Slow Buildings is one band from New Jersey that over the last three years or so have released a good amount of music. The group is not only prolific but they are remarkably consistent in that they just release great tunes. I’ve loved all the releases I’ve heard from them and the latest entitled Dereliction is no exception. The artist mentions the EP “is about dereliction of duty, relationships and responsibilities, but it is not preachy, instead offering levity, empathy, and new perspectives.”
Musically, we are listening to catchy, infectious yet technically impressive indie pop gems. I’ve mentioned The Shins in the past which I still hear in their music but also the band Of Montreal came to mind as well and also Pavement. The EP begins with “Fruit” which is a solid opener. You’re greeted with jangly guitar chords and a dynamic rhythm section. The song moves quickly and transitions come and go but everything feels fluid and novel. “Too Monkey” might be even better. The vocal melodies were memorable but those transitions were so on point. It didn’t feel like showing off but it just added to the song. The next song “Your Muse is Problematic” (actually Weezer came to mind on this song) is more melodic and the vocal harmonies had a Rivers Cuomo feel. The chorus is really great. There is more aggression and punk rock attitude in the spirit of The Pixies on “Dead from a Distance” while “Rest and Recovery” sounds a bit like the title. The EP ends with “So Long” and is an arguable highlight amongst highlights. It’s upbeat and I thought the vocals had a a sing-along type quality. Slow Buildings is unequivocally one of the best indie bands out there that you might not be aware of. Highly recommended.
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Blake Rave is a singer/songwriter based in rural Minnesota but currently living in Omaha, Nebraska. Among his many credits are a nomination as Outstanding Pop Artist for 2019 at the Omaha Entertainment and Arts Awards.
Dreams & Fears was produced by Rave and recorded and mixed at Omaha’s ARC Studios by Ben Brodin, who also played drums, guitars and keys. Recording took only three days and went very smoothly with Rave apparently singing into a mic formerly used by Neil Young! Carl Saff mastered the album and cut the vinyl lacquers at Saff Mastering in Chicago, and the sound throughout this collection is clean and smooth. Rave began as a songwriter and poet at a very early age, constantly hearing both familiar and original songs in his head, but guitar playing did not come as naturally. Once Rave mastered his instrument, his songwriting flowed much more easily. He's now ready to “break into the next stage of my music career and break out of the boxes I have been put in (and put myself in).” Regarding his influences, Rave sees his sound as eclectic and encompassing various styles. He grew up on ‘80s pop and rock, then ‘90s country and alternative rock; he hopes those sounds are reflected within these songs. “Hey You” opens the album confidently with an upbeat folky song about struggling with the expectations of others. Rave mentioned that he’s “LGBTQ in a town of 3,800” and it’s impossible not to keep that in mind as he sings: “Hey, what did you do that for? / What did I ever do to you, man? / I know my head’s in outer space but I / I promise you I’m only human.” Nice acoustic strumming alongside a Fender Rhodes keyboard. “5 A.M.” is a jaunty sprechgesang about drinking all night, an activity I can (sometimes) get behind! Great lyrics that begin: “Don’t you wanna raise a little hell every now and again? / ‘Cause sometimes even an angel’s gotta sin / So raise up your vodka, or your whisky or your gin / and if you ever felt this way let me hear you say ‘Amen.’” Not positive but I think I hear a violin in this song. “Over & Over” recalls the musical framing of “Take My Breath Away” (from the movie Top Gun) and is a deliberate but engaging march: terse guitar chords and plaintive vocals bemoan a troubled love affair. On this track I detected cello, which also added a bit of class to the following cut, the upbeat “Walk Away.” Here’s another seemingly sad song about lovers failing to connect: “There comes a point in time / All living things must die / Our love was once a rose / but now it’s just a thorny vine.” The surprise switch here is that the lovers appear to finally “walk away” from any thoughts of breaking