Kawin Kornthong is an artist from Thailand. In 2020 he released Eros and is back with a new album entitled APINMO. The album is a mix of instrumental compositions from solo piano to dissonant soundscapes.
The album begins with “Main Theme” which revolves around a piano and orchestral elements. It’s pretty and melancholy and sort of instills a sense of gratitude. “OFRIGVESNSE” is a slow moving piano piece that is both haunting and beautiful. The space between the notes is just as vital to the actual notes on this song. It creates a space for stillness. The next song however throws a wrench into the mood in a big way. “VLOE” contains what sounds like a full orchestra. It starts off broad and immense and soon takes a turn for dissonant. The headspace is in the same vicinity as pieces like Threnody to the Victims of Hiroshima Musical composition by Krzysztof Penderecki. It does flow in and out of harmony which I really enjoyed. “Feeding Stray Cat” is a short piano piece very much in the same mood as “OFRIGVESNSE.”“AIPON NI TEH KRAD (self-portrait)” very much feels like an extension of that piece and goes on for a little over six minutes. “I Forgive You” is a shorter orchestral piece with what sounds like digital orchestral string and woodwinds. “Picturing a Wave in the Ocean” is the centerpiece at around ten-and-a-half minutes long. It goes back into the main theme of the album with deliat piano playing. The music on this song does have a few extra elements. It’s pensive, warm and reflective. “APINMO” felt novel. This song is much more atmospheric and ambient than the previous songs. It moves slowly with drone-like pads that come in close and then go far away. “Thank you for letting me stay for awhile” is piano and the swell of strings. On this song you hear what sounds like someone walking which gives it a feeling like it's out in the world to some degree. Last up is a finale piano piece entitled “I have to leave forever” which is a somber sendoff. I would classify this album as contemporary classical and I think fans of artists like Max Richter, Jon Hopkins, Nils Frahm and other like-minded artists will appreciate this most. It felt fairly cohesive and excels at creating moments which meld together sadness and beauty.
0 Comments
Joshua Hansen is a musician from Alberta, Canada who recently released Conquer. He has only been making it for about five years which in my opinion isn’t very long. The artist is off to a solid start with this release. Hansen mentions: “I wrote this EP, more specifically, each song with how I've been personally influenced by events of the last couple years; loss and grieving, especially with obstacles such as the Pandemic, but more so overcoming these troubles.”
The artist seems to be most influenced by pop punk artists like Thrice, Sick Puppies and Relient K. You can hear some of the pop punk sound on the first song entitled “Missing Love.” The song starts with guitar and vocals but in a matter of seconds bass and drums are added to the mix. It’s a pretty straightforward groove revolving around 4/4 time, minor and major chords and some solid lead guitar. The vocals were well delivered and Hansen is able to present a number of memorable melodies. Up next is “Trauma” which is a heavier song in general. I was reminded more of bands like Tool but still reminded of a number of pop punk bands. Hansen is more or less lamenting about being stuck in his head and trying to fight his way through the pain. I felt like the song was about salvation. There are a number of solid builds. “Absolutes in Question” starts with an Alan Watts sample that is constantly sampled in music. This song is a slow burn. The guitars are clean and silky with a steady beat. It reminded me of Mogai at that moment. Towards the end of the song it explodes with distortion. “Witness” is the highlight on the EP. Hansen sings about how everyone has a burden too bad.The vocals are heartfelt but also lament about life. On that note these were definitely the catchiest vocal melodies on the EP. As an engineer myself I would say my main critique was how lo-fi the recording is. There’s too many issues to list here but I would encourage the artist to either work with engineers or learn about some basics with tools like EQ and compression which could help create a solid mix. The song felt a bit piecemeal but that’s ok with an artist who is just starting out. I think this is a solid start and shows some potential with these songs. Hopefully, there’s more to come and I look forward to hearing how the artist evolves.
