Asher is a band from Chicago comprised of John Perrin (drums), Herf Yamaya (bass), Neil Carson (sax), Connor Bernhard (trumpet) and Asher Myers (songwriter/vocals/guitar). Myers explains “this collection of songs are all loosely connected to movement, the passing from one place to another. Some songs represent a story about a person in my life, while some songs talk about ideas that have crossed through time. Transit also represented a connection to the city where my ideas and influences have developed.”
The songs on this EP are fairly straightforward indie rock. That being said everything from the production to the songwriting to the delivery is top notch. It didn’t take much effort for me to appreciate having grown up on similar music in the ’90s. The first song is entitled “Find a Rifle” and revolves around a clean guitar groove, drums, bass and vocals. Myer’s vocals carry the main melody and I found myself humming along by the second verse. The song stays clean but is dynamic and comes to its peak toward the end with multiple vocal lines. “Chicago to Lancaster” embraces a more distorted guitar during the chorus. This song might be the highlight. I found the verse to be even more infectious than the chorus in some ways. At any rate, there was a lot to appreciate including the lyrics which include a great line - “why did you have to find me / I was fine with just being lonely.” Up next is “Oh Darlin”” and is another song with memorable melodies. There is definitely more than a hint of Americiana on this song not too far from Wilco. The horns also make their presence known. “Oceana” is a little more quiet, intimate and pensive than the other songs at least at first. There is a well executed build as well but I liked the fact he was showing different sides to his talent. He closes with “Cast to Sea” which is a song that melds nostalgia into the mix along with hope making for a good way to end. Myers has a boatload of talent and I thought he did a great job showcasing it with these five songs. He is scheduled to make an album next year and I look forward to hearing more.
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Green Light is a New Haven band previously known as One & Done. Under that name, they were previously a covers band, honing a unique sound with other artists tunes before creating their own material. While the band members have changed, the name Green Light represents their decision to go forward with a new creative direction.
And the change to original material is a smart one, because the tunes penned by singer-guitarists Courtney Seely, keyboardist Bill Cox and drummer Dan Coca-Ducachare are gripping, emotional lo-fi pop that pulls the listener in. The band’s sound is low-key with wonderful textures. Opening track “Uncentered” features a slick bass riff and lo-fi dance drums to provide a minimal backdrop to Seely as she voices her frustrations and provides a mantra for returning to your center and becoming stable through pain. The electronic keyboards are a eerie and dramatic touch. The following track “Lines” is an airy and folk inspired tune reminiscent of First Aid Kit. The hopeful lyrics and uplifting melody clash hauntingly with the dark synth. Green Light have a knack for mixing darkness and light. "Where To Fit" is a is a low-fi pop record crafted with a lot of love. Although the band toy with a split between acoustic based tracks and synth and sample heavy electronic records, the album nevertheless finds a cohesion through its stripped down and dark aesthetic. While this is not a perfect album, “Really Want To Say” in particular suffers from synching between the drum loop and live instruments, there is a lot to chew over on this release. In short, promising moments such as the intimate “Only A Moment” and that song’s escalating tempo, set to match Seely’s lyrics about running, are a good sign this band processes enough creativity to continue to build on Where To Fit’s great foundation.
Ryan Failla is a Detroit, MI based rock ’n roll singer/songwriter/multi-instrumentalist. Failla takes on multiple roles on his solo project’s newest release, a four-track EP entitled Exit Strategy. Taking the DIY route, all the instruments are performed by Failla and all the songs are also written, recorded and produced by the artist.