up, instead of each other. “You Tear Me Apart” is a minor key lament in waltz time. Following the lyrical through-line from the previous song, it appears that staying in that troubled relationship was actually a mistake. “Sometimes love grows in a sacred place / sometimes it’s doomed from the start / Oh you tear me apart / you should’ve let me go.” “Ashes to Ashes” takes us deeper into Rave’s existential angst with dark driving guitar riffs and wailing minor-key solos. “Dreams & Fears” brings us back into a bit of light with sweet chords framing some of Rave’s most bittersweet lyrics. “When I was young / I dreamed of flight / I dreamed of golden wings to leave this place behind / Now I’m afraid of growing old / afraid to look into the mirror and see / a face I do not know.” “I Promise You” begins very much like Nanci Griffith’s “You Made This Love A Teardrop” but soon establishes its own charms with a sincere and winning vocal. “Hold Your Head Up High” is a deeply affecting tribute to a lost mother or partner with slow-picked acoustics and majestic, otherworldly piano. “This is not goodbye, my child / When you are sad I will steal your sorrow.” (I’m crying as I write this!) This is a song that was written so quickly that Rave had to sing it directly from his notebook after finishing it the night before. The final track, “Song For The Departed,” is a more upbeat folky ballad that seems to complete the thoughts of all the previous songs. “In every dream, each song I sing / You live inside of me / The memories are bittersweet, they sting / But I’ll cherish every moment / Every smile and every tear.” It feels funny to recommend an album of songs that are mostly about death and unrequited love, but I have no problem doing so. Rave has a knack for melodies and an engaging lyrical voice that took me places I was hesitant to go, but was glad I did.
Siôn Walters, Dan Edwards and Patrick Havard are Static Inc. The group from Cardiff, Wales formed in 2011 when they were in high school and are still going strong. They recently released Beth Nawr? which is a six-song album that comes in around forty minutes. The band explains, “We aimed to offer a Welsh perspective on metropolitan themes like overdevelopment, gentrification and capitalism. We felt that in Welsh language media, those things are not discussed often enough, and we wanted to challenge the conception outside of Wales that it is only a rural country.” I thought that was an original and interesting theme and was excited to hear the album. That being I found this release to be mostly instrumental so it was a bit hard to come away with a lot of specific narratives.
The band gets going with “Tangelo” and my first thoughts were this feels like post-rock. There are reverb laced guitars which are both haunting and pretty. That vibe however is more vibrant and dance infused as the song progresses. The music drives and there are a lot of transitions that happen musically and I was impressed by both their technical and creative abilities. “Revert” is an ambient track that feels cerebral and psychedelic. It’s a slow burn which leads into the more kinetic and energy filled “Three Views of the Monolith.” This song comes in at over seven minutes and I found it to be a highlight. There is a lot going on and the band doesn't’ unnecessarily stretch things out. This track felt vibrant, novel and fun. “Hokkaido” is even longer, coming in at just over nine minutes. This track is dynamic and a slow burn in some ways. I was getting Explosions in the Sky vibes. I loved the beat on “B.A.U.” which comes closer to sounding like Boards of Canada. Last up is “Monty” which is another highlight. I loved the vibe which was both light and dark. The end is epic. My only critique was the recording quality. The stereo width was too narrow at times and just needed a little more clarity during certain sections. I really enjoyed this release and they seem like a bunch of young guys just getting started. The band is in top form and I felt this album has a lot to offer. I'm looking forward to hearing more.
M.A.V.I.S. is the collaboration of songwriters Davis Lloyd and Matt Ebert. The duo recently released their self-titled album M.A.V.I.S. and on their Bandcamp page they say that “the sound is a fusion of ’90s grunge, funk and demonic entities.” Nice, well I have to say I was most interested in hearing how the demon entitles were tied into this.
