tag:blogger.com,1999:blog-49020241789460705122024-03-05T03:34:49.779-08:00Power Chord PassionA page devoted to guitar music! It covers the gamut here - from hard rock, metal, pop guitar, the works. If it has the six string playing a significant role, we'll review it!Unknownnoreply@blogger.comBlogger17125tag:blogger.com,1999:blog-4902024178946070512.post-70162902478618609142018-06-28T15:28:00.001-07:002018-06-28T15:28:37.059-07:00Sky Orchid - Oculus (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://skyorchid.net/">https://skyorchid.net/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/skyorchidofficial/">https://www.facebook.com/skyorchidofficial/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/skyorchidband">https://twitter.com/skyorchidband</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Drew East, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Kansas
blood brothers Gabriel and Daniel Traknyak have spent years assembling their
debut full-length, <i style="mso-bidi-font-style: normal;">Oculus</i>.<span style="mso-spacerun: yes;"> </span>Though a few of the tunes were composed
during the actual album sessions, others were cultivated over years and years
of playing together with the groovy soul/funk/blues of “Breathe Easy” dating
back the farthest at 7 years of age.<span style="mso-spacerun: yes;">
</span>With only two men behind this project they still put out a ton of sound
and make up for the lack of additional instrumentalists by knowing their
musical abilities inside and out; applying them with the passion and prowess of
seasoned industry pros.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Some
of the material is dark and dreamy, other times they indulge in genuinely
uplifting fare and they even break it down acoustic whenever the situation
calls for such tactics.<span style="mso-spacerun: yes;"> </span>The pushing,
pulling dirge of “The River” starts the record off and it’s overflowing with
electronic-smattered beats, rolling tom drums and a haunting piano hymnal.<span style="mso-spacerun: yes;"> </span>Gabriel’s guitar doesn’t enter the equation
till the end with some electric riffing but his stellar melody vocals lift this
piece to great heights.<span style="mso-spacerun: yes;"> </span>“Sneakers”
starts off much of the same way but catapults itself over the introspective
buzz and hum with a midsection alive and riff with hard-edge guitar riffs,
industrial rock’s machine-syncopated madness and a bombastic vocal performance
that really cuts to the meat of the song’s matter.<span style="mso-spacerun: yes;"> </span>“In the Fire (Part 1)” makes use of
trembling, glimmering clean indie-rock guitars and rollicking drum pulsations
for a tune that plays off much like “The River’s” lighter and brighter younger
brother.<span style="mso-spacerun: yes;"> </span>There’s enough variation to
separate the two tracks from one another and this one really shines bright with
its melodic and harmonic qualities with numerous counterpoints between the
different instruments.<span style="mso-spacerun: yes;"> </span>Stripping down to
a smoky acoustic duskiness, </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Wildfire”
harnesses shades of country, folk and blues for one of the most poignantly
unique sounding jams heard on the entire record.<span style="mso-spacerun: yes;"> </span>The brothers switch things up yet again with
“I’ll Stop the World (Part II)” and its fuzzy, riff-dusted punk grooves and
etherized gothic rock textures.<span style="mso-spacerun: yes;"> </span>It’s a
super catchy track that’s lively and worth a spirited sing-a-long or
three.<span style="mso-spacerun: yes;"> </span>“Lex” burns the atmosphere in a
campfire of swirling, ember-lit guitar melodies, surreal keyboards and another
striking vocal performance.<span style="mso-spacerun: yes;"> </span>“Breathe
Easy” and “Take It All” kick off the dust off some blues and quirky, grooved
out rock and rhythm n’ blues that’s all soul, sweat and swagger.<span style="mso-spacerun: yes;"> </span>“Yesterday” sends us back to a watery grave
of reverbed and delayed-affected ruminations, while closer “Fortify” remains a
modicum of the same bleak, ambience.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Sky
Orchid really has it going on throughout this record.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Oculus</i>
simmers with drippy textures, layered grooves and unpredictable
