Although Nick and the Band someimtes sounds like a live band at times when listening to the music on Foray into the unknown it is in fact a studio project. The songs on this album feel like loose improvised jam sessions that put the lead guitar in the forefront. Other instruments occasionally take the lead but most of the time the guitar is in charge.
Up first is "funky" which is an apt name for the song. It's certainly a funky jam session and that's all about all it is. He runs through predictable tropes that are fun enough for the locals at the dive bar but lack the sort of inventiveness that would have people remember it from other like-minded acts. "Neshama" sort of feels the same as the opener. Everything sounds good. The guitar work is solid, the drumming is good and there are a lot changes. It's melodic music that has a slight groove the passes by you like the wind. What it fails to capture is a lot of emotion in either direction. That's not necessarily a bad thing but it certainly has a time and place. Up next is "infinite sadness" which sounds more like subtle melancholy. It revolves around atmospheric pads, endless lead guitar and a steady beat. The eight-plus-minute "The Nicks and Pietr Green" definitely has some pleasant moments. “Latin flavour” certainly does have some Latin Flavour and in fact sounds like a distant cousin to Santana is while the broad sounding “mei mei Lin” just sounds like a lot of lead guitar. Let me say that I do appreciate Foray into the unknown but there were some things I think could be improved. The most adverse element to me was the midi instruments, which were at times painfully obvious and contrasted with the organic instrumentation. I feel like some of the midi instruments gave the music at times a lounge-y/background type feel, which I’m pretty sure he wasn’t going for. The songs have a very chill, content vibe, which is good if you kind of want to zone out or maybe dance like a hippie. However, I don’t think people will reach for this music when they are feeling an intense emotion from something like a breakup or a major life change. At some point in the future he may want to consider ditching the midi sounds as much as possible. Foray into the unknown feels like someone who is content. Little highs, little lows but nothing too extreme.
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It has been about two years since Oscar L Finch aka Venn Diagram has released any music. Morphology 1.0 and The Desolate Sound of Extinction both of which were released in 2013 showed us an electronic artist whose unique sonic soundscapes and textural labyrinths sizzled with ingenuity and innovative production.
His latest entitled Throwing Shade is arguably his best work yet. Throwing Shade, which was composed mostly on hardware synths came to fruition with organic improvisation rather than calculated algorithms. After some trial and error the songs were refined into the finished products, which he presents us with. Throwing Shade refuses to settle in a particular sub genre of electronic composition. Finch will crossbreed between subgenres such as glitch, techno, jungle and experimental to name a few. Similar to his previous album the attention to detail is what makes his music so engaging. It’s certified headphone music that evolves, changes and mutates before your ears. Take for instance the opener “Future Imperfect - Future Imperfect (featuring the Deutsches Symphonie-Orchester Berlin).” This song may be the highlight, which has an atmospheric, slightly ominous vibe which is thematic (thematic enough where I felt there was an LA noir vibe). It feels as if the music is sitting in a cloud while coming in at all directions. His use of panning and reverb is paramount to the experience. “Future Imperfect - Future Imperfect (featuring the Deutsches Symphonie-Orchester Berlin)”may be the most original sounding song that I have heard from Finch. There is a lot more to appreciate on this album and you can start with the second track “Ascendant.” This track comes out of the clouds and serves up a more palpable beat. That being said atmosphere is still an essential component, which takes the form of what sounds like a radio transmission or sparse piano. “Dragonfly” has a dark vibe not too far away from something you might hear from Boards of Canada or even Burial. Although “Dragonfly” contains more shades of the sub genre glitch than I usually hear from the aforementioned artists. As the album progresses there weren’t any duds but there are a couple of tracks that stuck out. I particularly enjoyed “Butt Foltsum” which kept reminding of what it would sound like if a robot were reworking his motherboard. “Jitter” was another standout track. The slightly delayed synths combined sub harmonic frequencies and oscillating pads can be hypnotic. Throwing Shade is another exceptional album but the artist still dwells in relative obscurity compared to like-minded artists such Autechre, Aphex Twin and Squarepusher. Hopefully, with the release of Throwing Shade Venn Diagram will receive more praise and attention because he certainly deserves it.