This album felt like a sort of tongue in cheek rock that was fun, loose and unpretentious. I loved the attitude throughout the whole thing. The vocal delivery was my favorite part. There is just a hyperbolic way in which they sing that was over the top in a great rock type fashion. I was reminded of Lemmy from Motörhead and sometimes Les Claypool from Primus. The band gets going with “Love is Alive” and it is a killer song. It’s just a rocking track that actually seemed to have very positive vibes. I was getting some ’80s metal vibes on this song. The band switch it up with “Ghosts” which is more misty and ambient. It is between Tool and The Doors at times and a psychedelic swirl. We get back into fun arena rock mode with “Three Times” and the energy continues into “Rainy Days.” “Nobody Knows” is a bit country and acoustic with some synths. It was like a subdued Kid Rock at points. We finally get to what I would say is the funk song with “I Am Frustrated” which is all over the palace with the vocals in a very cool, dynamic way. Last up is “I’m On Fire” which definitely feels the most heartfelt and warm. This is a cover song that they make their own. I really enjoyed the EP. The guys have an unbridled enthusiasm that made we want to join the party. Recommended.
Justin John (acoustic guitar) and Rich Landar (mandolin) are the singing and playing duo behind The Campfire Boys, a band that is exactly what the name implies. Starting organically by singing alongside party bonfires at 3:00 AM, the two musicians formed The Campfire Boys and began booking shows. By early 2020 The Campfire Boys had been gigging regularly for over three years and grown their repertoire, which included many original songs.
Of course, as soon as they decided to record their first album, the Covid lockdowns began. As with most bands in 2020, they wound up making their songs by sending tracks back and forth. In the process, more of a full band feel developed with Justin playing guitars, keys and drums, while Rich handled mandolins, keys and percussion. No longer just campfire hootenanny singers, The Campfire Boys now move easily from bluegrass to folk, New Orleans grooves and old school rock, filtered through psychedelic influences like The Grateful Dead. Specifically they cite Tom Petty, Green Sky Bluegrass, Traditional Bluegrass, John Prine, and Muscle Shoals music. The first track, named after the group, is The Campfire Boys’ bluegrass version of “Hey Hey We’re The Monkees.” They say this song is the closest to capturing their original, organic sound playing around the campfire (though, ironically, it was the last song written!). Very simple and engaging with just vocals, acoustic guitar and mandolin. “Ground Kontrol” immediately ups the ante with lots of other instruments, funky beats, voice samples and a Dr. John-style vocal. “Takin’ my time watching numbers climb,” they sing, and with the talk of toe tags and death, I can’t help but wonder if they’re talking about blood glucose readings. Surprisingly cool, bluesy guitar solo by Justin John. “King of Contradiction” switches gears to a more zydeco-like romp with a lovely chorus featuring nice vocal harmonies and Greek-sounding mandolins. “Say Go” is a folky, spacey journey through happy memories of lovers or friends, and is unique for its wall of psychedelic synths and majestic keyboards that recall Tangerine Dream or Pink Floyd. “Mr. No” takes us in a totally different direction. Starting out like Bob Seger, it becomes a melodically complex song running over seven minutes long with many levels of invention, and concludes with a tasty Justin John guitar solo. “Nothing Never Changes” is another lengthy song with big production values. “I Can See” goes from gentle, James Taylor-like guitar into a dramatic Glen Hansard-style epic. “Caribou Susie” is a big, horn-drenched delta blues fest that seems impossible to have been made by just two men. It comes to such a crashing conclusion that you think the album’s over, but it’s not! “I Disappear” takes us back to singer/songwriter mode with one of the more beautiful ballads on the collection. Lovely acoustic guitar and voices slowly build to a big chorus and a dramatic, explosive guitar solo. “Task at Hand” brings us full circle for a country bluegrass hoedown with the welcome addition of five-string banjo and fiddles. Past the first and last song, you’d have no idea that this music gestated by campfires at all. Instead it’s very much a traditional collection of blues-infected tunes and singer/songwriter rock. I love what The Campfire Boys have done but wouldn’t mind more of roots album in the future, instead of the wide smorgasbord they’ve delivered here.
Formed in 2018, Days Like Decades is a solo, independent music project led by Grant Wenzel based out of Charleston, SC. Throughout his time as a multi-instrumentalist, college radio host and music producer, Wenzel has gained an appreciation for all types of music. His self-titled debut album Days Like Decades, fuses beats and synths to create a pop and indie rock recording that flows graciously through the alternative genres. Interwoven into the album are the sound of guitars that Wenzel says is the “glue” that holds all the tracks together. I thought the guitars were utilized too sparsely to make that claim, although I do hear a solo in several parts. The synths and beats make a more prominent appearance and this often derived a new wave and funk-based sound that felt very retro-styled. The assertion that he likes to work with many genres is true in that sense. The record felt all over the board in terms of genre, even incorporating some R&B and hip hop into the mix.
