South Florida’s Daniel Gootner heads an ever-changing musical collective he quite reasonably calls The Dan Gootner Band. His latest release is called Unplugged, and that’s exactly what it is: a short collection of “acoustic and stripped down” songs that Gootner has previously released in full-band form.
Gootner has been writing and performing since 2003, touring both in the states and internationally. He currently plays over 100 shows a year and has released 23 tracks spanning various genres since 2020. His core band includes Elie Ganz on vocals along with “an ever rotating lineup of the best musicians in the area, with different guests from song to song for whatever is called for.” I’m at a bit of a disadvantage here since I don’t know the original versions of these songs, but I assume most readers of this review might be in the same boat. Frankly, having played these songs through, It’s hard to imagine them any other way! “Sing Me Till Tomorrow” immediately establishes Gootner’s stellar acoustic guitar technique (both strummed and picked) and pleasing, intimate voice. He’s the type of artist who doesn’t just rhyme words, but creates whole worlds that are as real as the one we inhabit right now. He sets the stage with “I met her many years ago / in the Colorado snow.” Small, telling details slowly accumulate: “She sometimes worked behind the bar / when she wasn’t playing her guitar… I still hear her singing in my mind.” All of Gootner’s memories have the specificity we reserve for the special people we leave behind and yearn to see again. The middle section features an overdubbed solo that has a bit of a Mark Knopfler vibe. Maybe the title of the next track “When America Was Young” suggested this, but the acoustic guitar has more of an Americana, train-music feel. Gootner tips his hand with phrases like “home on the range” and “westward wagon” but I suspect he’s using the early Homeland imagery to illustrate the growth of a young man in the world, like an untamed country all his own. The solo here is a surprising acoustic slide moment that of course fits the mood perfectly. The guitar ends where it began, with that same cool descending riff. “Bourbon Street” continues the Americana feel with lyrical imagery about “an ordinary boy” (though apparently one without much money) riding a train “and getting nowhere fast.” He seems to think that Bourbon street in New Orleans will be his salvation, but instead it’s just cups of dirty coffee, wet park benches and glowering looks from strangers. And that’s the good part! Ultimately it’s a very sad story (I’m kind of bummed out now!) set against a simple, folky acoustic guitar backing. Our final track “Flora & Fauna” owes a bit of its structure to the Sam Cook classic “Don’t Know Much About History.” Lyrically (after the last track) it’s a light, fun reminiscence about a free-spirited girl “With tattoos of Madonna, different flora and fauna / She wore a red string around her wrist to ward against the Evil Eye.” For those of us lucky enough to be on the receiving end of this kind of magical but (usually) short-lived affair, Gootner’s lyrics are almost painfully evocative: “She’s my space ship, she’s my ladder / She is my all-that-matters.” Gootner takes a short lead break before the conclusion, which strongly hints that this free spirit may soon be flying away. As I mentioned, these songs all feel complete and perfect even in stripped-down form. Gootner is an artist worth a listen or several!
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Whiskey Hotel Tango is the first EP by the Chicago band wht.rbbt.obj. (if you figured out that stands for “White Rabbit Object,” you win!). The band describes its music as “bluesy, smoky, sexy and raw alternative rock” fronted by “femme fatale” vocalist River Toussaint Rabbitte. The group began as a secret side project for married couple Frank and River Rabbitte, but has since grown into a four-piece ensemble, drawing raves from NPR for its first single “Jolene’s Reply.” They’ve also been compared to PJ Harvey on steroids or some long lost relative of Amy Winehouse.
