The trajectory of The Scarlett Tangerines since 2018 has been marked by the typical ebbs and flows of band dynamics: breakups, reformations and member departures. However, amidst these fluctuations, the band has managed to carve a path of musical creation.

Their sonic prowess caught my attention, particularly with the track "Bandaids," a fusion of post-punk and garage rock. This upbeat, dynamic piece boasts solid songwriting, offering a glimpse into the band's versatility. The bands chemistry it evident here and though there was a lot of creativity that went into some of the transitions. On top of that the song sticks with you long after it plays.

Launching into "The Night," the interplay of bass, lead and vocals sets an engaging tone. The delivery of vocals shines, encapsulating a commendable chemistry among the band members. Its catchiness only amplifies its charm. Yet, the pinnacle arrives with "Let Me Go," a standout showcasing melodic richness, infectious beats and a palpable attitude. This track stands as the zenith of their repertoire. The song really just excels at creating a dynamic interplay of instrumentation that sounds great when turned up loud.
The Scarlett Tangerines exhibit promise and a commendable start. With these tracks, they unveil a reservoir of potential, setting a sturdy foundation upon which to build their musical journey. Another thing that struck me with these songs is that that feel ripe to hear in a live situation. I became a fan after spending some time with the and you might as well. Take a listen to The Scarlett Tangerines and discover their signature sound.

Craig Greenberg returns with his latest single, "Song of December," a nuanced piece that transcends the simplicity of piano and vocals, delving into a rich amalgamation of instrumentation including organ, drums and bass. While the cover art encapsulates the song's essence, it's the multifaceted layers of sound that truly define its depth. 

What's intriguing is its ability to encapsulate the essence of December—a time for reflection on the past year while envisaging a promising future. Greenberg skillfully weaves nostalgia with a hopeful undertone, hinting at the prospect of brighter days ahead.

The track undergoes a metamorphosis, initially intimate before evolving into an epic crescendo. Its ebb and flow captivate, particularly with the introduction of elements that culminate in an intense and glorious climax. 

One standout moment arrives with a guitar solo reminiscent of Brian May's style, elevating the song's grandeur. Lyrically poetic, the song's themes resonate universally, allowing listeners to personalize its meaning—a hallmark of a compelling composition.

​Greenberg masterfully invites the audience to inhabit the song, fostering a sense of personal connection. "Song of December" feels like a concluding piece, leaving little room for continuation on an album. It exudes a sense of closure, suggesting the start of a new chapter—an apt finale that beckons a fresh beginning.

Earlier this year we reviewed Stockton Ave by David Barrett. I thoroughly enjoyed the album but wasn’t aware of his previous release entitled Fate and Stitches. Barrett re-released the album and thirteen songs. The songs have a similar feel to Stockton Ave. I thought there were some incredible songs on this album that hopefully has a resurgence.

"Kadalee," the album's curtain-raiser, establishes an impeccable atmosphere. Commencing with soulful acoustic guitar and vocals, it embraces weariness and melancholy, eventually building into an epic amalgamation of instruments—organs, thundering drums and enthralling vocal harmonies.

"Boston Cream" bursts forth with an infectious tempo, embodying the vibrant energy of a lively Saturday night. Its lively pace is accentuated by entrancing vocal harmonies, creating a magnetic allure that invites listeners into its spirited rhythm. In contrast, "Me" delicately unfurls a serene beauty, weaving the emotive strumming of slide guitar with an intimately tender vocal delivery. The track's allure is heightened by the addition of lush and warm female vocal harmonies, enveloping the listener in a cocoon of heartfelt melodies, evoking a sense of solace and tranquility.

Throughout the album, the consistency of quality astounds. Tracks like "Pieces Of You," "Cabman" and "Spanish Thief" showcase Barrett's mastery, particularly in the latter, boasting mesmerizing classical guitar work. 

​This album resonates as a long lost modern classic. For enthusiasts of Americana rock and folk, this collection is indispensable—a testament to Barrett's musical prowess and a must-listen for those seeking pure Americana through heartfelt storytelling and incredible performances.