Days Like Decades gets moving with “Hurricane,” where synths and beats add a funky groove to this track. Electrifying guitars really light up the scene once it enters. I felt the guitars took centerstage on this song, but once Wenzel’s breezy vocals came in, I thought it really brought the sound together although at moments his voice did seem a bit buried by the music. After a fitting voicemail message, the music struts in with synths amplifying the groove on “Voicemails.” Percolating beats also set in. A fierce rap sequence seethes with uncontrollable energy. Wenzel’s rap style reminded me of Eminem. With a more dynamic pulse, the music settles in on “No One To Blame.” Once Wenzel’s strong vocal harmonies come in, his delivery really goes on to carry the music. The keys and synths felt ‘80s-inspired with a new wave vibe. Flipping the script with this acoustic piece on “Changing Like The Weather,” the sole sound of guitar at first accompanies Wenzel’s relaxed and unadulterated vocals. This felt like an intimate performance that showed the band’s more vulnerable side. Gradually, a more synths-based sound is realized, giving the track an airier feel. Toward “Rise Above It All (ft. Welcome Waves),” the song was very catchy and melodic. The guitars, keys and vocals coalesce together to create a pop rock sound popular back in the ‘90s and ‘00s. I like how sunny and upbeat the sound was. Funky beats and grooves take “One Step At A Time (ft. Savion Maurice)” by the reins. A compelling rap style enriches the listening experience. Wenzel’s auto-tuned vocals fall back on the distorted effects. The vibe on this track felt very off-center. I thought this was a unique way to close the album. The song definitely stands apart from the overall construct of the album which I think will leave a lasting impression. Overall, the vibe I got from Days Like Decades was that this was a very minimally arranged production. Wenzel doesn’t amplify too much embellishments in any one section, leaving an oftentimes sparse and simply rendered sound. I think this attention to a stripped back sound was done on purpose and to great effect too. I thought the sound at times borrowed instances from The White Stripes, The Black Keys, Eminem, The Killers and more. A pure solo effort, Days Like Decades has the potential for a more fully embodied sound with a full band backing. Although I think he is able to nail the stark back-to-basics style right on the head, perhaps with the help of a band he could further his sound with more nuanced textures by having more people behind him. A solid good start, I am excited to see where he goes next from here.
Theyrgy was formed in February 2018 and consists of John Doyle (vocals/drums/programming), John E. Bomber Jr. (guitars/programming/engineering/vocals), Michael Fabiano (synths/ programming) and Tony Hooper (bass/guitars/synths). Exit Strategies is their latest, a five-track EP that cycles through the post punk, industrial and shoegaze umbrellas to bring audiences a type of atmospheric rock that will be sure to spark more interest in the aforementioned genres.
