The Naked Limbs are a two-piece band from western Montana. Comprised of Christopher Johnson and Bjorn Bergeson, both multi-instrumentalists, they burrowed themselves over the spring and summer of 2021, writing and recording the music for their self-titled debut The Naked Limbs. It was recorded and mixed in Johnson’s house and then mastered by Blake Bickel at Dynamic Sound Services in Kalamazoo, Michigan. While not directly embracing any one genre, the songs have echoes of influences scattered throughout. The strum and “drang” of Link Wray and a bass line giving off a hint of Motown. Echoes of Joy Division here, a Cure-ish guitar line countering a Zepplin-ish riff. If you grew up listening to any of these bands and/or styles – you’re in for a treat! The loss of family and friends took its toll on both members before and during the recording process, and it shows in the album lyrics and performances across the board. On their Bandcamp page, the duo states, “This album is for the mothers. Those people who have made us who we are the sheer strength of their existence. The ones that have loved, fed, clothed and sheltered us all. Even when they didn’t have to. The ones that lifted us up on our best days and had our backs at our worst moments. We can only hope that they are proud of our efforts.” But while there’s melancholy and grief in their music, there’s also hope and lightness.
The beginning chords and dry drumbeats starts off “Know Your Way” with a haunting presence. The pair mix in acoustic, a hot electric lead, tambourine, bass, hand claps and a dark melody – like a cross between Neil Young and Crazy Horse meeting up with Fleetwood Mac’s “Gold Dust Woman.” But I’m also hearing a little bit of The Jayhawks as well. “Itch” gets even more dark. The bass line broods on with electronic “ticks and flips” in the background, keyboard loops, guitar effects and chilling backing vocals – the band’s sound here is one part psych rock, one part goth and a whole lot original. The pair bring up the ending parts to the song in a climactic moment before dropping off. “Hay Fever” has a more hopeful sound – a bright acoustic and keyboard sound, that’s like the sun rising on a new day. The drum beat and extra percussion to this song are quite good – not to mention the melancholic melody of the keys. The vocal harmonies between Johnson and Bergeson match so well with their unique mix of genres, too. “Son of a Train” features a more rustic, acoustic feel. With plenty of tambourine and distorted guitar, the band highlights a more powerful rock n’ roll rhythm, centered around lyrics that have an Old West story appeal. Their guitar playing on this tune was fantastic, as well as their arrangement of instruments. Next up is “Cabin Fever/Winter Blues” and this one features a good dose of that drowning Link Ray guitar riff. The drums rumble deep and heavy and the bass rides right along. I liked how the band put in the acoustic for just a little bit, the snare rim shot too during the bridge/chorus part, and then added some electronic “hisses and ticks” during the solo. In fact, I think the best part was the solo and ending chords. The band’s music had this ‘80s new wave meets ‘90s electronica twist. I think this mix of styles really gives the entire song a broader dynamic appeal. Moving onto “Quiet Killer” you’ll hear a much lighter, spacious sound, complete with acoustic guitar, a traditional piano and gentle drumbeat. The melody is dark and moody, too, and the songwriting remind me of some other song that I can’t quite recall. Perhaps maybe a Nick Cave and Bad Seeds or Leonard Cohen song. “Madre” which I’m pretty sure is a song dedicated to mothers, features a beautiful melody and a unique chord progression. These guys really know how to write a gorgeous, heart tugging song, mixing in some edgy guitar riffs and haunting keyboard playing. The most upbeat, rocking song on the album is “Chapel Perilous.” A faster paced, rock alternative that kind of reminds a little of Arcade Fire but also the softer grunge rockers of the late ‘80s/early ‘90s, maybe? The harmonies here are particularly good, accompanied by low bass lines, guitar chords and moody drum rhythms. This is Naked Limbs’ longest song and I think it was the right choice to end the album with. Overall, The Naked Limbs have something special – good musical chemistry, a skillful mixing of genres and strong songwriting arrangements. Although this is a shorter debut album with only eight tracks, there is much to be heard within these songs – hopefully in the coming year, we’ll hear more.