structures.<span style="mso-spacerun: yes;"> </span>The material on this album
is varied and dynamic with many unique ideas firing off in every single
direction.<span style="mso-spacerun: yes;"> </span>Folks that are into the
trippy post-rock of the 80s and experimental 90s groups, though they add many
of their own ingredients to the brew that makes Sky Orchid a sonically unique
proposition that all died in the wool music fans should easily enjoy!</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-50694371187549715432018-06-22T11:16:00.001-07:002018-06-22T11:16:43.065-07:00Rhett Repko - Thnx For The Ride (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUWpz3gP0XYsMOhEc3bnOlgjGic-FjF1YrqTSLU76mRk0SkxQMyR3cdk8AI1PINp0s_NHM3SOw9EFh8uzGpvWuSKMeJ8u1-DpI6UyDr3mBeBtgginIQ6M3GGoFajgBFDM_Oo5dtnV5vWKE/s1600/repko.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUWpz3gP0XYsMOhEc3bnOlgjGic-FjF1YrqTSLU76mRk0SkxQMyR3cdk8AI1PINp0s_NHM3SOw9EFh8uzGpvWuSKMeJ8u1-DpI6UyDr3mBeBtgginIQ6M3GGoFajgBFDM_Oo5dtnV5vWKE/s320/repko.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://www.rhettrepko.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://www.rhettrepko.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/rhettrepko/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/rhettrepko/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://twitter.com/RhettRepko"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://twitter.com/RhettRepko</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Mike Yoder, posted by blog admin</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Make
no mistake, this isn’t a hard rock album. There’s some solid riffing scattered
across the entirety of Rhett Repko’s Thnx For The Ride, but the title song and
opening cut clarifies from the first that this isn’t closer to a take on
classic rock fused with solid pop fundamentals and high octane energy. Repko’s
intensely engaged voice pairs up well with lead guitarist Stefan Heuer’s
occasional backing vocals and there’s a satisfying amount of post production
gloss and effects further enhancing the tune. “Please Don’t Laugh” features a
less stylized guitar sound from Heuer, vividly reflected in his lead guitar
work, but the same wont for tempo and pacing experimentation remains strong
with this performance. The vocals are even stronger than what we heard from the
opening number and contrast nicely with the straight rock guitar attack. They
slow things down to notable effect just after the song’s midway point and the
dynamics of this number are even more dramatic than those we hear with the title
song.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“It
Ain’t Coming From You” is the EP’s highlight for me. This isn’t a put down of
the six other fine tracks featured on Thnx For The Ride, but everything comes
together here with just a dollop more of cohesiveness and velocity than the first
two songs and you can hear Repko senses that as well. He lets a barnburner of a
vocal fly all out here, but there’s always a tight grip on his style and it
never feels out of control. “Maybe I’m Weak” embodies the sort of personal, yet
accessible and relatable songwriting, that’s brought Repko a great deal of notice
and it’s clear he’s refining his style more and more with each new composition
and release. The exponential growth of a talented young musician and songwriter
is a thing to behold and Rhett Repko is progressing like few others today.</span></div>
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<br /></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">“And I Told Her So” is nearly every bit the
equal of “It Ain’t Coming From You” and the only area where the latter tune
surpasses it is the lyrics, but that’s ultimately a matter of taste. Lead
guitarist Stefan Heuer turns in an especially memorable performance,
particularly his guitar solo, and it’s a joy to listen how these musicians
respond to each other. There is a smattering of acoustic guitar heard on Thnx
For The Ride, but it’s always in support of the electric and adds more muscle
to the overall performance. “Learn Your Name”, the EP’s second to last track,
is a churning, tightly arranged tune distinguished by a rhythm section working
in fluid lockstep with each other and Repko’s exuberant vocal deserves mention
as being among the EP’s best. The EP finishes up with the track “Make Me Right”.