The harpsichord has to be one of the least rock n’ roll instruments of all time, unless you happen to be John Paul Jones living out some medieval castle warlock fantasy. Otherwise, it's pretty much the height of stuffy, officious, polite, white society, inherently conjuring images of poofed lace sleeves and quadrilles. If you're a middle-schooler, a love of the harpsichord is the kind of thing that gets you beaten up - the exact polar opposite of rock's supposed "rebellion," inclusion, and endorphin-saturated virility.
Of course, at this stage in the game, we all know that rock stereotype is dead and moldering, rocking on in zombie half-life. Rockers will always do what they have done, as long as there are angry, disaffected youngsters with slicked back hair, leather jackets and attitude. If you think this is a rebellion, however, think again. While our parents' parents might've been going crazy over those loose-hipped, apathetic Wild Ones aimless insurrection, a bunch of stooges playing amped up power chords is not exactly a threat to the status quo. What is revolutionary is being passionate and committed to a cause. I'd like to think that in five - ten years time, the "Oh well whatever never mind" slack ennui of grunge will have entirely dissipated. Being apathetic just means you're easily controlled and manipulated - pretty much the exact opposite of being rebellious. Fantasy Absent Reason is the second album from Minneapolis instrumental quartet OVRFWRD, comprised of five wordless tracks that work more as movements in some epic concerto than as individual pop songs. The opening 30-seconds, in all their Brandenburg harpsichord glory, might lull you into thinking you're getting into some polite serious classical rock, which is true, but will not prepare you for the sap glove slap across the jowls when the John Carpenter adventure synths and leaded guitar barrage begin, about one minute in. If the harpsichord is the sound of the drawing room, then obviously OVRFWRD are the barbarians at the gate, here to pillage your complacent way of life, setting fire to the status quo, offering no quarter. Music simply can't be just polite, with a fierce rhythmic section like OVRFWRD's break beat machine drummer, or as soulful and funky as the organist, doling out burning B3 grooves and psychedelic Riders On The Storm in equal measures, often in the same song. OVRFWRD claims to be like "Porcupine Tree or Yes. But without vocals," which I can vouch for as true. I'd like to add King Crimson to that list, as their guitars could, at times, be a doppelganger for the twin Thrak guitar attack of "21st Century Schizoid Man." There's always been this push and pull between virtuosity and accessibility with rock-influenced music. Punk came about as a reaction to the elitism of prog rock, in the ‘70s, and that was understood to be a "good thing" in the ‘90s, like "Yeah, we won! We took it back from the posers!" What it also suggests, however, is rock enforcing its frankly sexist, homophobic, class war only allowing the knuckle-dragging angst of male adolescence past the gates. And while it's important to dismantle things like prog, when they make people feel like they can't play or could never start a band, because they're too poor to afford fancy gear or be conservatory trained, THAT's when the populist aspect of rock n’ roll becomes important. When it's out of line, it shows an ugly anti-intellectual side that wants everybody to meet in the mediocre middle. I feel like, moving forward, we are going to hear more and more music like OVRFWRD, and we need to. While "punk" and "rock" are the cartoonish semblance of a revolution, striving to better yourself and make something of longstanding, lasting value is where the REAL riot happens! While beautiful, popular people are running around trying to be popular and get laid, devoted "Nerds" are in our rooms, making great art, thinking great thoughts and, frankly, trying to do something with out life. I'd like to think that, in 10 years time, kids would be patted on the back for digging on the harpsichord. And it will be thanks to bands like OVRFWRD, the barbarians at the gate, that prove that you can be MIGHTY and SMART, rocking the hell out the whole time, while still giving you plenty to feel and think about!
Birmingham indie rock quartet Dinky, like many bands before them, know that to get your name out there you have to get your band out there and tour. So they did this for quite a while, playing shows around the West Midlands and Ireland and then played a leg of summer festival gigs including the HMV Institute and a then got a spot headlining Birmingham 02 Academy 3.
