Right from the very outset of his self-titled debut record Midnite Tiger, Oakland, California-based producer Midnite Tiger sets the tone for how his record is going to play out. As an entity, Midnite Tiger takes turns blending drum machine generated beats, with wah pedal guitar riffs, synths and samples. The musical influences on Midnite Tiger are all over the map though most evident would be the R&B pop artist Sade. Many of the vocals on Midnite Tiger reflect Sade’s breathy and soft vocal whispers. Midnite Tiger also credits the inspiration for Midnite Tiger as coming from long road trips ,which he took through both the California and Nevada deserts. As you listen to the album, these influences are strongly felt as it becomes easy to picture listening to this record while driving through somewhere as remote as the deserted deserts of the southwestern United States. Midnite Tiger opens Midnite Tiger with scratchy wah wah guitar and hi hat heavy beats reminiscent of ‘70s soul and funk master Isaac Hayes. Though as soon as the dueting male and female vocals come in, any hope for a sexy and bass vocal track is shot down. The next track “Expanse” is largely more of the same, but with some auto tuned vocals added to perhaps mask the fact that the track is remarkably similar to its predecessor. “Raspberry Sunset” sees Midnite Tiger exploring a mellow techno vein for a change, with slow synth grooves and cathartic sounding samples. “Desert Life” is atmospheric sounding with interspersed hand clap beats and bits of funky bass layered in and out of laser-like samples. Midnite Tiger begins to pick up a bit on the groove infested and danceable “Zamora,” which sees Midnite Tiger mixing electric guitars with more industrial styled beats. The vocals are again reminiscent of previous tracks vocals, light and atmospheric, though at times intensely powerful. The last two tracks on the album, “Foxes” and “Windowshade” bring to the table the similar sounding beats and samples heard on the album’s earlier tracks. There is only so much ethereal beauty one can take before one realizes that it’s all basically coming out sounding similar. Not neccessarily a bad thing. In defense of Midnite Tiger, the music is generally very ethereal and beautiful while managing to feel funky and soulful.
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The minute I checked out the Facebook page of Spiralfire I thought I was going to be in for a treat. There is a picture of the lead singer Sinclair Vernon in the cosmos with lightning bolts coming out of her freakin’ hands. That signifies power my friend. Female fronted power. When I started listening to Spiralfire’s recent album End of the Universe the first thing that got my attention was the vocals. Vernon instantly reminded me of the power that female fronted rock groups yielded in the ‘80s. Joan Jett, Chrissie Hynde and Ann Wilson are a couple of names that come to mind when I heard Vernon. She certainly commands the music with an iron first but it doesn't hurt that the band can pack a punch. According to their Facebook page Riley Miller (lead guitar) and Keith Lewis (bass) are the other members (not sure who the drummer is) who supply a steady supply of solid music for Vernon to sing over. The album is incredibly consistent in terms of production quality and songwriting. The production is top notch and should be a reference for those who want to hear an album that was recorded, mixed and mastered by professionals. No muddy low end but also no high-end frequencies that pierce your ears. Great stuff. It is hard to pick favorites amongst the twelve songs because of the consistently good songwriting but after a couple of listens I was starting to have a slight bias on songs. It doesn’t get much better than opener “Can’t Get It Right.” This is classic power ‘80s rock. The guitar riff is commanding and the chorus is memorable and sounds huge. The second song “Written In The Sky” is another song I had a hard time finding fault with. My only complaint is I wish they had the lyrics up on their Bandcamp page. “Fight Song” is a song deserving of the name. It’s a cathartic, anthemic purge getting you ready for battle. No need to drink another Red Bull before that game of Ping-Pong, just play this song loudly before the match. End of the Universe is a breath of fresh air when we are bombarded by more art rock than ever before. Unpretentious, female fronted power ballads. I’m feeling this. As anyone who has paid even the remotest bit of attention to popular music in the last ten or so years can attest to, there is an obvious difference in east coast vs. west coast music. And although I’m alluding to the rap scene it is not only for humorous reasons that I make this distinction. For there is obvious evidence to prove that music of any kind sounds different when the person or persons who are making it have never had to suffer through the long months of cold and snowy winters. The reason I bring this up is because the first thing I noticed upon my first listen to Them Howling Bones’ new self-titled album Them Howling Bones, it was apparent to me, if only for how laid back the guitars sounded, and softer gruffness of the lead singers voice, that Them Howling Bones definitely had a southwestern sound firmly ground in southwestern roots. And I was right as the L.A. based band not only has California roots, but they also have that brash ‘70s desert sound that both the Doors and Deep Purple amongst others were so fond of imbibing in. The EP opens with “Let a Cold Man Die,” which contains a bit of that alt country blues sensibility that lends itself to hand claps and dancing from the crowd. Which is quite the contrary the more upbeat borderline psychobilly styling’s of “Luci,” which is the