Treatment is a New Bedford, MA-based quintet, debuting with the EP Slow Burn. Formed by lifelong friends Mike Kelleher (guitar) and Brian Benson (guitar) after acoustic songwriting sessions, the group now comprises Don Reed on drums and Mike Dunphy on vocals, as well as Ryan Briggs on bass. With influences across the spectrum of alternative music from Brand New’s emotional pop-punk to the post-hardcore churn of Alexisonfire, Treatment’s three-song set delivers an abbreviated version of that same variety.
The EP’s first track “The Greyhound Bus That Never Came” opens with vast washes of effected guitar with Dunphy delivering somber vocals as the instrumental starts to build. The post-rock soundscape is punctuated with titanic fills from Reed, and eventually a heavier rhythm guitar brings a simplicity back to the track, as Dunphy edges towards screaming. Moving from quiet desperation to a louder kind, “Greyhound Bus” demonstrates Treatment’s willingness to playing with emotional and musical dynamics, bridging hardcore punk tropes with something altogether more complex. “Rut” has a more straightforward, mid-tempo punk backbone, evoking Joyce Manor or, even with Dunphy’s vocal stylings and the chiming guitars, a heavier Built to Spill. The “I’m in such a rut with you” refrain has a terse punch, and the scream in the heavy bridge introduces a torturous, dissonant moment into an otherwise level track. “Rut” is ostensibly Treatment’s more melodic, pop-leaning offering, but the band still works in shades of gray. It works well—what could be a dull moment instead engages with the unexpected. The third and final track “Call Me Old Fashioned” has a wistful dual-guitar intro, settling into a syncopated pattern as Dunphy comes in with a shouty, conversational vocal. The chorus section has a classic sort of emo tension, and backup vocals carry some of the melodic content Dunphy rejects in favor of sheer catharsis. The tremolo-picked guitars rise to a triumphant high towards the end before feedback squeals carry the track home. “Call Me Old Fashioned” sees Treatment leave it all on the field, concluding the EP with the sheer emotional weight of the genre’s greats. Though it’s only a slim view into the group’s potential, Slow Burn emphasizes the group’s uncompromising, ever-shifting approach in its brief runtime. Treatment has made a bold entrance with this EP, bringing potent instrumentals and pained lyrical content designed to be shouted along to. It will leave you looking for more or at least running the tracks on repeat.
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Rayven Burdette who goes by the stage name Billy Loomis was in college when he decided to pursue music instead of acting. I’m not sure which career path is more difficult but both are cut throat. Loomis took his first steps into music with his EP IM NOT CRAZY!
He plays a mix indie pop music that is often upbeat and built upon clean guitars and atmospheric pads. He opens with “IT'S COOL RIGHT NOW” which is definitely a highlight and shows some of this talent. As catchy as this song is it also hits upon a popular contemporary sound that seems to be ubiquitous in the music landscape. The vocal melodies are memorable and I was impressed by how catchy the song was. He sings, “The steps are written for you / On every page / You have the board but have no sage / You’re not safe.” Up next is “LAVANDER DREAM” which changes to a downtempo lounge-y almost R&B stye song. It’s another solid song largely because of the vocal melodies which carry the song. Up next is “Blue OG” which brings up the mood with a light and casually cool sounding groove. The chorus is perhaps the most notable on the album and was instantly catchy. Loomis strikes a different vibe with “THE DOOR.” The lead guitar at points relies on Eastern modes and sounds like something I would hear in a Quentin Tarantino movie. Loomis closes with the synth heavy “213” which in all honestly creeped me out a little bit because of the lyrics. He sings, I said "Jeffery why do you have that gun?" / He said "Hunting makes the gathering more fun” / Why do you have blood in your eyes? Loomis certainly has some skill. If he is going to take music seriously as a career there is simply no denying that he will have to work with professional engineers to bring the recording quality up to more competitive levels. Don’t get me wrong - Loomis did a solid job for DIY but his competition is going to be bands like Mac Demarco, Tame Impala, etc and he is going to have to raise the bar in terms of the production and recording quality. Overall, there is a lot to enjoy here. Loomis has a good ear and can write a hook. He has a lot of time to refine his music and I wish him luck in his endeavors. Robert Ranaldi, the one-man band from Montreal, Canada has been consistently putting out music since 2013 under the name Man And Things. His tidy, four-song EP New End released a year ago offers songs about life’s journey and how each of us go through it in different ways. Known for his use of MIDI instruments, this short collection was recorded and mixed in Ranaldi’s home studio in Long Island, New York.