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Washington, DC’s Ariana Harbin, recording as Ari Voxx, has released her second album, the four-track EP Letters to Myself. In her words, the disc is “dreamy, ethereal, with hints of jazziness and new-wave elements.”
This is an apt description. The drum rhythms with their swing patterns push the set towards the “jazz-pop” genre. The orchestration with many layers of synth and organ sounds injects that new-wave feel. Across the set, there are layers of different parts worked in–the outro of “With Me” is a great example–giving lots to discover on repeated listens. Fortunately, Voxx’s arrangements are quite tight and avoid the long, noodling solos that are often enabled by the “jazz” label. This is much appreciated and makes the album quite listenable. Voxx’s vocals drape right over the top of this lush orchestration, suiting the dreamy, sensual feel of the music. She has terrific control over her voice, has a nice wide range and delivers a beautiful tone. Voxx uses it with great variety, too, adding to the instrumental interest throughout Letters to Myself. For instance, on “Brown Eyes” the opening chords are created by a cappella ‘oohs,’ before the track moves into the pop-swing feel. The backing vocals–both harmony and counterpoint–on “Rather Be In The Clouds” are another highlight. She’s at her vocal best, though on “Autumn Nights.” The lyrics, which start as a list of things she used to like doing, morph into a dreamy scat. With her performance, she conveys that nostalgic feeling of looking back and just drifting off into thought-land. The emotion is masterfully communicated as we remember only the soft, warm edges of earlier times. There’s lots to enjoy on Letters to Myself. Pop-jazz fans, this is an easy addition to your collection. If you’re a more casual consumer of the genre, reach for this one the next time you’re in the mood for a little Norah Jones or Ella Fitzgerald–Ari Voxx doesn’t disappoint.
Estocada is Christian’s garage rock solo project. The artist is based out of Chicago, IL and is releasing his latest self-titled album Estocada. Previously, he had released a lot of these tracks in a 2018 EP but is rereleasing them alongside a couple of new ones here on his most recent album. Seeing how this is a solo project, Christian’s enthusiasm for releasing original music is clear right from the get-go. I was hearing a lot of indie rock and alternative styles and dashes of metal and hard rock here and there.
Estocada gets going with “Smoking Lounge In The ICU,” which struts out for a bombastic vibe coming from the full onslaught of music. At points the outrageous energy to this number reminded me of the bands Alien Ant Farm and The Raconteurs. There was a great catchy and melodic sound with dashes of metal and hard rock here and there. Right away radioactive guitars take control of “On The Prowl.” I just loved how creative Christian gets with his vocal styles. Changing things up for a more sauntering groove, the sound felt more like a slow burn on “A Pet’s Lament.” Christian’ voice here sounds more subdued as the guitars really take charge on this track. Harder riffs and a more aggressive vibe hit it right from the start on “Sin Salida (No Evil).” Then the sound clears up for a sparser sound with just guitar riffs and Christian’s vocals. The energy on this is undeniable. I was loving how the artist absolutely throws himself into the music, keeping the driven and adamant vibes on a consistent level. Some bass leans into a heavily rhythmic sound on “Marionette (Manipulation In D Minor).” I thought this gave the song an appealing bluesy pulse. The sounds lean into a heavily rhythmic sound. More of Christian’s smooth vocal powers comes through as well as throwing a couple of screams in there for a heavier and more aggressive vibe. More of Christian’s hard-hitting energy comes in on “Honeybird.” Backed by a wall of guitars, the beat is jaunty and very lively. With staccato beats that jut in and out of this recording, there was a touch of punk rock energy to the vibes as well. With minimal arrangements, “The Virgin’s Learning Curve” starts out with sparse guitars riffs. Then a smattering of drums come in with a jaunty rhythm. Christian’s vocals here are a low hum, feeling more like straightforward rock in vibe. On “Turncoats In Cloak And Dagger,” spaghetti western guitars reels in the sounds. Christian’s amped vocals come in, taking front and center, executing the vocals in a fast-paced manner that once again brought to mind Alien Ant Farm. More metal-inspired bass launches the sound on “Can You Relate?” As spiraling guitar riffs surround the sound, Christian’s full-throttle vocals rounds the sound. The artist shows off more of his hard-hitting energy with this closer. Christian brought to mind bands like The Raconteurs, Alien Ant Farm and Stone Temple Pilots Catchy, melodic and hard-hitting all at once, he brings in a sound that a lot of indie rock and alternative fans will find themselves enjoying. I give Christian kudos for taking on all the instrumentals himself. Though he has done a good job, he might perhaps think about inviting more musicians in on the project which could perhaps take his sound to the next level. I look forward to seeing more great things from the artist.