Whiskey Hotel Tango is the first release of a planned trilogy which is intended to showcase the band’s many and diverse influences. While refusing to be placed under any single genre, this collection aims to explores the band’s alternative, stadium rock, blues and neo-soul roots. “Love On Hold” was the first single to be released and the first on this EP. The band says this song “harkens back to the nostalgia of Detroit’s garage rock revival featuring fuzzed bass and guitar riffs, while bringing a distinctively new and soulful flair” by way of lead vocalist Rabbitte. They further describe the sound as “pure roadhouse raunch, like Amy Winehouse meets The Black Keys.” Rabbitte is certainly the focal point here, effortlessly commanding attention with a bluesy, sexy delivery that anchors nicely to the crunchy fuzz guitar and bass. The drums are not looped but have that steady loop tonality, nailing the beat down dead-center. The contrast between the dirty Jon Spencer-like guitars and Rabbitte’s sweet voice makes for a killer musical package. Next up is the neo-soul ballad “Keep You Like A Secret (Tidal Wave)” which has a more intimate arrangement, bringing Rabbitte’s Winehouse-like vocals even closer in the mix. The acoustic piano and drums create an easy swinging background for the vocals, with a few tasty guitar licks and some gospel-like organ. Every aspect of this track locks in flawlessly, which is to say Rabbitte’s singing is the star until the bittersweet guitar solos or trilling keyboards or whatever else take their turns. Just a great track with zero degrees of separation from the classic soul hits of yesteryear! “No Rainbows In Indiana” kicks in with a blues rock energy, first centering on a phat bass riff, followed by locked-in guitar and drums. Rabbitte’s vocals this time have a slight bit of EQ or processing which adds another flavor to her amazing pipes. There’s even a some Guitar God histrionics but not enough to pull focus. You can almost hear the crowds cheering! “Queen’s Gambit” is a song that the band calls “an alternative revenge anthem” which is an interesting term! Rabbitte’s voice does have an edge of disappointed menace, which I certainly wouldn’t want to be on the wrong side of. Musically it’s a propelled by driving fuzz guitars over a solid, steady beat that allows the vocalist to once again showcase her amazing voice. “Give It To Me” concludes the set with a jumpy ditty featuring staccato guitar riffs and a faster rock chorus, where I’m suddenly aware of the speed and skill behind the drummer’s fills. It’s an upbeat finale that’s impossible not to jump along with. There’s so much talent and great performing chops here that it’s really an embarrassment of riches, even for an EP. And there’s more coming! Check these guys out and you won’t be disappointed!
Shane Zoe, an artist immersed in the realm of dynamic electronic compositions, defies easy categorization within the expansive electronic landscape. Exploring a spectrum of sub-genres such as trance, IDM and glitch, her sonic palette is as diverse as it is compelling. Embarking on this sonic exploration, "Dreamtime" emerges as a captivating entry point, existing in the nebulous space between glitch and trance.
Airy textures, punctuated by ethereal synths, coalesce with a persistent kick drum, creating an otherworldly soundscape. The introduction of vocals around the three-and-a-half-minute mark, though not taking center stage, pleasantly surprises and adds an intriguing layer to the composition's playful demeanor. In stark contrast, "Wild 80’s" propels the listener onto the dance floor with unapologetic fervor. A quintessential dance track, it exudes an unmistakable '80s flavor, enriched by classic synth/midi sounds. Engaging transitions, particularly in the drum elements, elevate the track, ensuring a kinetic experience for the audience. The final offering, "Dancer," emerges as the standout of the trio. Infused with a heightened sense of aggression and distortion, it transports the listener to a rave-like atmosphere. Balancing mystery and darkness with an airy and fun undertone, this track resonates as a sonic journey – enigmatic yet irresistibly engaging. A true auditory odyssey, "Dancer" leaves an indelible impression, beckoning the listener into its immersive sonic world. For enthusiasts seeking an electrifying dance experience, Shane Zoe is an artist well worth the exploration. Dive into her sonic universe for a taste of electronic dynamism that transcends conventional boundaries.
Two Inch Voices, hailing from the musical landscape of Sarasota, Florida, has been crafting their folk rock sound since their inception in 2007. Helmed by the multifaceted Jeffery Arnold, who takes charge of both guitar and vocals, the band claims influences akin to Foo Fighters and Sunny Day Real Estate, as noted on their Bandcamp page.
However, delving into their latest offering, "Yes, Constance..," one might struggle to pinpoint those cited influences. Instead, the sonic journey embarked upon feels more akin to the thematic resonance of a western country soundtrack, reminiscent of Quentin Tarantino's cinematic landscapes. As our imaginary protagonist traverses the desert, the hypnotic guitar picking progressions and stoic vocal delivery paint a vivid picture. A comparable atmosphere permeates "The Scorpion," where, despite the guitars verging on a slightly thin quality, the overall vibe captivates. Conjuring a mysterious spaghetti western essence, this track also channels the spirit of southern gothic, evoking the brooding ambiance reminiscent of True Detective. In the stripped-down realm of "Daddy's Rock N' Roll - Acoustic," the immediacy is palpable. With its foundation built on strummed acoustic guitar, vocals, and a touch of lead guitar, the track exudes a straightforward charm. While subtle shades of an Alice In Chains vibe may be discerned, it leans more towards a country and folk orientation, steering clear of grunge territory. Throughout "Yes, Constance..," Two Inch Voices displays a commendable immediacy. The songwriting and delivery maintain a consistent quality, enveloped in a moody western flavor that lingers long after the last note fades away.
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Johnny Reed is a rock / pop /alternative artist based in nearby Redondo Beach, California. Reed’s mission is to “pick up where classic rock left off and take it forward into 2020 and beyond.” He’s just released three new singles titled Rainbows on Mars, Break the Ice and The Message.