Holmes Ives (bass/strings/arrangement), Jiggidy Jives (vocals/arrangement) and Steve Watson (guitar/arrangement) are Three Tragic Myths. The band apparently formed in 1994 and most recently released an album entitled The Wanderer. This is sort of a greatest hits album. The band states that “they have created and assembled an artist collection spanning the past 18 years.“
This 12-track album features two reprises and a track called “Maintain,” inspired by an environmental speech given by Greta Thunberg. The sound spans from the vibe of Radiohead to the chords of Coldplay and the wisdom of Pink Floyd with an underbelly of industrial music rooting.” One of the first songs that jumped out to me was “Calma.” The song starts with trickling guitar parts before the rhythm section comes in. I loved the vocals which are the focal point of the song. There are harmonies as well which cascade that are seamless and emotionally resonant. Radiohead came to mind at first but as the song rises with intensity the mood changes from reflective and lamenting to motivational. Another standout track was the very next song entitled “D.L.Y.W” which as you’ll learn on the song means “Don’t Lose Your Way.” Similar to the previous song it contains beautiful vocal harmonies which overlap and cascade over each other. The song never feels like it has to rock out and instead veers into an atmospheric and lush soundscape. “Fly Away Reprise” is another standout song but it’s very different from the previous two I mentioned. This song is a very thematic and cinematic piano ballad with additional orchestral strings. It’s the type of music that you could imagine playing in the background of a dramatic scene in a movie. One of the more single worthy songs is called “Infuses.” It’s also one of the more epic sounding songs with huge sounding elements like guitar and synths that soar. The song is quite positive while also feeling haunting as the vocalist hopes “we find freedom.” The album progresses with a number of great tracks but the last two were my favorite moments. “Another World Reprise” is an ambient song that sets the mood from Pink Floyd like “Another World.” This is a very well produced album along with having some great songs. Although this is more or less a collection of songs from the last eighteen years it sounds cohesive. Take a listen.
MId-western rockers Saguaro formed from a group of high school friends in the summer of 2019. They worked every live gig they could find to hone their music, leading to the recording and release of their debut EP Good Morning.
The four tracks here could be branded alternative rock with a bit of a heavier approach. They base their tracks around a standard rock lineup: guitars, bass and drums. On top, Saguaro features soulful, melodic female vocals; their vocalist’s classical training shows through the lovely tone and control she exacts from her instrument. The songwriting is strong on Good Morning. The lyrics are solid and direct, but are emotionally in touch (“you seem broken and faded / what can I do to save you?” “why do I already fall for the ones I can’t have?”). Songs have multiple sections, and offer melodies carried by all of the instruments. The execution of the songs, unfortunately, is a bit uneven. The opener “Good Morning Sun” starts strong, with its mid-tempo groove and edge-of-distortion guitars under a mellifluous melody. For the chorus, the band kicks up the tempo, and fuzzes the bass and guitars. This part misses, as the band–so locked in earlier–comes unglued; they’re rushed and messy. They do lock back into the groovier feel for the guitar solo, which has nice supporting bass parts. The outro vocals are terrific. “Puzzle Pieces” wins as the top track on the album. It starts with soulful vocals over a nice bass-and-drum groove and guitar counterpoint. As on the first track, when Saguaro leaves a little room for their music to breathe, they deliver the goods. The breakdown section with its guitar-and-harmonics solo is the best stretch of music on the EP, although the mixing could be more dynamic (bring those guitars up!). The bit of fuzzy slide guitar on the outro was a nice touch. The mixing–a small problem in “Puzzle Pieces”--is a bigger problem on “Canyon Home.” The band has good guitar sounds and a terrific vocalist, so the choice to bury the vocals and give this track a lo-fi, tin-can mix doesn’t help. The drum break, for instance, is fine, but the kit sounds like Peter Criss’ on Hotter Than Hell. “Painting Stars” closes the four-track set. Saguaro goes back to the cleaner sounds with a nicely moving bass line. The band again runs into some trouble staying locked in when they dial up the tempo. The breakdown section is a highlight again with some interesting (in a good way) note choices on the guitar solos. Good Morning is a good start, and Saguaro shows a lot of promise, especially with their songwriting. As performers, they’re at their best when they aim for the soulful grooves; the uptempo, breakneck-pace sections aren’t quite there yet. As recording artists, they’ll benefit from having a bit more dynamism in the control room, so their tracks can sparkle and support the songs. In the meantime, Saguaro, keep writing, keep gigging, and we’ll look forward to hearing how you grow with your sophomore release.
Alt folk was the domain of fringe ideals and ideas. So it’s a paradox that just as musical inclusive-ism turned its palms outward in the 21st century, genre niching dug in its heels. Yet, to hide within these cloistered nooks is to fail to reach the summit of the Munro Tops from whence The Daughters (or at least one half of the duo) hail.