The new EP is centered around a signature sound that harkens to a pop rock cadence that is melodic and guitar driven. With influences flitting from pop and rock from every decade, Failla wears his influences on his sleeve. His signature sound is not only indicative of his influences, it is also a coherent collective of his own unique sound. Exit Strategy opens with “Pull The Pin” that right off the bat launches into an exuberant vibe. The track is in the vein of the punk rock spirit. The guitars are driven and melodic as well. The music is played loud and with verve. Following is “Boomerang” which from the get-go contains a country-twang appeal. The vocals are attached with attitude and flair with tunes that are bouncy and jaunting. This song contains a rocking country-bent vibe. On “I Don’t Wanna Hear It Anymore” rollicking guitars cover this track. A marching backbeat sounds off on this song. This is an upbeat and catchy track that embraces an Americana and country-driven feel. The tune is jangly and inviting giving off a warm vibe with sun-soaked undertones. On the closer “Someday Soon” aggressive guitars enhance the start of this track, creating a wall of sound. The song has a vibrant punk rock touch. The vocals are shouted out with verve. The rock cadence is infused with a fully charged feel. A radioactive guitar solo launches itself towards the two-minute mark. A highly invigorating vibe manifests with a pulsating energy. Failla shows all the stops with his energized EP and music with everything from punk to alternative. The artist is influenced by all walks of rock and pop music. He wears his influences very well with a sound that feeds into classic rock to punk to classic country. With a cadence that is reminiscent of artists such as Green Day, The Rolling Stones, KISS and Foo Fighters, Failla’s signature sound is a coalescing of his influences as well as a sound that is solely unique and raw. Failla intuits with his retro-inspired material that fans of oldies would welcome his music with open arms. Young and old listeners will find his music refreshing. Failla’s unique interpretation of vintage tunes won’t leave contemporary listeners feeling left out. Rather his modernized renditions will resonate with audiences new and old. While eclectic, (the EP finds itself a little all over the place), this doesn’t derive from the record’s cohesive sound. A signature sound is evident on the EP, a melding of melodic hooks and guitar-driven melodies. Exit Strategy is an apt sampling of Failla’s varied taste in music. Be sure you have a listen today!
Kane Coles and Peter Cox are A Little Something Missing. The band from Sydney, Australia recently released Dreams and Other Failures. There are five songs here all of which are a blast to listen to and fit nice and snug into the indie rock/folk category. A band like Clap Your Hands Say Yeah, The Dodos or The Shins is in a similar wheelhouse.
The EP opens with “The Drifter” and the song for lack of a better word is delightful. It’s smooth and joyous and I really enjoyed the aesthetic quality of the vocals. Suffice it to say the song is infectious and full of catchy melodies. The lyrics are well done as well and slightly poetic. Lines like, “All the sweat and booze dried up superglue that kept us tight / Life’s a game of musical chairs and me I’m all alone, alone at night” showcase his unique use of language. Up next is “Bill” which like the first song has a quality that makes it very accessible and it felt like ear candy. It doesn't feel heavy but it also isn’t light. The feeling of the song reminded me of having a good day. There is a pretty brilliant detuning they pull off with the guitars along with a breakdown and resurgence that hit the right points. “Good with My Lying” focuses on vocals and guitars at first although there are some additional elements that reminded me of Neutral Milk Hotel. There is a fantastic breakdown that builds back up with organ. The song is emotionally powerful and digs into both melancholy and joy. There is a really clever use of synth towards the end of the song. “I Like the Way You Like My Like” displays some other sides to their talent. There are moments where the music reminded me of other styles between folk and rock. There is some more experimentation in this song along with additional singers. I loved the way they stacked singers and built it in a way that really benefited the song. They close with “Hazy Days” which could be a highlight amongst highlights. The song is perhaps the most hopeful and I want to say empowering. It was a great way to end. There is a little something lost when trying to explain the quality of these songs. There is something about the more microscopic qualities of these songs which make this an exceptional release. They go five for five with these songs and is an absolute must for fans of the genre. Highly recommended.
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 derkalavier Live at Pianeo 2018 3.9 The Mourning After The 10th Century 3.6 Mitch Burger Heritage 3.7 The Galactoids Commune 3.7 Stewart Clark And then there was me 3.7
Thames is a five-piece indie rock/pop band comprised of Gabriel Jackson (vocals/guitar/keyboard), Zander Hayes (guitar/synth/vocals), Noah Gregory (guitar/piano), Connor Fiehler (bass/vocals) and Sean Buchert (drums/synth/vocals) from Saint Louis, MO that formed in 2017. The band recently released Spotlight which they say “dove into dance/rave music as well as ambient/electronic sounds.”
