Kate Vaughan is a Calgary-based singer/songwriter, drawing on jazz, folk and alternative influences. She is classically trained on piano and voice and it’s not a surprise after to listening to her wonderful four-song EP entitled Yesterday Left Without Her Suitcase. Vaughan does something impressive that I always try to give as advice to a lot of new artists. She is able to showcase different sides to her sound while establishing a very concrete foundation. That foundation isn’t necessarily a genre but a singular type of sound that artist seems to be able to capture.
Vaughn opens with “Close Your Eyes” which combines a warm almost ’70s pop vibe with jazzy overtones. The sax is great. There is a classic sort of feel to the instrument. Vaughn steals the show however with her vocal performance. The song gives you what you want - a rich verse, short bridge and memorable chorus. “Avalanche” has a midnight jazz type feel to it. It’s slow, slick, so smooth and dare I say sexy sounding song. The vocals are really nuanced on this song and you can hear what makes Vaughn such a good singer. I also have to mention those brushes were a great choice. On top of all that Vaughn is able to combine concrete language with metaphors that allow you not be confused by what she is singing about it. My appreciation when up even more for Vaughn when we get introduced to banjo on “When It's Over.” This song is pretty triumphant sound especially when we get to hear the horns. It’s also pretty catchy and another great vocal performance from Vaughn. The EP closes out with “Morning Song” which is a slow burn. I loved the lyrics which at first paint a somber picture of wanting to stay hidden in one’s dreams. As the song progresses the mood lifts as does the message. Vaughn crushes it with this EP. It’s such an easy EP to appreciate and the musicianship is often very technical but never seems forced. Don’t miss out on this one.
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Logan Eley and Matt Sadler are the duo known as Video Fortune. The two friends have known each other for fifteen years but just formed this project. They released You And Your Friends Are Dead. The seven-song album is a slightly off kilter avante garde project which as the duo puts it “the intent is to capture the feeling we had as children, exploring the world.” Fair enough. The styles are pretty scattered and you can’t really define the album into a genre because they don’t stick to a particularly style. On that note I had some preferences.
The highlight was the opener “Native Fortress.” The initial arpeggiated synth and simple guitar pattern are somewhat reminiscent of Animal Collective. I would argue the duo do their best work on this song of creating a vibe that at least feels like it was made for children. It’s a simple guitar pattern with a sing-a-long type vocal melody. Up next is “Limon” which is comprised of a sad sounding pad, effected vocals and guitar. The song is melancholy and at its best has some similarities to The Flaming Lips. The duo starts going into left field with “Mr. Bandit” which sounds like a silly mix between Primus if they didn't have amazing instrumentalists and avant garde noodling. “She Ain’t Normal (She Just Polite)” takes another 180 turn into the most straightforward song on the album. It’s more or less a couple of strummed chords and a lead vocal. The duo attempts to cover the exceptional song “Here Comes Your Man” by The Pixies. “Night Voicing” has a bit of attitude and deep beat while “The Lies Our Father Told” is a slightly catchy pop song. The duo needs a little direction in some way. It’s a very mismatched sounding album where every song felt like a different group. Cohesive qualities are what makes an EP or album memorable. They are also some issues with staying in key which was noticeable to me on a couple of songs. I like the band's willingness to experiment and think outside the box. There are some inspired moments throughout the album but I think their best work might be ahead of them. I wish them luck in their evolution.
Mean Reversion is the combined efforts of Cliff Hurvich and Foster Provost. They have been performing together for about ten years and recently released a ten-song self-titled album Mean Reversion. The songs combine many different styles from prog rock to folk. There is no denying the songs feel like full productions. On that note I certainly had some preferences.
