an indelible mark. "Hookworm" stands as a testament to Hollowed Sky's sonic evolution, presenting an amalgamation of tight musicianship, compelling storytelling and an unapologetic embrace of a distinctive sound. It's unequivocally one of the band's standout tracks, urging listeners to immerse themselves in this captivating sonic journey.
Hailing from Harrisburg, PA, Jimmy The Bugman has steadily churned out a repertoire of tracks on Reverbnation. The inaugural experience began with 'Sittin' By The Lake,' an initial impression of carefree serenity.
The seamless fusion of lyrics and music perfectly encapsulated this benign atmosphere, bolstered by the synergy of dual vocalists, a harmonious pairing that truly resonated. Transitioning into 'Life Is But a Dream,' a delicate interplay of piano and vocals evoked a wave of nostalgia, infusing the composition with existential ponderings. The lyrical depth of this piece struck a chord, immersing listeners into a slightly haunting yet contemplative narrative. 'An Irish Gravestone' delves deeper into haunting melodies, employing a serene piano backdrop that echoes the thematic exploration of dreams. The track echoes a sense of stillness, augmenting the poignant commentary within the lyrics. Throughout this journey, the vocal delivery remains a standout, showcasing remarkable precision and depth across all three tracks. The stark contrast between the initial lightheartedness of the first song and the haunting nature of the subsequent pieces reveals the artist's versatile range. Yet, this is merely the tip of the iceberg. Jimmy The Bugman's repertoire promises a wealth of discoveries, hinting at an artistic depth that invites further exploration.
The trio hailing from Virginia, Sweet Davis, comprising vocalist Kristin Davis, guitarist Matt Ascione and drummer Pete Davis, navigates a sonic landscape shaped by a kaleidoscope of influences—ranging from alternative rock and classic rock to pop, metal and country. This amalgamation is evident in their music, a fusion of diverse elements that coalesce into well-crafted songs seamlessly traversing the realms of rock, pop and country, anchored by Davis's melodic vocals.
Sweet Davis specializes in uncomplicated pop music infused with emotion, characterized by meticulous composition and production centered around Davis's distinctive soaring voice. Their modus operandi revolves around the art of making less sound more, a pursuit that doesn't compromise on the essential elements necessary to leave the listener in a positive state. The standout track, "Ready," beckons with airy guitar and vocals, the delivery comfortably situated within a '70s-style vibe. Subtle percussion allows the various elements to breathe, creating a composition marked by well-crafted changes and Davis's evocative vocals. Contrasting sharply, "Too Shy" presents a different facet of Sweet Davis, steering towards hard rock territory. The drums hit with force, guitars take on a distorted edge and the inclusion of organ adds depth. The result is a catchy tune brimming with energy, with engaging elements surfacing in the second verse. "Sparks (a morning song)," occupying a space between pop and alternative, emerges as the brightest and most joy-infused offering. Catchy yet soothing, this track exemplifies Sweet Davis's ability to traverse musical boundaries. In the realm of eclecticism, Sweet Davis excels, effortlessly flirting with a multitude of styles while maintaining a cohesive and engaging musical identity.
Hailing from Dublin, the Irish rock outfit Primitive Machine has been steadily unfurling a series of singles over the past few years, showcasing a versatile sonic evolution. Their 2018 release, "Freefall," makes a formidable impact with its unapologetic hard-hitting rock vibe. What captivates is the discernible prog-rock quality, seamlessly blending influences from the '70s and '80s rock scenes.
The track embodies a rare fusion of nostalgia and innovation, a testament to the band's ability to channel the spirit of bygone eras with a contemporary edge. Fast forward to 2021, and the release of "Vortex" reveals a more modern sonic palette. Beyond the notes themselves, the production stands out as a testament to their meticulous craftsmanship. The intricate interplay of drums, bass and guitar demonstrates a commendable level of musicianship, while the vocals soar with a timeless prowess. Primitive Machine's embrace of an old-school approach, a rarity in the current musical landscape, adds a layer of authenticity to their sound. "Altered" introduces a compelling deviation, evoking echoes of post-punk in a marriage with hard rock. Drawing parallels to bands like Interpol, the song emerges as a heavy, dynamic composition, underscored by a memorable hook that etches itself into the listener's memory. The most recent offering, "Music Box," represents a harmonious convergence of their musical trajectory. Striking a balance with mid-energy vibes, the track allows each element its own distinctive space within the composition, creating a compelling auditory experience. A notable aspect of the Primitive Machine singles lies in the subtle yet significant stylistic shifts exhibited in each release. This deliberate evolution not only showcases the band's adaptability but also makes each listening experience a distinctive journey. In the mosaic of their discography, Primitive Machine emerges as a band worth keeping a keen ear on. Highly recommended for those attuned to the nuanced interplay of rock's diverse tapestry.
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