most straight forward rocker on the album and also the most danceable and fun. The Chris Isaak meets George Thorogood “Follow You Home” is another good example of that smooth and laid back California style rock and blues attitude. With a close listen, one that hears past Pedro’s loud and lurid lyrics, one can hear the shimmering guitar licks, steady heart beat pumping bass line and the drums that keep it all together. At a few different points during the song the instruments are allowed to break out and rock out for a bit, before returning to form. In the same slow blues rock mode that the previous track was molded in, “Howling Man” is even slower and lets the band show off their chops even more, though especially the lead guitarist who is able to show off his smooth solo skills on the rocking slow jam “Howling Man.” The final track “Down the Well” slows it down in a different way, by instituting a more Latin infused flavor with slow picked Spanish guitar licks. This paired up with front man Pedro’s lovelorn laments help to give the album a bit of musical dynamic. However as “Down the Well” moves one will notice the familiar qualities of slow metal guitar solos creeping back in. At its core Them Howling Bones are a really good genre band. Working in favor of Them Howling Bones is that they have no lack of talent or skill in their band. From the album cover, my mind began to make some preliminary assumptions. But I was wrong with all of them. And it was great to see the old saying come to life – don’t judge a book by its cover. I saw this beautiful girl in a bright -lit field and I had her pegged as the typical artist built on acoustic and some assembly of a few exaggerated love experiences. And all the while, I wasn’t resenting of my false pretenses, in fact I welcomed the music without any more thought. Kathleen Parrish’s voice made it immediately clear that I should prepare to reevaluate my impression, which was a great realization and came with the reward of having three more songs yet to view through this new lens. The acoustic nod I made earlier should have been toward the piano as that is the gorgeous crutch on which this album leans, blending wonderfully with Parrish’s jazzy character and alluring passages of alto. The songs aren’t long on Veins, but they sufficiently establish the moods and surroundings that our songstress exuding while she wrote, at least in most likely sense. She carries a great sense of alternative rock that brings an edge to classical tapestries shaded with undertones of jazz – and it all goes down smooth. “Hard To Breathe” might be the most intimate track and it opens a window into Parrish’s soul, vulnerable and ignited by new love (possibly.) The lyrics shape into a memorable refrain as the words paint the scene. The melody is reinforcing and really only lies within the relationship between voice and piano. It’s done with such artistry that you won’t be aware that there were only two people at work. “Red Fleece Jacket” starts out with a quick run and has some pep in its step thanks to the drummer’s hat work. Then the feel breaks down into a lounge-like half time that sets the tone for the remainder of the song’s reprising. The chorus is poignant, not quite haunting, but it will stick with you. “Veins” is a classy jazz club standard that could still hold water in pop/rock framework. The piano has a little fun on “Weapon.” It bounces with the bass as the drums swing along managing to keep the feel light and swash. This would be a great track to see live. In fact, every track would be. Parrish is a stunning talent and a refreshing brand of singer/songwriter for the modern day.
Rhi Evans started the UK-based project Drowning Pegasus in early 2014 and just recently released a four-song EP entitled The Water’s Rising. The music is a mix of electronica to mainstream metal and a couple of genres in between. It’s actually easier to reference a band in this case. Drowning Pegasus has moments that have similarities to Evanescence but also to bands like Portishead, Bjork and even Nine Inch Nails. The finest moments are the ones that veer away from the hard rocking guitar driven mainstream appeal and instead focus on the nuances of the songs. The first song “The Lake” is the clear-cut example of the two prominent styles that Drowning Pegasus draws from. I was immediately drawn to the dark electronic elements that the song opens up with. The music reminded me of the programing that you may of heard from Bjork back in her Homogenic days while Evan’s vocals sound similar to Beth Gibbons from Portishead. Once the chorus hits it has an uncanny similarity to Evanescence. The soaring chorus is effective but feels a bit too familiar at points. The highlight of the EP was “The Bird,” which contained some of the most innovative programming. There were points in the song that I couldn’t help but think of Trent Reznor when the industrial beat, synths and whispering background vocals enter into the mix. The song is the most electronically based but also felt the most natural and original. “Saving Grace” and the bonus track “Real Again” have the most commercially viable song out of the four. The song sits comfortably in the hard rock category and even contains Linken Park type male background vocals. Drowning Pegasus may have thinking to do in terms of where she wants to go with her music. The hard rocking alternative epic rock she plays will most likely attract a different audience than those who enjoy the electronic aspects of her music. The world already has a copious amount of bands that sound like Evanescence but not quite as many that sound like a combination of Bjork and Portishead. Food for thought. That being said the songs are all well written and showcase a good amount of