One of the highlights was the opener “Clarity.” There is a clear ’70s vibe here when it comes to the music. The vocals have a slightly off-kilter Simon & Garfunkel type vibe. I really liked the instrumentation but thought the piano was exceptional. “Blessing of My Birth” has a clear change in direction but was also another highlight. There is an obvious Bossa nova feel and made me feel like I was listening to Jimmy Buffet. Up next is “To the Light” and the flute made me think of Led Zeppelin. The vocals however are very theatrical. I have to admit I didn’t think the vocalist’s voice worked very well here especially when jumping to high notes. The vocal harmonies that soon approach sound much better. As the song progresses the instrumentation gets thicker. “Tears on the Wing” is an atmospheric ballad of sorts. “Bayonets of Truth” is a solid song with some intriguing instrumental sections. “Dunes” is purely instrumental and is where the group shines. The song is thematic and has an old spaghetti western type melody. “The Pane” is a piano led song that had its moments but the percussive and organ fueled “Of All People” is not to be missed. They take you two different places emotionally with the last two songs. “Flying” sounds ethereal, lush and very atmospheric while “Never Going To Work” shift moods completely into the most upbeat and joyous sounding song. The duo certainly has some talent and I would say their talent as instrumentalists and as songwriters is what impressed me. They are able to keep the songs interesting by deviating from predictable structure which is usually a good thing in my opinion. Take a listen.
Joan Mercury is a pop/R&B adult contemporary recording artist based out of New York City. She got her start in 2015 and recently released Mercury Rising. The songs are certified pop and Mercury has all the right elements to feel competitive with top tier artists. I also felt there was a bit of a flashback to earlier days of pop not too far away from Janet Jackson.
The album hits you with “Never Enough” as the opening track. It was nice to hear so many organic elements such as guitar and organ. That being said the huge drum sound made the song sound like a modern pop song. The hooks are there throughout. “Proceed With Caution” is a soulful jam with a clear ’90s flavor. It made me a little nostalgic. “Purpose” is a reflective jam that is both melancholy and motivational. “Distractions” is a little funky in an electronic way while “Over It” is all about moving on. “I Release” is a highlight. It’s an extremely slick sounding track and reminded me of TLC. “Out of View” is another slow moving R&B inspired jam. It's very chill and relaxing. The party gets going with the crisp and clean “Karmic Energy.” Mercury has more success with “I’ll Take My Chances” and the closing motivation song “Bitch Back.” This album is really well done from beginning to end. All the songs have an undeniable seamless quality. I never felt I wanted to skip a track or was taken back by a song that didn’t fit the general mood. If you are interested in a pop album that has a lot of ‘90’s roots I think this is a solid choice. Take a listen.
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 Large Margin Large Margin 3.7 The LoveHowl The LoveHowl 3.6 A Horse Run DMV Bedtime Stories 3.5 Skinwalker Invocation Watcher On The Wing 3.4 The Wax Fangs Oiltronic 3.5
As an instrument in and of itself it can have a unique sound depending on its attributes; shape, weight, tension, etc. However the musician playing the instrument has the most control over the way the instrument will sound. The musician controls the tones and the way things are allowed to reverberate or not. They also control the emitted feeling of the instrument which causes the listeners mood to move from happy to sad to awed. It is this profusion of instrumentation and lack of musical boundaries which Oakland, California based violinist Briana Di Mara brings to the forefront on her eclectic debut record Haven. Along with a cast of fourteen other musicians Di Mara weaves a beautiful tapestry of world music on Haven.
Haven opens with “Home” a flourishing piece that sets a mood and tone of music that ranges from hints of Irish pub music to gypsy jazz. It is both eloquent and haunting at the same time bringing up images of eastern European campfires and royal wedding entertainments from centuries ago as it moves seamlessly into the second song “Storyteller” wherein Di Mara’s violin acts as the storyteller as it takes the listener on a journey of high and low notes which once again blend a European folk musical tradition with a modern feel and flair. Then she takes us on a more dramatic journey to India, exploring that vast lands musical traditions with “Seyyah,” and later on the rather magical and intriguing notes and movements of “Muse.” Later she and her band of world musicians take us back to the exciting and elegant realms of gypsy jazz with a bit of latin inspiration mixed in on the masterful “Moonrise.” These pieces on Haven are meant to move you and do move you in a way that other genres of music simply aren’t able to. Haven’s songs cast a spell on the listener, an ancient spell from ancient times, yet the music itself is rendered timeless by Di Mara’s thoughtfully well-orchestrated arrangements. Haven is not simply a wonderful record, it’s a wonderful and lasting work of art.