When you hear his music, Reed wants you to “feel the essence of rock greats like Pink Floyd, Queen, The Beatles, The Rolling Stones, CSN, Elton John and more.” Aside from this, Reed was a bit shy in sending me any background info, but I did a little digging and found a few interesting tidbits. The first single Rainbows on Mars was selected for the “Chart-Topping Rock Artists Playlist” by the Reverbnation site for October 2023. Despite not considering his music to be heavy metal, Reed won third place (out of 100 bands) in the recent Metal Devastation Radio Battle Of The Bands. Finally, Reed knew fifth Beatle Mal Evans and was interviewed for the new Evans biography. Mal apparently told Reed he sounded like Paul, which is both flattering and true. I’ve also gleaned that Reed is a true solo artists and plays all the instruments on his albums (another Paul comparison!). “Rainbows on Mars” establishes a very 70’s rock sound with crystalline acoustic gutiar, Rhodes-like keys and solid drums. As mentioned, Reed does have a sound and timbre similar to Sir Paul, but I also hear a bit of David Bowie… though it’s possible that the references to Mars are tricking me! “Traveling through outer space / Will there be peace in the stars / Will we find rainbows on Mars?” The song seems to pair the eventual taming of the night skies with a spiritual journey that literally takes the narrator beyond this earth: “And if you find God, what will you say?” The song features a small bit of soloing on both acoustic and electric guitars, just enough to move the song forward. Overall a quite accomplished single worthy of its accolades! In “Break the Ice” Reed’s voice takes on a bit of John Lennon grit while the backing leans more to Elton-style piano. This one rocks a bit harder but with clean, swinging tempos and biting fuzz guitar proclamations. Toward the end Reed overdubs his vocals and expertly mixes them across the stereo field. The drums feel totally real and lively, and if he’s playing them I’m doubly impressed. “The Message” takes a lateral move away from Paul and John toward Pete Ham and the Badfinger boys. This is a chunky, fuzz and keyboard-infused pop rocker that sounds like a lost classic from the early ‘70s. At first I thought the message was about being ghosted by a lover, but with Reed there always seems to be another level: “You’re living too fast and you’re hurting everyone that’s in your way… I’m sorry but I don’t think I can reach you, and I don’t think I can teach you anything.” The closing section drops out everything but the piano & synth to focus on Reed’s single vocal line, and you can almost see the spotlight picking him out on a darkened stage, leaning over the keyboard to sing his final words. I loved these three songs (and some of the others I sampled) and can highly recommend this artist as someone to watch!
I have to admit I have a special fondness for bands featuring husband and wife duos. Among my enduring discoveries have been The Civil Union and the Scoopski band. To that list we can add FREI, a “good old fashioned rock band” which was formed by Dion and Anna Fraei in 2022 in Wellington, New Zealand. They’ve just released a new album titled Emergence, perhaps reflecting on their long hiatus from the music scene to raise a family.
Musically the band cites Led Zeppelin, Pearl Jam, Black Sabbath and System of the Down as influences. With Dion and Anna each bringing decades of musical experience, they built their own “custom, highly advanced and plush” home studio using Logic Pro, Shure and Rhodes mics and traditional outboard gear. The only “fly in the ointment” was caused by rabbits chewing through microphone cables! Before knowing the band considered Led Zeppelin as an influence, the opening of “Unknown” reminded of me of a classic John Paul Jones bassline. When the vocals kick in, I got more of a Doors-Jim Morrison vibe, especially with lyrics about “following the sun into the endelss sky, like ravens who flew too high.” The guitars are nicely spread across the stereo field, hitting power chords and letting them naturally decay into the dense hard rock atmosphere. The song’s structure is simple at its core but nicely ornamented with guitar riff variations and a bracing lead break. “Vikings” starts with a drum so low, it might well have come from a Viking ship! Then I was totally caught off guard by the big-screen digital orchestra playing a driving “surprise attack” theme. I can hear the Missus’ voice fading in and out on a wave of reverb. Before you know it, the strings have been transmogrified into steady guitar riffing. There’s definitely a Robert Plant sensibility in the vocals and in lyrics like “ The strong and brave Halls of Valhalla have no place for a slave!” There’s a killer lead guitar break with two notes harmonically slurred all the way up the neck. The conclusion layers the bell-like guitars to provide backing for one final solo turn. “Ground” fades in with a proggy guitar riff with a bit of flanging. Bass and drums slowly join in as Anna Fraei whispers the eerie vocals: “Sometimes I hit the ground running / Sometimes I hit the ground falling, falling, falling…” When the song finally kicks in, Anna’s vocals and the arrangement have a bit of that 1980’s feel (The Eurythmics, for instance) without losing that majestic hard rock bite. The section toward the end with just bass and guitar is an interesting changeup and makes the full band conclusion that much more powerful. “Insomnia” has a lot of room sound, like you’re on a friend’s carpeted bedroom floor watching the band play all around you. The core sound is classic hard rock with a bit of that guitar ornamentation I’ve gotten used to hearing from these guys. Dion’s vocals are not overly polished but serve the song quite well. This song also features the nastiest and best guitar solo yet. The final track “Deep” is the most stripped-down yet, starting with a lone acoustic guitar playing a riff not too far from Zep’s “Over The Hills and Far Away.” Totally different from what’s come before, this song is mostly vocals, acoustic guitar, bass and drums. Thematically it’s an unabashed ode to romantic love (“You picked me up / you turned me round / showed me how to touch the sky with me feet on the ground”). There’s a quick lead solo and suddenly it’s over, but what a great ending! There’s a lot to enjoy here and totally worth a listen or three. Check it out!