Theyrgy makes the sort of songs that will appeal to fans who are into haunting melodies, sparse guitar riffs and airy vocals that conjure the ‘80s and beyond. Diving into post punk, emo and even metal territories, the band’s sound consists of a broad variety of vibes. You can see the band experimenting as much with programming beats as they do with acoustic instrumentation. The mixture of synthetic and organic blends into a sound that thrives. Nothing sounds contrived but all the more pulsates with energy and life. Exit Strategies begins with “Intro,” where a dark world greets us in this opener. The heavy synths and ambient noises surround the listener. The dark riffs could be felt throughout and underneath the fog as aerial guitars shift in the sound. Warbling synths persuade audiences to continue listening on to “Crack Of The Egg.” They sound very ‘80s-inspired with a new wave affection to the vocals. The music is very much synth-based with sparse guitars rippling across this track. A dramatic beat also saunters in overall giving a very hard rock vibe. Scream-o vocals rips through this section toward the outro. On “Dreamcatcher,” out of airy synths comes the sparse sounds of guitar and beats. Through this haze, the vocals come in drenched in reverb. I felt myself being carried away by the vibes. The music felt very moody and atmospheric. The overlapping vocal harmonies create a bit of dissonance in the sound. On “Walk Away,” shooting synths flare in and out of this song. The band really changes things up with this number, departing from their rock-based sound for a brighter and more vibrant cadence on this electronic-based song. Cascading sounds of xylophones light up this track as well. The band returns with more of their dark riffs with the heavy “Hiding Your Face In The Wall.” The band’s metal influences could be really felt here. This track definitely felt more edgy and bold. The hard rock notes could really be noted here, also. The album closes on this exciting closer. According to their bio, the band aims to show light in the midst of darkness. That out of the gloom and chaos there is hope. Even in their heaviest, the band is able to highlight a bit of levity and this all goes to show that they can easily go from hard to soft all the while staying in the pocket with their sound. The band keeps true to their influences and is able to further the genres with performances that felt both familiar yet fresh. With tracks that say a lot about the times, the band is not too far off the truth when they say their music is a “contribution to the re-enchantment of the world.” The band is fast gathering clout with their sonic frequencies and I hope they explore more of their dark and haunting energies on a following full-length release.
We've Come To Steal Your Energy is from Wales, UK and recently released Sunnyhill Road Single. The single contains three tracks all of which sound different. Since they are different it’s a little hard to classify the band.
The first song is entitled “Sunnyhill Road - Radio Edit.” It starts with guitars, bass, vocals and what sounds like Gregorian chants played on a synth. I will say this song felt like a fun, pop oriented song. I loved the stream of conscious lyrics, guitar work and melodies. The Gregorian chant made the track sound very dramatic and almost completely separate than everything else in the song. I liked this version but have to admit I think a version without that Gregorian chant synth might be worth exploring because I think it would have created a more singular like quality. Overall, I would still say this is a great song. Next up is “eXPERIMENT No1'' and this song is a distorted sound collage. It’s dissonant and not all that musical and felt like a radio transmission. There is this guitar that comes that creates a build but then abruptly falls off and fades back in and then the sound ends with a warmer concoction of tones and textures. The next track is called “25 minutes 48 points 9 seconds” and is eleven minutes and ten seconds long. This is the ambient drone. There is a lot of repetitive stuff happening like the guitar progression. In the background you can faintly hear what sounds like someone moaning in pain. There is some spoken word but I couldn’t make out a single word and I’m not sure if that was intentional or not. The song is psychedelic white noise and couldn't be more different than where the EP started. The highlight for me was “Sunnyhill Road - Radio Edit” and I felt that it was the strongest song in a number of ways. I’d be very interested in hearing them explore that area more so than the experimental and ambient genres. That’s of course just one man's opinion. I wish them luck in their evolution. In the meantime I'm going to check out some of their other releases.
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The band Dust Bowl Faeries is founded by inter-disciplinary artist Ryder Cooley and Hazel. They recently released The Plague Garden. The band mentions, “The Plague Garden is a collection of macabre songs and tragic tales with a circusy flair.” That is spot on but let's’ dig a bit deeper.
My first thought after a spin was Tom Waits. Although no one can replicate his baritone, this music brings to mind his album Alice and Bloody Money. The music in particular comes from a very similar style and aesthetic. If we pick this apart this music has roots in traveling folk bands from Eastern Europe that often toured with the circus. My dad has first hand experience with this as he was a juggler with a traveling circus. There are also roots in Portuguese music. I think a good comparison would be the legendary band Madredeus. The band's use of accordion and acoustic guitar feels like they are from the same zeitgeist. The album cover art is spot on and sounds like the music. This music is dark and sort of haunting but perhaps above all that I found it to be fun. A lot of the tunes are written and executed in a way where I felt like I wanted to sing along. I wanted to pour myself an Absinthe, wear a monocle and gather with my steampunk friends to enjoy this unique sliver of artistic vision. This album felt very cohesive from the tones, textures and colors. I loved the old-timey saloon style piano and the occasional signs which brought to mind moonlit jazz. If you aren’t familiar with this style I encourage you to spend some time with it. It may be a slow burn at first but I think for a lot of people it will click. There is a certain population which immediately embraces this album. Fans of David Lynch, Tom Waits and The Rocky Horror Picture Show will most likely love this. That being said, I hope everyone will spend some time with the album. Recommended.