After performing with many bands, northeast Iowa native and singer/songwriter Lizzy Poppyseed put out her debut record Stone Ground this past October. Nova Labs, a local record label located in Ames, Iowa, states that Izzy’s voice is “In the league of Chris Robinson of The Black Crowes” and that her work “tackles religion, death, living in Iowa, and more, in the vein of Springsteen (but with a tongue more firmly planted in cheek).” After a listen, you may agree that Poppyseed’s work has all the raw emotion, honesty and tenderness that blues, Americana, soul and alt-country are often known for.
“Born Again” starts things off with a classic, bluesy sound, something like the Black Crowes meets American southern rock and soul from the ‘70s. “I Don’t Hold Hands to Pray” reminds me of a Carole King song, when she wrote catchy do-wop songs for Motown acts, before her masterpiece album Tapestry. Although, Poppyseed doesn’t sound like King, the spirit and soul of this famed ‘60s genre style was there. I was blown away by her vocals and piano on “Road Merlot” – I mean, she really belts this tune out with all her heart and soul and she makes you feel it. “StratUsphere” has a straight up funky rock rhythm on drums and guitar, while Poppyseed lays down the main melody on piano. I liked how “Flyover” featured fresh arrangements and change ups. The piano work Poppyseed does on this tune sounded incredibly difficult, because not only does she maintain the melody, but she plays the piano rhythmically, timing her fingers and pairing them with the lyrics. The bass guitar and solo guitar work were also excellent and brought more layers to this dynamic piece. “Wadena (By Way of LaCrosse)” starts off with just piano and vocal and the tempo slowed down. This number clearly makes its mark as the album’s ballad. “Family Plot” is a shorter tune and its style is very much like a gospel country tune, but not with those happy God-fearing “I’m heaven bound” lyrics of old. Poppyseed’s songwriting on traditional religious beliefs, or lack thereof, are her own, and she belts them out with no regrets. “Jasmine Rose Woman” is another great, soulful tune filled with some very sensual lyrics. She gets low and sultry on vocals and piano, and I swear at times channels the spirit and style of Nina Simone. Overall, I enjoyed Stone Ground and I thought Poppyseed wrote great fresh takes on the blues, soul, alt-county and Americana folk genres. Her voice has a pureness about it that is perfect for these music styles and I suspect that voice will be around to sing even more.
Seventeen years in the local music scene in DuPage County, Illinois, Brandon Von Vacik has had his share of fronting Chicago-based bands, most notably Beneath the Blue and Dreaming in Stereo. Both became very popular in the area and received local airplay in the latter half of the last decade. Von Vacik has also gained ground as a solo acoustic act and frequents many local Chicago venues with his original work. His latest release Dream in Stereo came available this past summer.
Von Vacik describes his sound as “Chicago Style Americana” and prefers playing and recording songs just as they are – songwriter’s songs, if you will – and not to force an album’s direction by following a current popular trend. He explains Dream in Stereo is a culmination of the many years or learning, or rather relearning, how to play guitar and sing, after he had multiple head traumas from the falls he took (he suffers from a neurological condition that affects his heart). He recruited the help of fellow drummer Cameron Conyer and Jordan Popp on bass and acoustic guitar. Popp also helped Von Vacik mix and master the album. “City Lights” has a fresh, contemporary sound – a little indie, a little acoustic rock – mixing acoustic, piano and a solid beat inside a love song with thoughtful lyrics. “If We’re Gonna Go Down” sees a little more action on the acoustic and piano. At this point, I’m hearing a lot of influences: anything from John Mayer, Ed Sheeran, Matchbox 20 and even Jackson Browne – he goes back a few years for sure. “Safe (The Rain)” begins with a lighter sound with the acoustic upfront, accompanied by the piano and not drums, which I thought was a good choice. Overall, this is a great love song to take on the road while spending time reflecting on your life. “For My Daughters” feels like a good old-fashioned country waltz but with a modern sound. And with tender lyrics Brandon sings to his daughters. Love songs don’t get much better than this. On “Taking Chances” Von Vacik sings about that thing called “falling in love” and getting caught up in those euphoric feelings that one finds themselves in when love is new. “Symptom (Saints in Purgatory)” is the first single Brandon released back in May and he seems to be addressing his health condition here – “take me as I am / I’m a symptom, not a man.” He really writes some thoughtful and deeply vulnerable lyrics and worries that his condition may affect his love life. I thought the arrangement of instruments had a refined and intricate sound to them, which made me want to listen to this song again. The last song “Valentine” turns the rhythm distortion on, along with a cleaner, crisp guitar lead. Von Vacik sings “Girls like you are hard to find / Will you still be my valentine / If I promise to fix myself in time?” He gets straight to the point lyrically – although still doubting his acceptance from the woman his loves – and ends on a high note with this tight rocking tune. Make sure to take a listen to this EP.