Jenny Alvarado is an international recording artist who’s newest single is titled Colorado. Alvarado is based not in Colorado but Vale, North Carolina. Her sound is described as having “a country sensibility with a pop current running through it, a mixture of country, pop and blues that reflect an eclectic blend of influences.” Alvarado’s very first EP Playing with Fire was released in April 2021, and since then she’s garnered over a one million streams on Spotify alone.

In a very short time circling the musical spotlight, Alvarado has received a stunning number of awards and accolades. Indie Star Radio named her “2021 Country Artist of the Year” while her song Curious won “Best Pop Song” for the Indie Songwriting Awards in late 2022. Later, her song Catfish won a world songwriting award for “Best Modern Country Song.” I could easily spend the rest of this review listing her accomplishments. 

Alvarado describes Colorado “…as if Dan + Shay’s ‘Tequila’ and Deana Carter’s ‘Strawberry Wine’ had a baby in Colorado.” The song opens with a lovely mixture of gently strummed acoustic guitar, echo-drenched electric grace notes and shuffling percussion. Alvarado has a lovely singing voice, sporting a bit of Deana Carter but even more so like Mary Chapin Carpenter. This song’s genre is officially listed as country, but it’s errs on the folky, confessional side. Alvarado uses verbal imagery about the Colorado Rockies (as well as a stunning cover photo) to parse the embers of a lost love: “Ten miles south of the border, he told me we were over / That he met somebody, and I’m just a memory / So damn you Colorado.”

In the second verse, the guitars exhibit more of a rock bite as Alvarado delves deeper into her story. The second chorus is even bigger, almost celebratory despite the sad tale being told. The singing and playing become so intense that the waveform on Soundcloud is almost a solid block! After a short pause for breath, Alvarado triples down on the final chorus to the song’s end, joined by singing lead guitar lines and a glorious country wall of sound.

​I’ve been to Colorado and it’s a stunningly beautiful place, so I kind of feel bad that it’s getting blamed for the narrator’s shattered love affair. But this is an artfully composed and performed song by an artist with a clear path to the top. Recommended!

Become A Fan

Philly Heart & Soul is a 10-member dance party band with over 100 songs in their arsenal. Founded over 10 years ago by Sam Primavera (lead guitar) and Johnny Morrone (vocals), the group is adept at many musical genres including Top 40, classic covers, R&B, funk, rock and blues. They’ve just released three original Spotify singles titled Back To Your Heart, Cynical and Unfinished Business.

Besides founders Primavera and Morrone, the group’s members include Phyllis Love and Allie D (vocals),  Derrick Love (bass), Rick Meale (keys) and Dom Dubano (drums). The horn section features Dwanye Williams (sax), Mark Edmonds (trumpet) and Frank Taggart (trombone). 

“Back To Your Heart” starts us off in an upbeat manner with a driving keyboard and horns-based riff, maybe a bit on the Reggae side. My guess is that Johnny Morrone takes the lead vocal here, with a velvety-smooth voice that wanders a bit across the stereo field (almost like he stepped out into the audience!). This is the kind of song where it’s nearly impossible not to clap along. For the chorus all the singers join in for some incredible 3-part R & B harmony and some surprisingly rich chord changes. By the second verse I’m starting to get Four Seasons vibes, especially when the band moves into a brand new third section. The guitar is unrelentingly funky and the horns and keys always seem in lockstep. 

“Cynical” doubles down on the funk, well within Ohio Players territory (and with similar instrumentation, it would make sense!). I believe Phyllis Love takes the lead vocals here, with judicious comments from the horns. As before the chorus swells with multiple voices and gives this song a kind of “Chic” glamour. I feel my life is incomplete until I see this track performed live! Halfway through there’s a key change for the “C” section that could almost be its own song, until the “Funky Town” style conclusion. 

“Unfinished Business” has a shuffling beat that’s not quite disco but somewhere in the same ballroom. From the top the band delivers stellar three-part harmonies followed by a rap section that’s safe for the whole family. The “unfinished business” here seems concerned with a gig or love affair that’s either the greatest thing ever, or something to be run away from at all costs; with lyrics this quick it could be anything! Of the three tracks (and aside from the rapping) this one is most concerned with presented the group voices as a single, soaring choir of sound. There’s also a fine concluding guitar solo by the esteemed Mr. Primavera.