The Rockupiers is a rock band from Canada who released a twelve-song self-titled album The Rockupiers. They formed in late February of this year so they got to work fast. The lead singer, songwriter and guitarist Alexander Stone formed the group, in part, as a means to deliver a simple utopian message, embedded inside of proudly musical rock n’ roll arrangements.
The band gets going with the song “Time Traveller” and you are hit up with an upbeat and fun song that has a good amount of influence from surf rock. There’s a ’50s style drum beat and other familiar aspects to the genre that the band pull off with ease. The guitar solo was rock solid. It felt like a good way to open the album. “Fool Pollution” still has some of the surf elements but this song is more Americana-based. The vocals are really catchy and there’s more exceptional guitar work. I also liked the way the song changes BPM a number of times. Spaghetti western and surf tangle themselves quite often and that’s the case with “The Wagon Master.” The whole time I had an image of a cowboy riding his horse across the plains of America. Perhaps this is a song Quentin Tarantino could use in one of his movies. “Far From Here” is a fun one with rolling drums and an upbeat Appalachian type of energy. The song sounded somewhere between Fleet Foxes and Simon & Garfunkel. “Where Do We Go From Here?” is a good one with warm organ and also some sections that continued some killer jams in the spirit of the Grateful Dead. As the album progresses I thought there were a number of highlights. “The Captain’s Hat” is very catchy and has a nice flow and groove almost like a poetry session. “Get Up” is more or less pure fun in a ’50s type of way. “Yes We Can” as well as “UFO” also hit the mark. The band isn’t reinventing the wheel at this point. A lot of the songs felt connected to a particular genre. On that note the songwriting and delivery is on point. Hopefully, this is just the beginning from the recently formed band and I look forward to hearing more.
Coloured Clocks is the project for James Wallace. The artist has released nine albums with the latest being The Floral Emblem. It contains atmospheric, psychedelic sounding songs. I thought the general aesthetic was comparable to a band like Tame Impala.
The album starts with “Puma” and should give you a general idea of the palette of sounds Wallace is working with. It’s a sort of slow moving song with warm synth like pads as well as arpeggiated synths. The song is moody and a bit cerebral but also has some memorable vocals. I loved the hook. The vibe gets much more lively, funky and dance oriented with “I Wanna Dance With You.” There’s some pretty slick funky bass work which gives the song it's mojo. The song has some open and epic moments as well which made it feel like a highlight. The album sorts of simmers into this mid-level energy with “What's A Man?,” “A New Kind of Love” and “It Could Get So Lonely.” In between there are high points including the hook on “A New Kind of Love.” “Too Late” is a killer song with rolling drum patterns and a joyful sort of energy but it also asks philosophical questions. One of the more epic songs in the batch is “The Fire” which has a notable guitar solo. Similar to the other songs it revolves around broad existential topics that Wallace flirts with. “The Colours Run” is a more somber and melancholy song that’s led by a piano. This sort of mood works because the foundations felt similar to the previous songs and is also on “All Friends.” Although on “All Friends” there seems to be an auto tune like effect on the vocals. “Dream Sequence Pt. I” and “Dream Sequence Pt. II” work well together and the closer “Gone Now” felt like a proper send off. The Floral Emblem did feel a bit long. My only critique is that I thought ten songs might have been a tad more powerful if listening to it sequentially. On that note it’s a cohesive piece of work with some good songs and a couple of great ones. Take a listen.