This is a great album and while the songs are dance worthy I wouldn’t call this rave music. My days at raves are long gone but there wasn’t much music playing like this at a rave in Chicago. Their music seemed more of the ilk of a band like Passion Pit and Hot Chip which you could still dance your ass off to. The music is obviously upbeat but also very hopeful and cathartic perhaps like The Flaming Lips. There is an innate sense of joy through most of these songs. The band gets going with “Spotlight” and there is piano melody slightly sounding like something from Elton John but the groove is much more dance oriented. I loved the vocals across the board here. Jackson just has aesthetics in his delivery that really appealed to me. The vocal harmonies that happen are also fantastic and where my mind went to Passion Pit. Great song. “You Do It To Yourself” melds in perfectly with 2005 - 2010 dance punk. Cut Copy, Out Hud and LCD Soundsystem will work on the same playlist with this song. The band get all the moves right from the infectious hooks to the hi-hat sound. “Shangri La” felt a little more aligned with a band like Local Natives. It’s a tad more emotive and melancholy. There are some inventive sounds on this track. That drone sounded great and also defined the song. “V.” felt more like a cerebral vignette if not an interlude. They get back into dance territory with “Eye Contact.” The production pushes some limits by playing with the pitch of the vocals. I wouldn’t call this song dark but it isn’t afraid to feel like midnight moonlight. “(I Could Use Some)” is perhaps the most inventive track. There is some really original sounding production that felt contemporary. They close with “Love Right Now” and this song actually has a tinge of Americana. I sort of hate to say it but at points it reminded me of John Mellencamp except if I really liked his music. Thames delivers the goods and I really like the moves they made with this album In fact, I would say it's a gem of an album you might have missed. Don't pass this up.
Nokchampa is a solo artist named Nick Perkin located in San Clemente, California. He has been prolific since he started writing music and recently released Dragonfly of Black and Blue.
The album starts with “Karma” which starts with a subtle electronic beat and clean sounding guitar chords. It’s going for an ominous tone with serious lyrics that seemed aligned with a band like Tool at times. I really liked how the song started. It’s gets a little cartoonish sounding when really dramatic demon-like growls come into the picture but it works. I couldn’t tell if he was going for a slightly tongue-in-cheek thing or going for something very serious. I often feel the same when I listen to Sunn O))). “Living Experiments” sounds like going down a wormhole and you’re surrounded by an ominous voice. I have to admit there were some points which came off sort of funny but I consider that a good thing. However, the end was a little bit scary. Again I’m not entirely sure of the intent but I thought it was a highlight that was original either way you look at it. I also liked the fact he was going all in. I’m a big Tim Hecker fan (This Life is an amazing album) and I was excited to hear “The Tim Hecker Shows/ Happy to be Alive.”.It doesn't sound like Tim Hecker but more a straightforward goth rock. The song is built on fuzzy guitars chords, a lot of cymbals and monotone vocals that sound more like a chant. “Tree Hugging Dirt Worshiper” is a great name. There is a bit of a NIN vibe when the energy is pumping. I couldn’t understand a single word in this song but felt the vocals were just another element rather than a lead. “Advise for a Younger Self” has a lot of distortion with perhaps the most demon-like voice yet. “3MDC” is an almost ten-minute track and a slow burn. It’s a little more experimental and aligned with sound artists like Tim Hecker or Oneohtrix Point Never but really doesn't plunge into a pool of it. It sounded like a play at points. He breaks out the acoustic on “In the Gut (Reprise)” which is even a slower burn that repeats a riff and vocal hum for the majority of the song with a lead vocal on top. The end is worth the wait. Speaking of Sunn O))) “Grey Matter” is a close cousin the embraces white noise and feedback. Dragonfly of Black and Blue threw a lot of different styles at me. I thought the experimental stuff that was more aligned with some of the aforementioned was his strongest. Take a listen.
Gary Sunshine is a veteran most known for his work in the group Circus of Power. You might not know he was in a number of other bands as well. Beer, Picks & Old Records is his solo record.