I was telling my wife I would hire this band in a heartbeat if they lived anywhere near me, but until that day I can enjoy these tracks and so can you!​

phillyheartandsoul.com

Haivyn is a female-fronted progressive rock band with roots in Los Angeles. They released their first album in 2008 and recently dropped two new singles: “The Man Who Sold The World” and “What Is Real.”

The band members are lead vocalist Denise Joy backed by Dave Paredes (guitars), Mario Arredando (bass) and Dustin Feldman (drums). Aside from prog, Haivyn also dabbles in punk, grunge, alternative and metal. The group has shared stages with powerhouse acts like Korn, Agent Orange, Zebra Head, Panic at the Disco and many others. Their list of laudatory articles, broadcasts and awards is seemingly endless.

“The Man Who Sold The World” was originally released by David Bowie as both a song and an album before his years of true fame began. Most listeners now know it as one of the songs performed “unplugged” by Kurt Cobain just before his death. Haivyn of course plays their version with maxxed-out guitars and unrelenting energy, sort of a cross between Bowie and Cobain. As a fan of the original I don’t understand why the cover versions never feature the distinctive three-part modulation of the opening, instead concentrating only on the simple yet ear-wormy fuzz guitar riff. But that complaint aside, this version has a lot to recommend. Joy’s lead vocal is clearly female but also feels somewhat alien, which makes a lot of sense for a Bowie composition. She builds more power as she proceeds, followed closely by creative bass figures, galloping drums and unrelenting fuzz guitars. In the end it’s the sheer power of the song they’ve borrowed while clearly making it their own. 

The energy and instrumental arrangement of “What Is Real” is quite similar to the previous track, and thankfully there’s a cool music video featuring the band members performing. After a powerful uptempo start, the track takes an unexpected break to pull back the volume and feature Denise Joy’s singing mostly on her own (while visually being shown in a creek). I’m enjoying her voice much more in this natural setting as opposed to the otherworldly tones of the Bowie song. The loud-soft dynamic repeats again, with the second section built on a muted tribal beat by all members. Maybe it’s the video’s influence but this track makes clear that Joy is both the band’s center and its secret weapon.

​Two great songs and one awesome video make it clear where all the stellar press for this band comes from. See for yourself!

Become A Fan

Austin, Texas is arguably the hottest American music town after Nashville, and for evidence you need look no further than Die Hard Habits. They are a post-punk band that calls its music “a product of our independent spirit and a desire to challenge the norms with a sound defined by angular guitar riffs, pulsating bass lines and propulsive rhythms.” They’ve just released two new singles titled “Tell The Neighbors” and “Hey You.”

Though I don’t have any member names, this appears to be a four-piece group featuring guitar, bass, drums and lead vocals. The band states that they draw inspiration from “the pioneers of post-punk, while infusing (that sound) with our own restless creativity.” Lyrically the band delves into “themes of societal disillusionment and personal struggles, aiming to provoke introspection and reflection.” They take pride in being part of the vibrant Austin music scene, “carving our own path and leaving an authentic mark on the independent music landscape.” This review is informed by both the new singles and two previous demo releases, all on Spotify.

“Tell The Neighbors” begins with razor-sharp guitar chords that somehow meld with the lead vocals into one phasing, fuzzy stew of sound. The drums are a bit more traditional but set the pace with force and precision, while the bass is like a tumbling waterfall of thunderous notes. When the verses actually begin, the singing is a bit more punk-traditional and it even sounds like there’s a female harmony back there. The chorus is very funny though I’m not exactly sure what the narrator wants to tell the neighbors. Not to bother him when they hear raucous lovemaking next door? (Sorry, my mind is in the gutter!). There’s also an overdubbed lead that sounds like a sitar through a fuzz box; very cool! It occurred to me about 2/3 through that the sharp beats have more than a little in common with reggae. The final verse is preceded by shouts of “Go! Go! Go!” similar to the old “Oi!” punk chants.