Comprised of Martha Middlemiss (vocals/piano) and Mary Moira McKay (vocals/acoustic guitar), this Scottish-based group recorded their debut Golden Shore while trapped in the kind of headspace that exists among rural pandemic lockdowns. Spanning 12 tracks, their album speaks with “tender insight to our humility and hope.” And while that’s a nice euphemism for those who like to be cradled, head-to-heaving bosom, it’s also a war cry for re-emerging from a Covid-19 winter with a greater sense of self. We are, after all, assured “honest grit and vulnerability” on this collection, and the promise is delivered in spades. For roughly 45 minutes, Middlemiss and McKay stay bolted in harmony, echoing the vintage style of attic-born marionettes, uncertain necks a-sway. This formula hardly wavers, as wintry keys and sparse acoustic guitar conjure the nail-bitten sparseness of the Highlands. Their opener, “Here Is The Highway” is one of the strongest adherents to this blueprint, although “Choose Wisely” employs a fun, klezmer-type rhythm which gets especially playful around the three-minute mark. Whether colored by the warmth of cello (“Left Over Love”), the lovelorn sway of accessible country (“Doves On Her Rooftop”), hushed beauty (“Where Only Fools Go” and “How We Dream”) or a Tori Amos-like piano lick (“Warm Island Light”), The Daughters mesmerize – and often tranquilize, in the best sense of the term – with a compelling intensity that hides behind the loveliness of each duet. Still, moments of verve do bleed through, even if on occasion. “The Mountains,” for example, is a welcome evangelical praise-up, and the group’s finest attempt at laying a groove, despite images of quilted dress solemnity. As the Scottish answer to Jewel or Beth Nielsen Chapman, the Daughters fit right in among the Lilith Fair demographic that rose in power just as grunge was ebbing into designer flannel. Although their candlelit harmonization sounds impeccable, it can – in spite of the lyrical heavy lifting – also feel too tight at times. It might be fun to hear these ladies unbutton things a touch, vocally, and experiment with looser arrangements. Surely, they boast the chops. Give it a spin, progesterone be damned.
Marc Jablecki of Portland, Oregon has a succinct description of what he does: “I make music, in my shed.” He relocated to Portland from Lincoln, Rhode Island in 2010 just after high school, where he started a band, a studio and a music label with his brother. For the next three years he learned producing and songwriting; when the label shut down, he moved all the studio equipment into his backyard shed and focused on his own music. Within that shed he recently completed the five-song EP Hurt Gap.
Jablecki explains: “Hurt Gap describes how I felt after going through a tough experience in my life, but from a healthier, future perspective. Hence ‘Hurt Gap,’ the time in-between a trauma and the healed self. The songs represent different aspects of the strange emotions we feel while we're trying to figure ourselves out.” Musically Jablecki is partial to pop music but also loves bands like Radiohead, Beach House and Swans. He tried to make this EP “…sound like a pop record but with a darker, emotionally honest tone. I tried my best to make songs that are lyrically straightforward and focused more on the sound and tone of the record.” Jablecki recorded, mixed and mastered by himself on an old Mac with an older version of Logic Pro. The majority of the sounds are Logic instruments with a 2011 package of plug-ins for compression and EQ. My overall impression of Jabelcki’s music is that he really likes that old ’80s synthetic pop sound, though that’s partly a result of the equipment he’s using. At his best he creates mellow but engaging tracks that fit in with today’s song forms but with a somewhat retro feel. “Think Too Much” begins the collection with a Bob Mould portentousness. Low insistent notes are matched by a slowed-down drum machine, then joined by Jablecki’s sweet vocals, which makes for a striking contrast. His background vocals have a Beach Boys complexity along with an eerie, robotic, almost vocorder-ish quality. In the second verse, the drums come up to proper speed, which was a nice idea: the song now plays cleaner and less jam-packed. Lyrically it’s kind of a self-flagellating exercise, repeating “I fucking think too much” over and over. The track is almost six minutes with few changes, so it becomes more of a hypnotic experience. “Easy” is another slow synth pop tune with interesting digital drum patterns. You can hear Jablecki’s vocals more clearly, and though treated, this song confirms he has an excellent voice. The title “Easy” is something of a trick, in that “easy” usually means something good, but Jablecki keeps his knife sheathed until the end: “If you want the truth, I can tell you this: I never thought that I could even last a day / I want somebody new, I gotta break the news… I’ll never be who you want me to be / I am letting you down… easy.” This one fully worked for me, even with the scary voice effects at the end. “Internal:External” features mellow dreamscape synths with disembodied distant vocals. It’s hard to catch the words, so the track creates more of a vibe, feeling or atmosphere. The chorus voices evoke the 10cc hit “I’m Not In Love.” “Carolina” starts strangely with an unsettling phone message, then kicks in with tinny percussion, jazzy keys and a soulful lead vocal and amiable harmonies. This time it appears that the song’s narrator is the one being let down, if not so easily. “Just got to make it through the day / What’s the use? / Late at night I’m coming home, just want to talk it all away… because the loneliness has come my way / I’ve seen this day before.” The EP concludes with “Conceded” which feels like the most “commercial” of these tracks from start to finish. A lovely wall of sound with engaged, active vocals and sweet, almost syrupy keyboards.