It’s quite a romp to end Thnx For The Ride and again shows Repko’s tendency to
manipulate musical dynamics in a dramatically appealing way. Rhett Repko’s
second release of 2017 is one of the best indie rock releases in recent memory
and a big part of that comes from the overpowering likability of its material. </span>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4902024178946070512.post-3494253245358592182018-06-13T04:55:00.001-07:002018-06-13T04:55:45.995-07:00Black Bluebirds - Like Blood for Music (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhslsWI4CBPEDMcFIvUcX-iVaHPIzxgwq7FnI9JnVX0dp1UXkgdoDSbEpFV1FP6k3YhV_OF8pTae7r5iPsLun9ZoBzlCN6EBCkjT2M_gvbiUfT9JVi33trZoURNxnwEnbDcnW3bX0CSOze1/s1600/bluebirds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhslsWI4CBPEDMcFIvUcX-iVaHPIzxgwq7FnI9JnVX0dp1UXkgdoDSbEpFV1FP6k3YhV_OF8pTae7r5iPsLun9ZoBzlCN6EBCkjT2M_gvbiUfT9JVi33trZoURNxnwEnbDcnW3bX0CSOze1/s320/bluebirds.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
</span><a href="http://blackbluebirds.com/"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">http://blackbluebirds.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
</span><a href="https://www.facebook.com/BlackBluebirds"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">https://www.facebook.com/BlackBluebirds</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Laura Dodero, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Black
Bluebirds, coming out of the Minneapolis area, prove they are expert at pouring
old wine into new glasses thanks to their invigorating mix of adult and highly
personal themes with traditional musical structures handled with more than the
usual amount of skill. The ten song Like Blood for Music is never formulaic –
instead, Black Bluebirds prove themselves to be orchestrating textures and mood
in such a way no two songs sound exactly alike while each maintain an
individuality helping to make this an unified experience from the first to the
last. Keyboardist, singer, and songwriter Daniel Fiskum definitely emerges from
this album as being a truly formidable talent, but Black Bluebirds is far more
than some sort of glorified solo project. Instead, guitarist Simon Husbands and
drummer Chad Helmonds bring a great deal to the table. There are other
important contributors outside the three piece, particularly guest vocalist
Jessica Rasche, and their additions to the album make it all the more powerful
of an experience. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">If
Like Blood for Music were an academic exercise of some sort, the opener “Love
Kills Slowly” would be the album’s thesis of a sort – it lays out much of the
same thematic path Black Bluebirds follow over the course of the album’s
remaining nine songs. It might prove to be a bit deceptive for some listeners.
They lay out a distinctly hard rock course with this tune and, while echoes of
this approach abound throughout the band’s music, it isn’t a defining aspect of
what they do, but rather part. Daniel Fiskum’s lyrics are ideally suited to a
musical setting and show obvious care, but he has an intelligent flair to each
of the album’s ten lyrics that few writers in this vein can boast. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Later
songs like “Strange Attractor” and “Battlehammer” are, arguably, closest in
musical approach to what we hear with the opener, but there’s never any sense
of the band repeating themselves. Much of Like Blood for Music is devoted to
more cinematically minded pieces like “Life in White”, “My Eyes Were Closed”,
and “House of No More Dreams”. The second and third of those songs, in
particular, are obviously keyed to be the album’s showpieces in this regard and
show how adeptly the band mixes the dissonant hard rock edge in their music
with more near orchestral approaches. The diversity is carefully modulated and
never sounds too far afield of the band’s initial impulse and it’s equally
praiseworthy how the three piece can make very adult themes accessible for even
those who haven’t experienced such things. The hard rock edge is often present
in Black Bluebirds music but, even when it isn’t, there’s the same sort of
intensity brought to bear we readily associate with that sort of sound. Like
Blood for Music is one of the best offerings in this style I’ve heard in quite
some time and opens up the future nicely for this band going forward from here.