The elusive artist known as Radiant has been quietly unveiling a trove of musical treasures on the Soundcloud platform. Delving into this sonic tapestry, I stumbled upon a few shimmering gems that warrant attention.
First in line was "10 + 20 = 3," a recent addition to Radiant's repertoire. This track immerses the listener in a dark, ambient ambiance tinged with echoes of hip-hop influences. Yet, it's the artist's experimental finesse that sets this piece apart, weaving a tapestry of novel sonic elements. The composition ventures into uncharted territories where the conventional gives way to evocative swells and expansive drones, swirling from unforeseen angles. "Drip" unfolds as a psychedelic inferno of auditory delights. The production stands out for its inventive ingenuity, reminiscent of a mosaic of influences from maestros like Burial intertwined with shades of Prefuse 73. Meanwhile, "Functionin'" captivates with its array of backward effects, teleporting the listener at warp speed through an 8-bit video game reminiscent of the original Nintendo era. Radiant's enigmatic soundscape signals a promising trajectory. These compositions strike a chord with their unparalleled uniqueness, captivating and retaining the listener's intrigue. Anticipation brews as one eagerly awaits the forthcoming musical creations from this artist
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Biscuit Shrine, the brainchild of musician Ryder Lush, ventures into the realm of ambient soundscapes, entwining screeching guitars with fuzzy keys. Lush recently unveiled a single, “That Was Then,” a precursor to his forthcoming release, Between The Real.
The single reverberates with the essence of classic post-rock, impeccably executed despite its relatively shorter duration compared to typical offerings within the genre. Its succinct structure, devoid of unnecessary embellishments, adds a distinct charm. Lush's sonic landscape is exquisitely dense, adorned with cascading guitar melodies, evocative drums that resonate with an organic quality, and a judicious dosage of hall reverb that amplifies the track's immersive ambiance. Following the expected trajectory of post-rock, the composition intensifies gradually. It unfolds as a fusion reminiscent of bands like Deafheaven and Do Make Say Think, where the drumming stands out for its meticulous execution, steering the track toward a crescendo of emotional release before gracefully dissipating into the ether. “That Was Then” stands as a notable testament to Lush's musical prowess, presenting a compelling addition to the post-rock sphere. Enthusiasts of the genre should pay heed to this burgeoning talent, marking a promising newcomer destined to make an impact within the scene.
David De La Rosa, under the moniker Molt, unveils his latest sonic offering, "On The Ground," a track that delves into an intimately raw space with vocals that whisper secrets directly into the listener's ears. The subdued monotone delivery adds a peculiar charm to the piece, creating an ambiance of closeness and vulnerability. In terms of musical composition, the song takes a deliberately minimalistic approach, featuring a dry drum kit alongside one of two synths.
The ethereal quality of the keys stands out, reminiscent of Radiohead's moody and cerebral tonality, infusing the piece with an airy atmosphere. Unlike conventional tracks, "On The Ground" avoids a clear hook, prioritizing the cultivation of a mood over traditional song structures. The emphasis on ambiance over catchiness is evident. Intrigued by this aesthetic, a dive into Molt's previous work, "Tremble," unveils a different facet with impressive guitar work within a more groove-oriented composition, yet maintaining the signature vocal style. Molt undeniably possesses a distinctive sonic identity. The unique approach showcased in "On The Ground" and prior releases suggests an artist with a defined sound that appeals to a diverse audience. The allure of Molt's music lies in its ability to captivate through mood and atmosphere. It's a musical journey worth embarking on.