There are thirteen songs on the album. Sunshine at times delves into warm Americana alt-country and also likes to rock out. I was immediately on board with the title track “Beer, Picks & Old Records.” The song has an authentic vibe not unlike a band like Wilco. This type of song has been done before but rarely does it sound this good. There is a good amount of nostalgia and this sing-along type of vibe along with some exceptional guitar picking sounds just as good on a back porch as the stage. The second track contains unique inventive percussive aspects and loose almost spoken word type of singing. I thought the groove was very unusual in a good way. The Velvet Underground came to mind here. “But I Got All My Feelings Hurt” is a highlight. The song is such a sing-along with certain lines being repeated. It was hard not to think of Jack White on this song. There is more than a hint of blues rock. There are more great songs and plenty of different moods. “Love Turns” is a good breakup song that really works. It’s not too saccharine. The lead guitar and the vocals hit the right amount of melancholy without sounding melodramatic. “We Had Gold” is the first full-fledged rocked song and Sunshine pulls this off as well. His vocals sound at home here as well. The album is really just getting started. The whole album relies on realistic situations and deciphers life through a lens most people can relate to. This is an album about the human condition in many ways and feels very true. It encapsulates the ups and downs poetically but also with language that never feels too ambiguous. I thought this was a great album. Sunshine’s songwriting was consistent and really was a pleasure listening to in sequential order. Recommended.
I’ve mentioned this recently but it bears repeating. When I read about why an artist makes music it seems about seventy five percent use it as a form of cathartic release or therapy. The story is something like that person is going through a dark period and starting writing to deal with it. I’ve come to realize that this aspect is perhaps more beautiful than the art could ever be. At the end of the day music is there for us to lift or change our emotions in some way.
Months by Floppy is built from adverse emotions and rides a line of melancholy not too far from an artist like Julien Baker. Her voice is often subdued and is sort of monotone with a sad affectation. It's fitting for the song and I thought she sounded good. I liked the fact that she was willing to explore her voice and some of the dynamics shift which created a more hopeful quality to some of the words. “Summer's over” is the opener and is built on synths, drums, and guitar. The groove is fairly hypnotic and I thought the vocal melodies were very well done. She has more success with “Months” which is very ambient and in fact sounded a little more aligned with an artist like Juliana Barwick. The song goes for an epic crescendo although the dissonance and timing sounds a little off at points. There is a dip into contemplative piano notes. “Yesterday, today and tomorrow (interlude)” was the third track. It felt a little too early for a short vignette but was an ethereal ambient piece. “Sheets” is a sparse song and arguably the best vocal performance. The double tracked vocals sound good here. “July 27” introduces drums along with a little more hope. “Soft pain” is really catchy and a near perfect balance of melancholy and warmth while the closer “Think again” is a beautiful closer with overlapping vocal harmonies. Twenty-years-old seems so young to me these days. Almost twenty years have passed since being that age and while some core things have stayed the same, I'm basically a different person. My point is that at twenty years of age you don’t even realize how much life you have left. There is much possibility left in who you can become. Months is a testament to a period of time and I thought the album did a good job capturing heartfelt emotions. Suffice it to say I hope to hear more music from her because at such a young age she has plenty of time to make more music which will most likely reflect (at least in part) how she felt when it was recorded.
Daryn Yeats (vocals/guitars), Amber Hudson (vocals/guitar), Mitch Chen (guitar), Daryn Yeats (guitar/bass), Matt Cochran (keys/percussion) and Tim Ricketts (drums) are Loiter. The band from Australia released Alternative Sidekick which is a three-song EP.
The band melds a number of different styles with these three songs. They get going with “Even Now” and come out of the gate with authority. There is a clear pop-punk vibe especially coming from the guitar. The band is tight and in the pocket and I thought they played off each other in a way where no one was taking up too much space in the mix. There are also some unexpected twists and turns, as well as some impressive crescendos. Take for instance the post-rock inspired chorus/outro that blasts off with soaring guitars and crashing guitars. The band has more success with “Oceans.” This song has a lot of different things going on but perhaps most notable I thought there is a dance punk vibe closer to bands like Franz Ferdinand. The vocals are loose here and Yeats delivers them in a way that is fun and infectious. Hudson also does an exceptional job providing soothing vocal harmonies. It’s another dynamic song without a pinch of fat on it. “Underwater Blues” is the closer as Hudson takes over as the lead vocalist on this song during the verse but then they switch up when more instrumentation comes into the mix. The spaghetti western lead guitar along with a boatload of inventive transitions might make this a highlight on the album. I liked the additional piano melodies on the chorus which reinforce the band's ability to write notable melodies. This is a very compact EP that demonstrates the band's sound and diversity. They do this in about ten minutes. The EP is short but didn't feel like an appetizer. That being said this EP points to a bright future for the band and I hope to hear more soon. |
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