Dinky by this time had a few EP’s but they didn’t have a full length. They took a break from touring and began to write songs ending up with roughly thirty songs. Over a nine-month period the band recorded 11 of these songs, which became their first full length Falling Satellites released in November of this year. Falling Satellites opens with “The Place Between the Scenes” a rocking opener with great buzz- saw guitar riffs that hook you in right away and work in tandem with Gavin Medza’s soft and airy vocals and mixed in vocal samples. Next on “In Her Eyes” the band work jangle pop magic reminiscent of a lot of late ‘90s bands like The Lemonheads and Matthew Sweet. Later on “Faithful” Dinky try their hand at the slow moving piano driven love ballad that brings in some strings too. As much as I was digging on the rock songs, it was a pleasant interruption and I feel shows that Dinky is capable of more than just writing catchy guitar pop hooks. They return to this jangly guitar sound on “Coda,” though the guitars are toned downed and have a shimmering quality to them. Then comes the two-minute packed punch of the upbeat rocker “Speeding Car,” which explodes in your ears and has some pretty rad drum fills. The same could be said about the raucous rocker “What About Tomorrow,” which features a badass guitar solo, and even though it’s about a busted relationship it still just makes you feel like dancing. With its catchy melodies and irresistibly good pop hooks Falling Satellites is a great reward to a band that really puts in the effort to crafting great songs.
The push and pull of "progress" can make it seem that an album has to be an immersive, multimedia commentary on economics, the environment, racial politics, or any number of complicated social themes of the convoluted world we're living in. And while there will always be space for the ambitious art statement, not every record has to be uber-serious and "important." After all, we're musicians and music lovers.
Part of the reason we love music so much is it offers a reprieve from the mile-long list of life's problems, which just seems to get longer, as the days go by. Music is where we turn to just feel okay and have a good time which, could be argued, is an important revolutionary act all on its own.There is something to be said for somebody picking up a guitar, and writing the best songs possible, capturing them to the best of their means, with whatever tools they have at their disposal. Squeamish Dish is the debut album from Newquay, UK's Reuben Leivers, a prodigiously talented guitarist and songwriter. Leivers plays glam-y, efficient rock n’ roll, captured nearly live, at home, on an old-fashioned Boss multitracker. Sounds were recorded live with a minimum of EQ and compression to give an authentic, fly-on-the-wall glimpse into Leivers' universe. Leivers' method of songwriting and recording is not hi-tech or hi-fi. There are no gimmicks at work. There is no slick digital sound manipulation. Instead, it's just the sound of wood and steel strings, electricity and guitar pedals that Jimi Hendrix could've used in 1967. That's not to suggest that Leivers' music is old-fashioned, either. Instead, he is focusing on the song, and what is required to drive his blues rock to the next level of intensity. There is just something pure about hearing someone rip a wicked Flying V guitar solo over a solid rhythmic bedrock like on album opener "Let It Slide." It's like, "What does this song need?" How about a badass, virtuosic instrumental freakout?!? If we were to be honest, how often is that the best answer, especially if you're trying to drive a roomful of rockers into sweaty frenzy? The fact of the matter is, if you like classic, blues-tinged rock n’ roll, you are likely to have heard something like Squeamish Dish. Leivers is not reinventing the wheel here, nor is he trying to. If you're someone who needs to hear something entirely novel and unique with each album, you'd best look elsewhere. If that is the case, however, you're likely to have a frustrating listening career, as most music is at least referencing something you've heard before, but putting a fresh spin on it. Squeamish Dish is the sound of a basement practice space on a Saturday night, the sound of weekend taverns across the universe cast in dim neon light. Some might say it's low-brow, unimportant, but it's not. It's using music to express and enjoy yourself, which is one of its most essential functions. Squeamish Dish is not a perfect record - the recording can be a bit muffled for some hi-fi purists and quick, dismissive listeners might not be as awed by the obviously technically proficient multi-tracking at work here. But it's their loss. Here, in the tailwinds of 2015, I'd like to offer encouragement to everybody out there to work on expressing themselves, making whatever honest, personal music they want to make. Work hard to master your instrument(s), and get your recordings to sound their best. In 2016, I'd like to see the "if you built it, they will come," potential of our interconnected world reach its fruition. The idea of trends and progress and innovation and keeping up with it all is what's drowning our world in vomitus garbage. Forget it all, and just the music you want to make. The people who want to hear it will find you. An excellent start from a talented and dedicated musician and songwriter.