potential. It isn't every day you hear a band that incorporates banjo into their songs that doesn’t play bluegrass. The third album release from Nightlite Mary entitled Three is a mix of rock/pop that doesn't merely dabble with the banjo but is often an integral part of the songs. The banjo is great but isn’t the only instrument that makes the music work. Daniel Lovell is in fact a multi-instrumentalist who plays the accordion, mandolin, guitar and also sings. On guitar, vocals, and drums is Paul Nolan while the bass is held down by Paul Luisi. For their live shows they recruit Noah Donch and Ben Lovell to handle some of the instrumental duties. Three is a DIY effort as the band recorded, mixed and mastered the album themselves. I have to say it sounds above average but doesn’t quite sound as polished of a sound that you would hear coming from a reputable recording studio and mastering house. In particular, some of the mixes sounded narrow and the instrumentation could have been a bit more separated. The drums were sometimes buried as well. That being said these minor issues didn’t take much away from me enjoying the songwriting and chemistry the band has. Three contains a number of good songs and inspired moments. It starts off with a highlight entitled “Hear Me Now,” which is arguably the most commercially viable and “single” worthy song of the batch. The instruments work well together here with the accordion and banjo at forefront. It’s one of the cleanest mixes on the album and displays the band in a good light. The follow-up “Blister and Bleed” certainly is a solid song that fuses in sheets of distorted guitar. Don’t neglect listening to the bassist who doesn’t like to just stick to root notes. As the album progresses there were a number of notable songs including “Wrong,” “Shed” and “Promises.” These are three energy filled songs that utilize a wide array of instrumentation. The album does have a couple of missteps such as “Secrets Silent,” which is a straight up rock song that doesn’t have a vocal performance on par with some of the other material. Three is a solid album with a mixed bag of songs. The band is at their best when they tap into the festive vibe of Mumford and Sons or even Rusted Root, which they occasionally display on Three. Into Embers by Joseph Ruddleston is a sweeping album that would be a great soundtrack for the sun or rain. It’s genuinely bright, but with a good dose of heavier material that sits within the rich production of acoustic, vocals, harmonies, and that intangible force that we the listener create. Ruddleston has a complimentary blend with his female counterpart, the two joined in similar registers until she occasionally takes over in a breathy coo that falls into verse. By the third track, these singers have set the trap and there’s no turning back. Their relationship unfolds before our ears and the songs become capsules of their beauty, just waiting to be broken open. The title track, “Into Embers” is one solemn narrative that can’t be taken passively. The power is in the simplicity and the intimacy. The piano is a lovely touch and Ruddleston puts on one of his best performances, really sealing the deal for me. It’s all piercing, whatever it is, the hum of his ground bass and the high notes of ivory that weep – or do they shine? This song is open to a plethora of emotional interpretation. I wish it had developed further because just when I was lost, it was over. I wasn’t waiting to be found either, music isn’t about that - we find ourselves within it. “Commit” is the best example of Ruddleston’s taste for the intense hush of stripped vocal beauty. His voice enters singularly, and within a minute we have this entrancing volume of five-part harmony, all from his one voice, entering gently and with focused passion. The contra tenor drone, the falsetto color, it all is simply gorgeous. This is the standout track in my eyes, without question. Ruddleston has material beyond this EP and I would urge you to check it out. His London charm and heart felt lyrics will pull you in with every note. I have to say, the UK is again and again, impressing me with their singer/songwriters. What a gem this artist was to find; I expect to see more of him if this music industry isn’t completely blind. Into Embers brings out the best in what makes music personal, that sense that you are hearing the song from the man himself – in the same room. There are a lot of people who consider jazz boring or “don’t get it.” The vast majority of people who have a diet of mainstream music don’t seem to have the patience for jazz. They can’t get past the fact that there isn’t a hook or a repetitive mantra that gets hopelessly embedded in your head. It’s a shame because anyone who is a dedicated music fan knows that jazz is expressive, meaningful, and relevant, and is just as engaging as any other genre out there. The thing is not to shun those people or act snobby that they don’t appreciate it. What you have to do is ease them into it. Don’t throw free jazz from a group like Art Ensemble of Chicago into their face and expect them to get it when they have been listening to Coldplay and Fun for the last two years. You need to find a jazz group that can meld pop accessibility with the possibilities that jazz creates. Mice In The Walls EP by Midnight Magpie might be the quintessential crossover jazz release that will have your friend listening to Django Reinhardt as well as bands like Radiohead. Midnight Magpie is one of the most original jazz bands I have heard in recent memory. The ensemble comprised of Richie Smooth (bass), Hamish Campbell-Legg (drummer), Heather May Corvid (vocals) Dan Williams (keys, computer) and Leander Jones (vocals, guitar, clarinet, alto saxophone) bring in a