Devon, UK-based indie artist Simon Hurst has had quite the storied musical career. Starting with recorder at school, he moved onto orchestral flute, then flute and keyboards in prog rock and post-punk bands, ultimately providing accompaniment for a blues singer. Along the way he’s also written songs and jingles and built his own recording studio, releasing a string of six instrumental albums. Vintage Reflections is his seventh and newest release.
Though this album has no specific “concept,” Hurst says Vintage Reflections is “not so much about looking to the past as allowing the past into the present.” His genres tend to wander all over the map, but tags he’s used in the past include classical, orchestral, rock, progressive, jazz and soundtrack. For the first track he worked on (“Episodica 1”) Hurst explains that he played “a wide range of emulated vintage synths – hence ‘vintage’ – built around a central, reflective musical theme – hence ‘reflections’ and the album just grew from there.” He says each track has its own story, and the clue to those stories might be in the titles (I must note that his titles are rather witty). “As always,” he concludes, “the real story is the one the listener hears.” Hurst recorded, mixed and mastered in his home studio using Cubase Pro 11. His virtual instruments include gear from Garritan, IK Multimedia, Arturia, Universal Audio and EastWest. Having already played the album through, I can say that most of the tracks are long (anywhere from seven to eleven minutes) and are multilayered both melodically and instrumentally. “Artful Overture” is the artfully-titled first track, as it conjures memories of the great prog suites on The Amazing Charisma Label albums. The instrumentation is keyboard-based, both piano and Hammond organ like Keith Emerson, with Yes-style bass and Phil Collins-ish drum fills. The melody is based on variations for two basic chords which slides easily up and down the harmonic scale. At about the one-minute mark Hurst introduces some brassy digital horns for emphasis. The overall vibe is laid back yet still dramatic, very much an overture. After two minutes the fuzz lead guitar comes in, with that sweet Brian May orchestral tone. The middle section introduces a funk jam for synth and organ, like a Monster Mash Dance. The conclusion melds all the previous tones together for a finale that again reminded me of the Phil Collins-era Genesis. “Episodica 1” has an opening that’s hard to describe: it starts with a jaunty circular riff that’s played on guitars and keys, but has been transmogrified to a degree that I can’t tell exactly what the instruments are. It’s a fun sound that somehow reminds me of childhood. Bass and other overdubs add variations to the basic theme until the whole track morphs into a proggy dramatic passage before reverting to the childlike riffs. At two minutes there’s a cello section much as George Martin would have produced. Following this, I suspect Hurst had lots of fun creating a homage to Tchaikovsky’s 1812 Overture (though without the cannons!). At any rate this is intelligently created music with an undeniably humorous streak without going as far as PDQ Bach. “Bygone Hero” is the shortest of the tracks here but appropriately feels larger than life as our bygone hero struts across the plains to his keyboard theme music. You can almost imagine some of these passages playing behind an English spy movie from the ‘60s. The melodies (to rapidly shifting keys) goes down so well and has such an upbeat tone that it’s easily to miss the skill with which they were composed and played. “Episodica 2” is an eleven-minute epic that immediately put me in mind of Brian Wilson’s arrangements on Pet Sounds and SMiLE. The main theme has a bit in common with lounge music (which I love) before returning to more of an ELP sound in their Aaron Copland mode, before again echoing Wind and Wuthering-era Genesis. Some really nice synth bass toward the end! “What Might Have Been” starts on the last note of the previous track, and carries on a lot of the same vibe. Setting the stage with slowly rising harpsichord chords, We shortly enter the most rock-like section as Hurst returns on fuzzy melodic lead guitar, accompanied by a synth chorus right out of the Who’s Quadrophenia. I can almost hear John Entwistle on trumpet! “Genrlection” has another witty title, but also could have been called GERSHWIN-reflection, as Hurst is magically able to conjure up the great sounds of a 1930’s orchestra with just his banks of synths. About halfway through Hurst takes the same basic themes and adds a rock energy with lots of forward momentum. The middle section has a quiet electric guitar moment that has a gorgeous, non-reflective room sound. “Not With A Whimper?” is the very proggy concluding piece. All the influences I’ve mentioned come back once more for this keyboard-based track with rising variations on a simple theme. I’ve always loved synth patches based on the old Mellotron celestial voices and there’s lots of those here, at one point skillfully morphing into church-sounding synth with a Steve Hackett-like solo overlaid on top. This track does indeed end the set with a bang, but perhaps using a velvet hammer. By now you should know if this music is for you, but I’d check it out even if your’e not sure. Some great, great stuff here! |
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