“Is It Mine?” has a very unique blend of instruments with a steady, slightly distorted electric and an acoustic keeping the rhythm along with an off beat, not literally, but it’s not a regular rock n’roll beat either. There seems to be a lot interesting things going on here, so give this a listen or three. “Pante Myme” sounds light-hearted and happy with a gentle, rolling acoustic rhythm. I’m not sure what this song is about but the keyboard parts make me think of seeing one those organists sitting on the back of a truck bed trailer in a summer parade, which always put a smile on my face. With the next number “Man Down” I sense there may have been some post-Beatles or Harry Nilsson influence here (I’m thinking Lennon’s “Jealous Guy” or George Harrison’s “All Things Must Pass”). If you’re familiar with sadder ‘70s soft rock then you’ll know what I’m getting at and I for one love that stuff – so yeah, this is my favorite. There is some pretty good layering here as well with regard to the vocals, and the addition of drums. Speaking of the vocals, Ranaldi’s voice seems lowered on some parts, which I suspect was intentional. “You Made The Scene” features drums again, rolling picking on guitar and some synth. This one likewise has a sad feel to it, but in more of a nostalgic way as if Ranaldi is remembering a time past or a time yet to come. Either way, New End in my view sounds like a thinking man’s music – intellectual and philosophical in some ways. Good music for spending time alone reflecting on your thoughts and about your life’s journey. There are certain people in the world who simply operate better as their own boss. Kyle Wagoner of Aloner had to learn this the hard way. Being one of a few drummers in a small town like Frostburg, Maryland, he had worked with a plethora of bands. Early on he did an album all by his lonesome that he ended up despising. He admits to being a bit naïve on what it takes to put an album together at that time. This brought him back to working bands, all the while having a notion in the back of his head that he could do things better. It would appear he’s finally found the partners in crime he needed with Aloner because the latest album, Closer to Home is a solid collection of work. Musically this album takes me back to a place in slacker rock history when MTV was still worth a damn. The songs are lingering, belligerent and possess a tasteful amount of crunch. I dig it. The lyrics stuffed in there are often morose and dank, but hold a very real amount of truth to them. One defining feature of this album is the song length. These songs are short, usually just a little bit more than minute. I kinda got the sense I was flipping through the channels of Wagoner’s mind. Each song is like a thought, comes and goes just as quickly. Admittedly this felt a bit like a tease. The melodies and riffs are so strong and fun and then they’re just gone. At first I scoffed at this format choice, but then I took into account that it is 2017 and who says songs have to be a certain length? I have decided to respect this rule breaking choice made by the artist and not let it bother me. Clearly I have been spoiled and coddled by artists for years giving me standard length times for songs. This album is decidedly a small-town production; however it doesn’t sound small town at all, it sounds freaking great. I can tell there was a specific intention meant to be achieved on the production end, and I can tell it was achieved. Aloner’s bassist Matt Wojcik has a home studio known as The Warren. This home studio also doubles as a venue. The two experimented with a lot of tools including pedals, amps, mic techniques - you name it. It seems they tweaked with everything. The end result was completely worth it in my opinion. There’s a lot being packed into these short tracks, and while I was left wanting more, I was never staining to get the full experience. Everything feels present and highlighted when appropriate. Aloner has managed to woo me with Somewhere Close to Home. I’d put it high on my recommendation list. I do feel the need to warn once again that the songs are short. You might be prepared to let go of the fun stuff happening as quickly as you must. I’d give it a listen. it wouldn’t shock me if you end up hooked as I have.
The Guilty Minds is a folk rock indie band from Ottawa, Canada. All seasoned musicians working on separate projects, they come together every so often to record and release an album. Natural Selections consists of eleven original tracks with a varying blend of rock, folk and blues.