Made up of friends and connections from various high schools and colleges in Florida, The Conscious Kind is a four-piece rock band and is a three-time champion in battles of the band contests. Their recent release Eyes Wide Open is the band’s debut album, and although the album isn’t a concept album, each song was written with an obvious flow and a vague story written between the lines, which makes the album feel cohesive and complete.
“Get Real”, the opening song of the album, quickly steers the music towards a classic acoustic-driven rock style. Electric guitars and energetic vocals propel the song forward, and the electric theme is continued in “Midnight Eyes” with a slowly building intro that transitions into a groovy, keyboard laden sound. The band’s vocals play a big part in binding together the various sounds provided by the other band members and the emotive singing in “Weapons” is an example of this. The next track on the record belies its title, “Tired Song”, because even as the lyrics and tempo are rather sleepy, the band pours its unfettered energy into the dynamics of the song. The contrast makes this song very enjoyable to experience. “Don’t Let Go” starts out with a repeated, lonely note that quickly shifts to an upbeat, minor chorus that gradually expands into a full-fledged rock anthem. The record’s longest song “Plight of Mr. Ned” is also arguably the best, even with its lack of vocals, as it has the time and space to experiment, tweak and land on catchy rhythms and riffs. The title track of the album follows this up nicely with a love song capturing harmonious tones and presenting an alert, yet lazy aura. “You and I” liven up the scene a bit with pounding drums and swelling guitars, paving the way for a conventional alternative rock style to take its place in the song. The album ends with “Stars Feel Our Energy” an apt and reflective ending to this tremendous record. Overall, The Conscious Kind have managed to experiment with many styles and sounds on their first release without abandoning the core techniques and attitudes that infuse all of their songs.
Big Big World by Magnolia Motel is an EP of a mixture of roots and alternative rock with lots of energy and passion throughout.
The EP opens with “Old Apartment,” a bluesy roots rock song in the vein of The Band or Kings Of Leon. The drums and guitar are way upfront in the mix giving lots of energy to the song with crisp hi-hat hits. The organ is a little soft in the mix, but adds some nice swells when it’s present. The chorus is quite catchy, and the outro has some nice guitar work reminiscent of some ‘90s alternative rock. The song could be a bit more concise but the energy is certainly present throughout. “Aztec Gold” is based around a funky rock synth riff. The lead vocal has some Anthony Kiedes influences in its speak-sung vibe but with some real grit. Halfway through the song, the band slows down to a sludgy early Soundgarden heavy riff that really sounds huge and digs into some great places. The transition back into the first section is a little rough but it is nice to hear the slide-y Jimmy Page guitars again. The title track is a minor blues straight out of a smoky roadhouse. The backing vocals are a nice touch on this track in particular adding some nice subtle harmonies without ever distracting from the vibe. The breakdown is abrupt but it is nice to bring the bass and piano to the forefront for a moment and hear the triplet subdivision within the band. The EP closes with Picasso, full of large synth pads, a great contrapuntal bass line, and lots of interesting drum work. Halfway through the introduction of a shaker gives some nice contrast to the timbre and the guitar tones sear through with raw electricity. Overall, Magnolia Motel has lots going for them in their passion and energy. Some editing down of the songs, tightening up certain sections and making them a bit more concise might help some of those strengths shine even more.
The Commercials is the duo Brandon Unpingco and Karsten Fischer. On their recent three-song release entitled Laugh Tracks they give us a sample of their music. The music revolves around drums, guitar, bass and vocals which are a tip of the hat to rock from the ‘50s and early ‘60s. Early Beatles, The Animals and The Penguins are decent reference points to the type of music they play.