It wasn’t too long ago that we heard Lamps from Eric Jones. The artist got to it and continued to make music and released Please, Peace!. Jones mentions that recently he realized his strength was in his lyrics. And in this release he mentions he attempts to convey his thoughts on having grand notions of wanting to "fix the world,” or at least do what one can to make it better, while struggling with the question "How can I fix the world if I can't fix myself?.”
“Stories They're Telling” opens up the EP and contains sustained cerebral pads, some sort of electric piano and also what sounds like a broadcast from the news which are a little hard to make out and seems to be a stylistic decision. The broadcast fades out and the sound of a campfire in the woods fades in with “Hattie.” “‘Hattie” is the best and most musical song on the EP. I’d like to hear more in the future with this type of approach to singing. It’s lo-fi and raw but in this case it absolutely works. You get the sense you are sitting right next to Jones, perhaps sipping your favorite beverage. Jones’ lyrics are definitely strong and the melodies and delivery is on point. The lyrics weave an intricate story about murder, the judicial system and more with a couple different characters including William Zanzinger and Hattie Carroll. “Please, Peace” unfolds with a slow moving jazzy sway. It’s spoken word and underneath the music are more broadcasts. This felt a bit like a poetry session that you might have in a popular bohemian cafe. That was at least the imagery I had in my head. The lyrics are more ambiguous and interpretative on this song. “Badgers Don't Fight Fair” is perhaps the most experimental in some ways. The song revolves around what sounds like a single bass and vocals. I have to admit I’m not sure I understood some of the analogies here. “Centuries of Sentries” revolves around a lush and long soundscape and more occasional excerpts of new broadcasts. His delivery was definitely different and sort of reminded me of someone who might be on a chemical vacation as words run together with a drunken cadence. He closes with another song “Photograph Livin'” where he seems to be confronting his own subconscious while experiencing a car crash. This is an EP that works best by just hitting play and listening to the songs in order. Jones is continuing to grow as a musician and this release felt a step in the right direction. Recommended.
Michael McKinnon aka Northern Jaw is an artist from Los Angeles. The artist recently released Insomnia (In 12 Parts) and mentions “Insomnia (In 12 Parts) is a ‘reset’ album with songs to greet you when you rise or to gently send you adrift, perhaps to dreamland.” On top of that there’s more information about what the album means on his Bandcamp page.
I liked the album but I can’t say it’s one that I can fall asleep to. There’s too much going on between the dynamics and melodies for that. That being said the music can perhaps make you feel restful and also give you a space to think. The first song is entitled “Baku” and revolves around piano melodies and atmospheric synth based orchestral elements. It's a bit whimsical and reminiscent of music you might hear in a fantasy-based film or animation. “Sweeping Motions” has this cerebral and hypnotic quality. I loved the melodies which seemed to be coming from a xylophone. It sounded similar to music you might hear from Steve Reich. We really get into the thick of it with “Field of Reeds” that is the most epic song yet which contains timpani drums, background vocals, harmonies and more, and give this song a cinematic feel. “SubCities'' sounds like an appropriate title. The song is a little darker and contains an interesting use of vocals. “Unified Field” was a highlight to my ears. There’s a cascade of notes here that feels mesmerizing. The melodies come fast and there’s also exceptional transitions which make the song feel fluid almost as if there are never-ending builds. “Saint-Cloud” and “St. Cloud/TransAtlantic” are both thematic. The orchestration is robust and the movement is swift. As the album continues I thought “We Shall Not Speak of This Again” and the slightly Eastern sounding “Resurrection Machine '' were highlights. My only critique is I did have the feeling most of these sounds were coming from virtual instruments especially the warm string like pads. Of course it would be very expensive to hire an entire orchestra to record these parts but at times they did feel more like approximations. On that note it’s pretty incredible what McKinnon was able to pull off on his own. At its core this is an album with inviting soundscapes that are emotionally resonant and provides varying degrees of energy. Take a listen.