As usual, I read the bands’ bio after listening to the album. Reading that they come together with no plans in mind and no “delusions of grandeur” and only make music that “their spirits compel them to” really made me look at the album in a different light. I enjoyed it, but I enjoyed it even more knowing every track was an authentic work of love and passion, so to speak. The Guilty Minds has an interesting blend of bluesy, folksy, sometimes country sound with pure indie rock vocals. It’s a mix that I can’t say I’ve heard before and was definitely refreshing. The first track “Hold On” had a sort of classic Americana vibe (yes I know they’re from Canada) with uplifting lyrics and an upbeat vibe. The next couple of songs had more of a rock sound and although they tended to come off as cheesy occasionally, they still were good solid songs. A standout track for me was “Evermore” which was slow and pretty with heartfelt lyrics about finding the love of your life. The layers of vocal harmonies were really beautiful. I also enjoyed “These Streets” which had a little country twang to it. The youthfulness of the lead vocal keeps the indie vibe afloat even in the tracks that felt more country which is a nice quality to have, especially for a listener like me that may not be a big fan of most country music. I think my favorite track of the album was the final song “Breathe.” This one had a ska-like vocal melody and a catchy relatable chorus that stuck with me. The jazzy feel of the song kept it upbeat and optimistic while giving it a really cool vibe. I really dug Natural Selections. There’s a little bit of everything in each track, making it really accessible for the average listener. The instrumental performances were really stellar and I loved the way each member has such individualistic qualities, yet they all blend so well together. The indie rock vocal style sounds so unique when the background isn’t exactly what you’d expect. You can really tell that The Guilty Minds enjoy playing together, and that’s the stuff good music is made from. Tom Fisher, Dominic Mill, Liam Dunn and David Lewins are Wutip. The band which hails from London released a three-song EP entitled Rough Cut that is about seven minutes long. As short as this EP is it’s extremely fun. They play punk rock that feels tongue in cheek similar to The Ramones. It's the opposite of angry punk rock like The Sex Pistols. The English accents work wonders as well. They open with “Street Lights” which I fell in love with almost immediately. There is this youthful exuberance that feels nostalgic in a way. I also really enjoyed the guitar work which at times reminded me of The Walkmen. The song is over in a flash but in typical punk rock fashion has no reason to be any longer. The band has more success with “Scott Walker.” The vocalist sings about listening to Scott Walker and drinking alone. I’m guessing he is talking about The Drift era Scott Walker and not the teen idol but I can't confirm that. Either way the song is infectious and a blast. The vocals are tip top and the song gets anthemic like the Dropkick Murphys. Great drinking song. “Lumiere” opens with piano and vocals before introducing the guitar and drums. The song falls into a similar vein and builds to a satisfying climax. I love how carefree their vibe is. It puts you in a good mod without the hangover. No deep thoughts with these songs and there isn’t much more to it than that. Wutip should be your new favorite band and if they aren't then I’m sure you can appreciate the fact that these guys have really been enjoying the new season of Twin Peaks. My hats off to these fine young lads and I hope to hear some new material soon.
Adrian Russouw aka Belview is a young musician from Kelowna, British Columbia. When I say young I mean he is only sixteen years old. Russouw is displaying a tremendous amount of potential well beyond his age on his EP Cariboo. Cariboo showcases minimal instrumentation with artistic flirtation. It's by no means a straightforward album. The album is also dipped in a lot of melancholy and existential questions. I have to admit that I was thinking he was a little young to be digging that deep into questions that never get answers no matter how old you are.