They open with “Emotion Potion” which certainly has that original rock n’ roll sound. It’s a solid song that embraces the tropes of rock that people have come to love. The vocalist has a good voice and certainly seems to sing with the spirit of some of the forefathers of the genre. He sings, “I told my baby, I ain’t gonna leave her alone” which if sung in a different way could come off as an obsessive stalker. Luckily, it sounds like he is just talking about persistence and comes off as innocuous. My only minor quibble is the band gets off time on occasion throughout the song. The second track “Loser” is another success, which is ultimately carried by the vocals. The vocalist switches it up in terms of singing style, which makes the song engaging. He sings over a simple chord progression that is easy to enjoy. The verbal athletics start a little over a minute in the song. They close with “I've Been Comin' Home” which feels like it came right out of the ‘50s. It catchy, sing-along worthy and also happens to feel familiar in a number of ways. Bands who pay homage to certain eras in music is nothing new. There is nothing wrong with that and in fact there have been many bands that have risen to fame because they were unapologetic about their influences. The Commercials certainly have nailed down a style we have seen done before. The hard part is seeing if they can infuse their own essence into an already celebrated style.
Miranda Medley is an artist from Toledo, Ohio who is a self-taught musician who has been playing guitar and writing her own music for about the last four years. She has utilized the tools she has to record and release her album Ghosts, which consisted of her cell phone.
No matter how good of an engineer you are you aren’t going to get a sound recording on a cell phone and that's pretty much the case here. Despite that her voice occasionally shines and I have to say I really loved it. It almost reminded me of a female version of Youth Lagoon. The songs are simple revolving around a couple chords while the lyrics are heartfelt and avoid clichés. She definitely shows potential on these songs. Up first is “If You// Then I” which is a highlight. I just wish had more clarity. It’s certainly catchy and the lyrics are top notch. Her lyrics reminded of something you would have heard from the Microphones. She sings, “If you are a mountain then I am an avalanche and if you are a river then I am a flood and if you are the summer then I am the rain if you are a swimming then I am lightening.” For some reason on “Vampires & Demons” her vocals had more clarity and weren't as muddy. She sings, “Vampires and Demons they will take you while you're sleeping you will wake up in a coffin in the middle of the floor your mother will be crying and your father will do nothing cus you haven't been right since the day you were born.” Medley comes in way too hot and loud on “Ghosts.” It’s about 4 dbs louder and will make you jolt if you aren’t expecting it. The closer “Meadows” is beautiful any way you slice it. I loved her vocal harmonies and reminded me of Julianna Barwick. Medley certainly has a lot of potential. There is no doubt about that. The next thing she is going to want to do is probably find an engineer/producer who wants to work with her to help with the more technical aspects. If she does that and continues to improve she should be golden.
Will Smillie aka Mr.Will is a jack-of-all-trades. On his recent release Motel Pools he wrote, recorded, mixed and mastered his songs in his home studio. His music falls under the category of indie rock/pop that aligns with artists like Tame Impala and Mikal Cronin to name a few.
Motel Pools is an exceptional release all around. Smillie has a lot of things going for him. He is a good songwriter, managed to keep a flow to the five songs and I thought his voice sounded great with the music. First up is the title track, which has a slow, atmospheric feel to the music. It’s his vocals that really carry the song. He sings, “I Feel / Like I'm the only one / Who's ever been this far away / From home / And I feel / The calm before the storm / The noises as they fall away / Leaving me alone.”The general theme dances upon the topic of being a lone wolf and embracing that fact. “Heir to the Throne” is the next track and another success. It’s catchy, upbeat but coated in melancholy. He sings, “Oh, it breaks my heart, it breaks my heart / Don't want to see it fall apart / You see it fall apart.” “Why is the Sun Coming Up?” felt like a bit of a transitional piece because of the length and ambience. The synth/organ that goes slightly out of tune in a My Bloody Valentine kind of way was a nice touch.“Where Does the Light Go?” delivers some more indie rock/pop goodness in which he revisits the theme of isolation and being alone. He sings, “Is he still safe at home /Sitting alone? /Telling himself / To live strong or die.” He closes with “Losing Threads” which has some traces of The Flaming Lips. It’s a great, nostalgic, reflective song that serves as a great closer. Motel Pools is a great EP. It takes a little time to soak in but Smillie delivers the goods. Highly Recommended. |
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