Scattered Suns is a two-piece band based out of Salt Lake City, Utah comprised of Ue'i Takapu (vocals) and Tanner Giles (music). The duo actually met in Argentina and an inside joke turned out the be the name of the group’s EP - Third Floor Theory.
The EP contains six songs which contains elements of pop and electronic. You could point to a group like The Postal Service. There are a lot of elements most of which feel as if they are coming from a laptop. “Go With You” is the first song. You are greeted with a bass drum, piano and vocals. There are other elements that are added to the song. It’s a catchy song and Takapu shows his capabilities as a dynamic singer. I was starting to get impressed with “Bright Blue Skies.” The song is infectious and has a joyful upbeat energy that is hard to deny. The vocal harmonies, musical elements, etc. all come together very well here. “Miss Communication” is more emotionally resonant, melancholy and like a ballad while “The Ride” felt like the most single worthy pop oriented song in the batch. “Primavera” is an instrumental grower with elements of post-rock and shoegaze. By the end of the song it sounds epic, nostalgic and ethereal. Last but not least is “Lost & Found (feat. Emily Roberts). The two vocals sound good together. It’s really all about the vocals here which intersect with each other. I like what the duo are doing but have a couple of suggestions. There is no doubt I would start seeking a more organic piano sound. It sounds inarguably digital and I know plenty of great companies that make a much more organic sounding piano sound. The group leans more towards pop at the end of the EP and I think a couple more refinements in the mixing and mastering department will have to be implemented to compete within the sphere. Overall, there are some good songs on this EP which showcase their talent. I think they work well together and I hope to hear more soon.
UFO MESSIAH 3 is the third release from UFO MESSIAH comprised of Chris Phipps (keys/vocals/acoustic & 12 string guitars), Marcus Leahy (lead guitar/bass/vocals) and Mike Morobitto (drums/percussion). UFO MESSIAH 3 comes in a little less than a year from the previous release UFO Messiah II. These three songs ring with relevance in regards to our current political climate in the states.
Up first is “Ghost of America” which is a melancholy ode to the 2018 America of political divisions, rampant gun violence, climate change horror and denial. The song opens with a couple of guitars which create a memorable melody. Once the verse hits, a bass along with the vocals are added to the mix. The vocal delivery is top notch and through the addition of other elements gave more emotional weight to the song. The crescendos are subtle and rely on a delay effect which drizzles over the edge of a mountain. It’s a well crafted song and quite memorable after the first time you hear it. “Heart, Mind and Soul” is a cathartic song. It’s motivational both in the music and lyrics. The vocalist sings, “after the hurting there is healing.” I was reminded of the group The Doves at times in that they reach a number of peaks that feel life affirming. I thought the highlight was “Town Without Pity.” First off the snare rolls on the first verse are on point. More importantly however there is a classic Americana type of vibe. The chorus in particular felt classic in a way like you’ve heard it before. It’s a chorus I was able to hum along with after I heard it for the first time. This EP goes by fast. It’s a quick ride and certainly worth taking. In fact If you listen once you will most likely re-visit the songs over and over again. |
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