At the helm of Disappear Here is Aaron Shaw, a North Londoner who has experience in a number of recording projects, now taking the lead with his solo endeavors to create original music that pulsates with clear ingenuity and refreshing diversity with his self-titled release Disappear Here.
Disappear Here gets moving with “Tell Me Who I Am,” where the track is off to a dynamic start with the instruments strutting in with little to no hesitation. The music is energized and felt very moving. Edged with a bit of auto-tunes, the distorted vocals create a robotic effect within the song. The vocals and music reminded me a lot of ‘80s music. The vibe very much felt influenced by the decade. Anthemic guitars and revving drumming beats introduces “Just Like Today.” Shaw’s vocals are equally driven. The track felt very retro-styled, with more nostalgia for the ‘80s era of rock. The energy of this song was palpable. I could feel myself moving around in my seat to the happening grooves. A cool lounge vibe is executed on the keys on “Take Care.” The sounds felt mellow and relaxing. Once Shaw’s vocals come in, I could feel more of the smooth vibes wash over me. This song had a nice jazzy flow to it as well as going into pop and R&B terrains. I felt a bit distracted by the auto-tuned vocals. The effects came off as a bit overwhelming. With a great indie rock feel, Shaw’s vocals enter “Mindfull,” supported by a fully embodied rock sound. Shaw keeps his dynamic vibes consistent and I felt myself being buoyed by the music and was a definite highlight. At only 1:34 minutes, I wished the track could have lasted longer. Shaw continues to up the ante with the adrenaline-fueled metal-induced “A Pathetic.” This also felt like a great punk rock number. The amped energy was nearly tangible. A bouncy beat takes traction on “Paper Moon” as moody synths sail overhead. The robotic-tone of the vocals will really grab listeners. The effects seem to work here in this instance. Shaw does a total flip with the acoustic piece “Leave The World Outside.” He shows his more vulnerable side with this stripped song that leans onto more indie and folk fastenings. I greatly enjoyed the minimalistic yet resonating vibes on this track. Once the beats enter, the upbeat and catchiness of the song reminded me of the Beatles. On “I Believe In Us,” a somber piano melody addresses the intro of this track. Next, a drumming beat makes its way, and the pulse picks up in groove gradually. This felt like another rock-based song with more blues lounge vibes. I loved how cool and melodic everything sounded. This felt like another highlight in the pop vein. On “3AM Idea,” right from the get-go the track starts off to a happening start. The rock energies are lively and will have listeners on their feet in no time. Off to a sauntering groove, the band eases the tempo on this more easy-going track on “Pull Up The Ladder.” The overlapping vocal harmonies felt on the mark. More of the Beatles and the Monkees could be heard here. The strings on the outro highlight some orchestral embellishments to this song. The album closes on this slow burning number. Shaw takes no shortcuts in the making of this album. Playing every instrument on the record as well as penning music and lyrics, the album was entirely recorded and mixed in his home studio which allowed Shaw free rein to do as he liked with his music. When it came to his influences, Shaw did not hesitate to include them in his sound. Inspirations like Talk Talk, Prince, Marvin Gaye, The Clash and David Bowie are all listed as motivators when it came time to record his album. A varied bunch, Shaw’s music is equally broad as he diversifies his sound to include everything from post-punk, electronica, UK garage, ‘80s rock, jazz-rock and even folk. Shaw gets across in his eclectic sound that he is a versatile artist able to tackle any genre that tickles his muses. Fueled by experimental frequencies and a drive to play what he likes, the album is all over the place in terms of genre, fitted for palettes that don’t mind the overflowing selections. With a whole lot to choose from, Shaw makes music that will appeal to a wide demographic, especially for those who enjoy listening to something new, yet accessible. If you’re looking for something that is a mixed bag of vintage and modern, Disappear Here has the offerings that will make your listening experience that much more worthwhile. Be sure to give this a spin!
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