After a short intro of noise he goes into “Wave Song” which I thought was the highlight of the album. It reminded me of early Animal Collective. He softly picks a repetitive melody but what really shines here are his vocals. The melodies are really well done and he fits in a lot of emotion between the notes. “Exposition” is less a song and more of an art piece and transitions into “Words” which was an off-filter song that combines warm distortion, simple melodies and his fragile vocals. It works surprisingly well and I thought the unorthodox vocal delivery fit the song. “Lavender” was a pleasant track but it felt a just a little long winded. It has jazzy overtones with ambient hums. Up next is “Someplace” which is arguably the most dismal sounding song. He whispers and laments “I need something to hold me down.” He pulls it off. The centerpiece is the eight-minute “I Hope They Hear Me/In Red” which is the most ambitious piece. It made me think of some of the more experimental work from The Microphones. I starting writing music about the same age as Russouw is now and that was twenty years ago. There is no doubt in my mind that if Rossouw continues to write his best work is yet to come. With how much raw talent he displays here I have little doubt that his future work will be incredible. Overall, this is a very solid lo-fi album. There are some notable songs with just enough artistic sensibility that the songs don't come off as pretentious. There is a lot to appreciate here. Recommended. Julian Daniel is a singer from Toronto who recently released an EP entitled PILLS. The EP contains three songs all of which sound completely different in numerous ways. They all are different genres with very different aesthetics.
The EP opens with the title track which is far and away the highlight on the EP. I’m not sure as to why but the production and recording quality is so much better than the other songs that it was hard to compare. The song is pretty straightforward but a well delivered, upbeat, pop/dance song. There is a great hook and lyrics and I thought the instrumental aspects were very well thought out. The song feels like the style Daniel excels in and I hope to hear more in this vein. Up next is “Bodies Stand Up” which has its moments but is so filled to the brim with “phaser” effect that it took over the melodies of the song. I couldn't make out the lyrics which was hard to get past. Daniel ends with “Stay With Ella” which takes such a dip in recording quality. His vocals sound lost and distant against the solo piano. It sounded like one mic was held up in a room. I’m not saying the song wasn't well written but I wanted an intimate type of production. Daniel has some talent but there are a couple things I strongly suggest he move forward with. I think he needs to figure out what type of music he wants to make. It's especially crucial for artists starting out to build a vibe, a mood and a feel for their work. Building a foundation is paramount and I can list countless examples of artists who do this and then are able to find an audience. As I mentioned I thought the title track was great. It hit all the right notes and was a track I could see a lot of people out there enjoying. Daniels falls into a case of wait and see as of right now. On that note PILLS felt like an appetizer and I want to hear more of what Daniel is capable of.
Every week we mention a couple of artists that are worth your time to check out that were not featured in our weekly reviews.
Artist Album Rating Psychic Revival Pain Free 4.0 Arcadian Child Afterglow 3.6 The Substant Orthodoxy 3.9 Fletcher Valentine Infant Eyes 3.5 Samoaja Landscapes 3.9 Rafael-Carlo Serrato The Ferryman 3.5 Plastic Knife Fight Box of Chocolates 3.4 Stop n' Shop Pain Management EP 3.4 Metaphysics Reformation 3.6 Cam Frampton Black As Coal 3.7 Mona Bay Mona Bay 3.6 Refractal Refractal 3.7
Rory Wilson (vocals), Dan Bigland (guitars) and Greg McAndry (drums) are Primal. The three-piece band from the UK recently released a four-song self-titled EP Primal. They play a familiar strain of hard rock/blues that was made popular largely due to the success of Led Zeppelin. In fact I think the similarities to Zeppelin are the most overt here from the Jimmy Page style guitar to the vocals which often mimic the howl of Robert Plant.
The band opens with “Got A Hold On Me” which is by all accounts a fun song that would translate really well on the stage. Nonetheless I think the band properly captured the spirit and energy of the song. “Mystery Man” follows a similar vibe but perhaps even more bluesy as Wilson really pushes down to find the soul within those notes. “The Hustle” opens with a Bonham-esque beat that is simply undeniable. I loved the groove but the song doesn't have much of an anthemic hook that I thought was inevitable. They close strong with “Pride” which is arguably the highlight of the EP. The melodies were memorable and the rocking is taken to the next level. I do love this sound and the band's energy. On that note I think they should continue to dig to find their specific niche. The similarities to Led Zeppelin felt more and more obvious and got me in the mood to listen to “Whole Lotta Love” and “Black Dog.” Overall, the band is on the money with this EP and will strikes a chord with fans of hard rock from the ’70s. The technical talent as well as the ability to create a notable groove seem effortless from the band. I think with a little bit more of defining sound this band could take it to the next level. I hope to hear more soon and I am interested to see where they go from here.
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May 2024
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