Sayor is a duo born of the internet age. Lee Reissner (based in Kalmar, Sweden) posted an instrumental track on Reddit. His personal ad (something along the lines of “guitar-laden alternative-rock track seeks vocalist for meaningful lyrical relationship,” presumably) snagged Detroit, MI’s Jamie O'Brien. From O’Brien’s demo vocal track, it was love at first listen, and Sayor was born.
For their eight-track debut album Sayor, Reissner and O’Brien each worked at his own home studio. Reissner handled the rhythm guitars, bass guitars, some of the drums and the “crunchier” lead guitar parts. O’Brien contributed vocals, melodic and solo guitar parts, the keyboard parts and the rest of the drums. They credit the writing as 50/50 with O’Brien contributing all of the vocal melodies and lyrics. Given the distance between the band members, it’s impressive how well Sayor comes off. It’s a coherent, straight-ahead alt-rock/metal record. Fuzzy guitars, heavy riffs, pounding drums and melodic vocals all fit together well. The keyboards are present, but as a light glue–Sayor is a guitar album first and foremost. The songs typically have a few different sections and feels, which are put together sensibly and musically. It all slots nicely into their chosen style, and fans of the genre will find Sayor an easy spin. Of the eight tracks, “The Split”--the seminal collaboration for the duo–is the pick of the lot. There’s a nice contrast between the softer verse and the harder-hitting chorus, and strong guitar counterpoints are featured in lieu of the usual underneath riffs or chunk chords. For a heavier, screamier track, try “Evil” or “Funeral (Take Me).” If instead you’re trying to get snuggly on the couch, Sayor has included the obligatory arpeggiated metal ballad (“Forever Grateful”), complete with semi-singalong chorus and acoustic-like breakdown section. Reissner and O’Brien are happy they found each other, and alt-rock/metal fans should be, too. They’re hard at work on their next album, which gives us all some time to enjoy Sayor.
The Ice Screams is a Nashville duo comprised of writer and instrumentalist Jed Grubbs and vocalist Ryan Bailey. Carte Blanche is a home studio album that was years in the making, but had only been heard by a couple people in all that time. Grubbs states: “A friend of mine encouraged me to share, so I’m doing so.”
As a reviewer I’ve come across a few “secret” artists in my time, but as someone who craves attention, I’m always amazed that some musicians just sit on their music until outside pressure gets it released, especially when It’s this good. Selfishly I wish the boys had provided more background info, because I’m curious how they became conversant with these many different styles and so skilled in digital recording. I listened to this album on Youtube but frankly it deserves to be available on all platforms. “Carte Blanche” starts weirdly with a spooky voice and sci-fi effects, then swishes into a fun, tropical-nerdy song that reminds me of Van Dyke Parks (a comparison I rarely make!). There’s cool swooping synths and cheesy Casio-like patterns that create a weird but engaging tapestry. I love it already. “Iglesias” immediately changes things up with hardcore fuzz, new wave-y lead vocals and a Roy Orbison falsetto for the choruses. “Jim Sees Ships” begins with a phone call, where a normal-sounding voice converses with what sounds like a volcano monster. “Hey Big Jim! You want to talk about sad stuff?” Whatever the monster is saying certainly feels sad! A calliope-sounding keyboard then takes center stage, before a second phone call to Big Jim is placed. This is all goofy as hell but strangely endearing. Even weirder, the ending seems to take place in a video game parlor! “Wanna Be Like Brian” is very upbeat ’80s bedroom synth pop, sort of like preschool DEVO with (again) Roy Orbison on lead vocals. Love the sweet and unexpected acoustic ending. “Still Life Goes On” appears to be the “key” track as the Youtube page plays it right away. Given this album’s history, the first line is interesting: “Never been one for Instagram, sharing things on the run / too busy painting my still life, still life goes on.” Clever lyrical device! Really nice twangy lap steel, elementary piano, synths and banjo. The singer clears his throat halfway through, which is the second album I’ve reviewed this week to do this (and I thought I was the only one!). Hands-down an album highlight. “Little Fomo” is another short tune in the tropical mode of “Carte Blanche.” Really fun and exceptionally well-recorded. “Turtle Dove” is a Sparks-like rave up with ersatz horns and a romping, roiling beat. I’m not sure but I think they snuck in some explicit and humorous lyrics while I was dancing. “For My Alchemy” truly is an alchemical stew of backwards acoustic guitars and extreme pitch correction, while still delivering an engaging folky lament. I’m not blowing smoke when I say I’ve never heard a song recorded and arranged quite like this. In contrast, the instrumental (and final proper song) “Laika at Sea” feels more live and organic, with a Buddy Holly main riff and a steam train beat. It feels like the kind of thing these guys could do in their sleep but is a great sendoff nonetheless. Though I loved this album, I’m still frustrated not knowing more about the band, and sincerely hope the boys edge more into the spotlight moving forward. They deserve it!