Montreal’s Jerty Troicuk is a game designer who also likes to experiment with music. Music has always been an integral factor in his life. At first, his sound primarily consisted of the guitar and vocals but time under the pandemic has allowed Troicuk to expand beyond that and into the world of electronic music. His latest EP What Have I Done, is a four-track collection that sees the artist melding synth-based soundscapes with electronic riffs and pulsating beats.
What Have I Don’t gets started with “Gas Mask,” where synths sound out. Next, some beats roll in for a percolating sound. As the beats settle in the groove, the tone gradually grows more atmospheric. Next, some keys arrive and the music builds. The thumping bass lines created a steady rhythmic pulse throughout this recording. On “Mass,” the electronic music crescendos for an uplifting feel. The vibe was buoyant and carefree. On the title track “What Have I Done,” the synths alternate in and out of this song and the mood grows in sound. There was tons of ambiance to this number as well. The artist does a full 180 on “Mine,” bringing in the guitar for an acoustic sound. This was also the first inclusion of vocals. This track that included natural instrumentation like the guitar and wind instruments alongside electronic riffs made for a very full sound. Perhaps the artist could think about continuing to explore this sound in future releases. According to Trociuk, What Have I Done is a concept EP about “a community living in an inhabitable planet [who] must search for another, so they leave and eventually find the tranquility that they never had.” The artist also shares that the EP contains a lot of sci-fi elements and a cinematic atmosphere. I can really see where he was going with the sci-fi vibes and the songs on this EP certainly do sound cinematic. I thought that by listening to this with headphones on could help fully immerse audiences in the sonic narration of this vivid and impressive world. As we listen on, you get the impression that there is a lot going on as Troicuk distills each note to give it its fullest resonating effect. I applaud Troicuk for his hard work. This is a solid EP and I look forward to seeing where he goes from here.
The Hostels is a four-piece indie rock band from South Wales, UK featuring Ethan Cronin (guitar/vocals), Ethan Sweet (guitar), Flynn Cox (bass) and Euan Cronin (drums). Formed in 2017 while the boys were still in school, they all bonded over their “love of powerful choruses and catchy riffs.” Their desire is to create “feel good anthems in the indie rock and Britpop genres that make a crowd move.” The set was produced, mixed and mastered by Scott “Bonezy” Jones.
“Liar Liar” kicks in with a distinctly Oasis bent with fuzzy guitars and upfront vocals. The band says that this song “tells the story of how quickly someone’s opinion of you can change when a false rumor goes around.” Based on their notes, most of their songs are about someone in your life causing grief or upheaval. At any rate the Hostels’ sound feels rooted in melodic rock without a hint of artifice. “Reset” speeds things up a bit for a song about “someone who refuses to show any kind of dedication or enthusiasm and is generally just a downer.” It’s fun to hear a band cranking up the guitars and vocal vitriol about a person acting as an emotional drag on everyone else. At least it’s not yet another broken-hearted love song! I especially like the double-time changeup toward the end, and I can certainly imagine the crowds jumping around to this one. Thematically similar, “Sheep” is “an indie rock anthem about people who constantly bring you down and treat you as second best.” I like the clever line about “you’re trying to pull the wool over my eyes.” Not sure I like this song as much as “Reset” but on its own terms it’s another killer rock track with especially thick wall-of-sound guitars and vocals. “Take A Hint” is a more traditional “indie rock love song” with a bit of a Big Country attack. The hero of the song is in a troubled relationship but is “too stupid to take a hint.” The vocals and subject matter here recall indie heroes The Weakerthans. I love the lyrical device of “going back down to the river where it all began” in trying to reset the love affair. The final track “Woods” changes things up with a quiet acoustic guitar opening and heartfelt vocals about “smaller bands who have been told their dreams are unrealistic and that they’ll never be cut out for it.” Again, I love the offbeat subject matter and the empathy they show to their musical brethren. The term “it’s a long walk back to the woods” is a great analogy to a band putting in all the work to make it but having to give up and retreat with their tails between their legs. Had a great time with this EP and would love to hear what else they have cooking!