I was excited at first that “Hey You” might be a Pink Floyd cover, but it’s a Die Hard Habits original. It starts unexpectedly sounding very much like the Donovan classic “Season of the Witch” and in fact you could easily sing that song over this one. But the song presented here has its own charms, like shimmery guitars in both speakers, heartfelt lead vocals, laconic but endearing chorus voices and a killer hard-rocking second chorus while the singer pleads through some kind of public address system. Very different from the first track but already indicative of the band’s range and talent.

​These are just the two songs I got for review, but if you check the band’s Spotify page, you’ll fine three additional “demo” tracks that totally kick ass without a bunch of studio trickery. They’re loud and overloaded but the riffs are sublime and the off-kilter singing exactly what we’ve come to expect, with touches of both Sebadoh and Husker Du. Instead of my recommending just the singles, seek these guys out and listen to whatever you can. It’s worth it!

diehardhabits.com

The Electric Angels have one of the greatest tag lines I’ve ever seen: “Glam Rock for the Future, Power Pop for Progressives, Martinis at 5:00.”

This is one of those bands that exist only in a virtual state, sending tracks across the Atlantic from England to New England (neat!) and back again. The members are Bob Kingdon (guitars) and Eric Daum (keyboards/loops/programming). Both share singing and songwriting duties. As they further explain: “Bob brings to the partnership a great Power Pop sensibility and an earthshaking Yamaha SG2000; Eric brings an obsessive compulsive's penchant for tinkering on complex mixes and cold beer (He's the American after all).”

Their music is inspired by the great Bill Nelson (who also inspired their band name), Marc Bolan, David Bowie, early Pink Floyd, rock n’ roll, power pop, Runny Cheese and “girls in short skirts and tight shirts.” As a first time listener, I noticed a similarity not only to the “sound” of The Ramones and T.Rex, but to their deceptively simple topics and arrangements.

“What’s It All About?” (written by Kingdon) establishes the Electric Angels sound, which is basically slabs of overdriven guitars playing steady chords, along with bass, drums and keys. With both chaps singing (I think), it’s a bit of an English-American blend, though both guys sound like they have colds. The song’s lyrics caution against rushing the narrator within a love affair or simply living everyday life. Keyboardist Daum wrote “Little Monster” which is based on a sort of honky tonk piano riff, ornamented by synths emulating horns and other sounds. Hearing Daum sing on his own reveals that he has something close to a crooner’s tonality, with a pleasingly low pitch. The preponderance of keys along with tasteful electric guitar gives this track that classic ‘80s home taper sound.  

“Shameless” has an opening that explicitly recalls T. Rex, but goes into a pop-inflected anthem about someone who is… well, shameless! The boys really pile on the tracks here, and surprisingly don’t overload the hell out of their song in the process (though it’s a close call!) and the ending stops on a dime. “December” is somewhat similar in arrangement but adds some cool wah wah and chorus-effect guitars to the mix. The lead break has a Velvet Underground simplicity. 

With “Maybe Today” the boys tip their toes into political commentary (“It’s time for us to vote them out!”) and inject a hardcore musical energy while the vocals sit placidly in the center, not breaking a sweat. The guitars are a bit more jagged to match the faster tempo. “Catharsis” features a majestic descending rock riff slathered with Mellotron-style synths. I guess the “catharsis” of the title involves telling someone that “it’s not a party whenever you’re around…you let us down.” Ouch! “Searching” opens with Bowie-like electric guitar before shifting into more of a British Invasion pop single sound, while never losing that cool fuzz guitar. This song has one of my favorite arrangements as the instruments have a little space in which to breathe. 

“I Gotta Crush on You” might be the song where I first thought of the Ramones, similar as it is to “I Wanna Be Your Boyfriend.” Very simple sentiments (exactly as the song implies) in a bed of blasting guitars and keys. I love how the vocal lines “I gotta crush on you” and “I wanna be your boyfriend” gently interact with each other toward the end. “Beautiful Sky (Carnaby Street Version)” is a slower, psychedelic tune that would go great with an LSD-inspired light show, with dreamy keys and Davey Jones-style whispering. The set concludes with “What’s It All About? (Reprise)” which to these ears sounds like the opening track with the guitars pushed back a bit, giving it even more of a British Invasion sound. 

​To sum up, Electric Angels have some great role models and more than acquit themselves in their shadows. Worth checking out and how!