Oakland, CA’s Beyond Obsession features Matthew Branciforte and Sophie Leininger, two friends, who have a long history of collaborations, and are coming together to release their debut … This Is Beyond Obsession. Layering instruments like the banjo, cowbells and shakers with electronic riffs and fun-loving rap sequences, the sound that comes across is pure eccentric pop excess. The band incorporates their love for play and experimentation with ‘90s nostalgia – peppered throughout the album are ‘90s pop culture references as well as the band’s particular affinity for the 1993 classic movie Mrs. Doubtfire.
… This Is Beyond Obsession begins with the title track “… This Is Beyond Obsession,” where some banjo struts into this track as unexpectedly electronic beats and percussion immediately comes in for a great contagious feel as Branciforte and Leininger lays it out with a country-twang rap style. This seemed like a pretty good introduction coming from the band. Synths and electronic riffs make for an electric swirl of fun on “Fizz.” Throwing in some more of the band’s fun-loving rap style, they toss verses together with a great energy. A tongue-in-cheek song about a hamster named Fizz, who loves fondue, this song shows the band just having a great time together. Synths and beats gain traction for a hip hop-inspired feel on “In My Mouth.” This was a hilarious track about waking up in the morning hungry and wanting to eat just about everything. Up next is “McGruff,” where a simmering and slow grooving sound comes through with synths and beats. Here, the band sings about the ‘80s crime-fighting cartoon dog, McGruff and how the detective canine sniffs out crimes and drugs. As the lyrics says “Ooh its McGruff, he’s the stuff / He’ll start the party.” What’s better than a band called Beyond Obsession singing about McGruff the Crime Dog? The band changes gears for a more piano-based acoustic ballad-style sound on “Darlin’ Barrel.” The background vocals coming from Maria Cavacedo sounded very nice. Like the title elicits, this is an ode to the band’s sweet barrel. More synths and beats come in for a very ‘80s feel on “Outside.” The vocals are executed in a very mantra-like, spoken word-driven vibe. This gave the music a very trance-like and hypnotizing feel. On “It’s Always Miranda,” sounds of the xylophone and keys reels in the sounds here. The song is an anthem for a woman named Miranda who always has to do everything herself. She gets fed up with how things are and decides to take a chance with some stud. On “Juifce Me,” percolating beats comes in as wonky guitars send out a psychedelic sound. Throughout the track, the band repeats the verses “Excufse me/ Juifce me!” Gradually, Chinese guitar and wind instruments draws you in with a very Eastern flair on this track. At a certain point, Cavacedo includes some of her operatic vocals. The sound of organs brings in a touch of unconventional-ness to “Famous Animals.” The song lists all the famous animals in the ‘90s and what they are famous for. This hilarious and fun-loving track is great to sing-along to. An energized romp from beginning to end, … This Is Beyond Obsession is a testament to the band members' long friendship. Branciforte and Leininger pack in great energy with pop tracks catchy enough to sing-along to. This was a good introduction to their sounds and I look forward to hearing more from them in a future release. |
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