Shark Bay Dazy is an indie rock band from Sydney, Australia, that features Alaska Defraine (vocals), Beniamino Lopes (guitar/bass), Madison Briggs (piano/synths) and Luke Didio (drums). They all met at the Sydney Conservatorium of Music, while studying different areas of music: contemporary music, jazz drumming, composition, etc. The band brings to the circuit each of their own experiences, background and musical tastes on their debut EP Towns We Know. With a jam-packed sound, Shark Bay Dazy has been compared to the likes of Mazzy Star and Defraine certainly does sound a lot like Hope Sandoval but with an extra bite. With a sound that is both pop and indie, the band makes the kind of music that will leave you wanting more.
Towns We Know begins with “Cold Cities,” where strong strumming from the acoustic guitar underlines the vibes of this track. Synths and piano add to the atmosphere in the background. There was an extra kick to this recording that certainly points the band in the dream pop direction. Some moody piano brings across a melancholy vibe on the start of “Wildlife.” On the chorus, Defraine spews out her vocals in a fast-paced manner. I was reminded at moments of Feist. Chilling vocals arrive alongside the somber tones of piano on “Sensitive.” I thought this song displays a whole lot of mood and flavor. The band changes things up with a livelier pulse with the indie rock flavors on “Alive.” The catchy melodies and music will get you up on your feet and dancing in no time. Up next is “Quarter Life Crisis,” where the band returns to their moodier styles with this synth-based track. As the synths enter with a warbling sound, the guitars and drums coalesce in the backdrop for an ambient feel. I think the band embraces their melancholic side for this release. Some sparse guitar riffs sound out overhead on “Slide Song.” Defraine’s vocals draw you closer into the music. This is another intimate performance from the band. Each band member brings to the table something special from Defraine’s vocal styles to Lopes’ rock riffs to Briggs’ musicianship on piano and Didio’s prowess on drums. Taking the dream pop genre and giving it something more, Shark Bay Dazy brings something that I think a lot of fans will find themselves being drawn to. This EP was a good introduction of what the band is all about and I look forward to seeing them explore more in a later release.
H.R.Gertner is a singer/songwriter alternative folk artist from Gainesville, Florida. Apparently the artist has released twenty-eight EPs and LPs compiling one hundred and sixty-two original songs. We actually reviewed one of those releases all the way back in 2014. This time around he states “he has wiped the slate clean, upped his performance and production, and delivered a collection establishing a new beginning.”
To start this new beginning Gertner went to Riverbottom Studios & Asylum Sound, in Gainesville, GA to record Giving In & Giving Up. From a production standpoint this record sounds great. It’s very organic, warm and inviting. I would also say the title alone is something most people have felt over the last two years in some way. The album is a mix of folk, country and even some bluegrass and there’s a rich assortment of instrumentation like mandolin, banjo, dobro, lap steel and much more. Up first is “Them Pretty Lights Downtown” which starts with a blast of southern sounding rock. The music simmers into the verse and Gertner’s vocals feel as if they're in a very comfortable and natural range. He sounds confident but also relaxed. On top of that it's a catchy tune. Strong opener. The more somber, dark and reflective “Pink Flamingos” hits the mark. I always enjoyed darker countries like Johnny Cash and this felt like a similar zeitgeist. There’s some great slide guitar which adds to this feeling as it looms in the background full of reverb. “Let Me Down” is actually a lot more upbeat than I expected. The brush work on the drums adds to the feeling along with some exceptional organ work. Gertner’s vocals even seem to perk up. That was a warm up to bluegrass inspired and knee slapping good time that is to be had with “Everybody's Crazy But You and Me.” There’s some banjo on this song which is backed by walking bass melodies. On top of that these might be the catchiest vocals. That’s followed by the most intimate and nostalgic sounding song called “Broken Crayon.” I also loved the slow moving but graceful “Oh Sierra.” Gertner closes with an upbeat energy that soars on “The Same Dream.” Individually the songs on this album work no matter how you listen but clearly the sequential order is something Gertner put some thought into. This is a rock solid album from beginning to end so take a listen.
|
Critique/insightWe are dedicated to informing the public about the different types of independent music that is available for your listening pleasure as well as giving the artist a professional critique from a seasoned music geek. We critique a wide variety of niche genres like experimental, IDM, electronic, ambient, shoegaze and much more.
Are you one of our faithful visitors who enjoys our website? Like us on Facebook
Archives
April 2024
|