rich variety of instrumentation that is technically impressive as well as creatively engaging. The seven-minute first track “Walk Beside You” begins with bass, acoustic guitar and fantastic vocal work. When I say fantastic vocal work that is not an overstatement. The vocal harmonies that Jones and Corvid sing aren't just in unison. They start at different times, sing together and then sing different parts. The percussion that enters into the mix adds some energy. The highlight of the four songs is “Guilt.” I was pretty taken back by the percussion on this song. It’s nuanced and contains original sounding elements that drive the song. The wood instruments, guitars, etc. create a warm atmospheric canvas that dare I say it reminded me a bit of Radiohead as well as Talk Talk. The last minute or so gets into pure avant-garde territory and points to greater things to come from the band. The debut EP Mice In The Walls from this band has got me excited for their future. Great work here from a group of musicians that made an accessible yet experimental EP that many people should enjoy. Become A Fan In 2004 the three-piece Finnish band Vitutus came out with a twelve-song self-title album Vitutus that “attempts to convey the mood of the titular, untranslatable human word.” At its core this is a metal record but also flirts with different genres. Some of the songs veer towards black metal at times but you also hear influences of ‘90s alternative rock. Black metal may seem like worlds away from alternative rock but Vitutus finds a way to make it work by blurring the lines between genres and creating a sequential order of songs that feels natural. One of the most interesting aspects of the band is their creative process. On their website they explain that “Vitutus is what happens when three friends pick up instruments just to see what comes out. There are no meticulous plans or long rehearsals - we just sit down and start jamming, and as soon as we hear something that we like, we record it and start putting meat around the bones.” One might expect after reading this that the songs are loose, jam sessions that don't add up to much of a song. The truth is quite the opposite as the songs sound tight and there isn’t any unnecessary noodling. They open up with a sharp, hard hitting tune called “Old Tom.” When the vocalist sings he has a low octave demon- like growl that you shouldn't be unfamiliar with if you have had an exposure to death metal. The guitars are covered in a good amount of distortion while the snare drum snaps like a machine gun. “Not Going Home Tonight” combines synths, manipulated guitar and what sounds like orchestral striking strings to create one of the most engaging songs on the album. It also contains a highflying guitar solo that is one of the climaxes of the song. If you want to hear the band flex their technically abilities then take a listen to “Pressure.” The metronome-like drumming is especially intense and impressive. “Damocles” utilizes sheets of white noise not unlike something you would hear from Sunn O))) while the most experimental and ambitious song is the closer “Scent Of Snow.” Vitutus is still at its heart a metal record and this album will not convert any people who are not already fans of the genre. That being said if you like metal and want more of it this is something that you will want to check out. Sloan has a good mix of James Blunt and Damien Rice going on with K.T. but it’s his vocal that makes the most distinction and sets him apart from any contemporary. His songs are stripped bare, but his voice is layered with textures ranging from mild mannered croons, to soft murmurs, and then arcing up into gravely belts, the kind that sound like the man has seen some things in his life. That tone is capturing and unique, but more so with Sloan because it isn’t forced or exaggerated. I played with a guy who strained his voice night after night to achieve the same quality and it never did the job, not to mention the damage he was doing. There are only three songs at hand, but somehow Sloan manages to showcase his talent in nearly full range, with songs that break the heart, mend it, or simply remind it that love exists. The shades of emotion ebb and flow while following the short timeline of love found, love cherished, love lost. Easily, the most painful short story the romantic will ever know. “I Found Love” is as joyful as you could imagine supplied some nice acoustic and a little uplift. It doesn’t quite mark the same maturity as the following two, but that’s what new love is about right? Some naivete, hopeful expectations, and trying to keep your head on straight, that’s the recipe. The chorus is bright but also alludes to an end we can see not far off. “I found love and I don’t wanna let it go,” could be seen as foreshadowing, but if you’d rather not get that gut pang of loss, forget I said anything. Lying in the middle is “You’re The One For Me,” possibly my favorite. The reverb on the final chorus is atmospheric and brings up even more potential foreshadowing. It’s powerful, but almost too soon. The struggles of relationships put to the wind with optimism and set to a convincing melodic round. And as all things begin, so they must end. “Regret” is that ending. The chord progression sits somewhere between solace and emptiness, the vocal line is haunting just like the sad memories of failed bonds, and at the core of it is a full circle narrative – the good times got old, the joy became work, the simple things were taken for granted. On K.T., Sloan is nothing short of brilliant. Let these songs soothe your heartache or inspire a new beginning, but if nothing else, just enjoy the soul being poured out before you. |
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