<span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-79744793756035618302018-02-27T23:13:00.000-08:002018-02-27T23:13:32.625-08:00Rejectionist Front - Evolve (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://rejectionistfront.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://rejectionistfront.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/RejectionistFront/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/RejectionistFront/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Mike Yoder, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Rejectionist
Front has scored some important appearances on compilation recordings and
shared the same stages as legendary acts like George Clinton and P-Funk, Joan
Baez, and Tom Morello, among others in an obvious confirmation of their growing
status in the modern music world. Their music doesn’t necessarily remake the
wheel, but it takes up the mantle of intelligent hard rock and adds distinctive
multi-part vocals to their songwriting mix that set them apart from the pack. They
also share the rare distinction of never overextending things the way some acts
in this vein do – instead, Rejectionist Front specializes in songs that never
run on too long yet contain a vast musical world within relatively contained
space. Evolve is a wildly expressive and musically satisfying ride that their
existing fans will embrace and new listeners will admire a great deal. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
album begins with “Ride” and it’s one of the near anthems on Evolve from a band
who could likely turn out “call to arms” songs in their sleep. The passion
coming across through Michael Perlman’s singing and the backing vocals from
bassist Tony Tino and guitarist Lincoln Prout play an important role in
planting this first song deep in listener’s memories. The near progressive
guitar textures of this first cut give way to a clearer rock and roll edge from
the second tune “All I Am” and it’s much more of a vocal performance resting on
Perlman’s back with strategically placed secondary singing along the way. This
is one of the rhythm section’s best performances from Evolve and has a
free-wheeling, barnstorming quality that the band revisits and refines in later
tunes as well. Rejectionist Front’s strong lyrics stand out on the third song “Savior”
and the vocals enhance them quite a bit with their fierce yet musically aware
phrasing. Prout’s guitar work makes a number of songs on Evolve soar higher
than they perhaps might have with a lesser player, yet has a sense of restraint
uncommon to lead players in this genre that strengthens the song’s impact. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There’s
a slightly lighter air surrounding the track “All Is the Same” and Perlman’s
voice recalls Eddie Vedder’s delivery, but never slavishly. There’s some great
backing vocals too that dovetails well with the near jangle that Prout’s guitar
adopts for significant periods of the song. They toy with another near anthem
on the album’s sixth song “Reclaim” but, as before, Rejectionist Front stays
away from the sort of histrionics typifying most songs of this type. The
personal stakes informing the band’s socially conscious material is one of the
factors that set them apart from many of their generation. Prout’s six string
playing is especially good on this song. The single “Flush” has been accorded a
video as well and there’s a strongly commercial quality to the song that makes
it one of the more appealing cuts on Evolve. The second to last song on the
album, “Resurrection”, has a wildly inventive arrangement that plays well in
its spartan and heavier iterations. Their mastery of bringing dynamics into
their songs is notable from the opening to beginning of Evolve and there’s not
a moment of filler to be found on the band’s second studio release. </span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-30412322798187520742018-02-05T13:59:00.000-08:002018-02-05T13:59:14.275-08:00Shofar - s/t (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">BANDCAMP:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://shofar.bandcamp.com/releases"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://shofar.bandcamp.com/releases</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">BROADJAM:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://www.broadjam.com/shofar"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://www.broadjam.com/shofar</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by David Shouse, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Shofar’s
early catalog, available on CDBaby, doesn’t differ wildly from their return to
recording, a self titled six song effort. Perhaps their songwriting concerns
are a little more secularized than they were in the Minneapolis band’s earlier
incarnation, but Shofar has always been more about a thoughtful, intelligent
hue for the songwriting rather than some pulpit thumping broadside in a musical
package. The six songs on this new EP lean more towards commercially minded and
melodic rock with a mid-tempo pace, but there are some notable exceptions on
this new release. Vocalist and main songwriter Larry Hagner remains a vital
force at the center of the band’s compositions and has a talent for pouring a
definable presence into the band’s performances. A number of these cuts should
prove especially effective in a live setting. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Running”
opens the EP up with a blend of aggressive riff-focused guitars and some
lengthy passages, especially during the verses, where they are more fixed on
offering color to the piece. The hard rock portions of the track never really
come again on this release, but Shofar shows they are more than capable of
discharging some believable crunch through their music. “Powerman” is much more
in keeping with the bulk of the EP, though it does place a greater emphasis on
melody than instrumental assertiveness. It is, probably, the song on the EP
best illustrating some of the band’s more obvious musical influences while
still stamping the lyrics with a distinctive identity. “Shades of Grey”, unlike
the aforementioned tune, looks within instead of without and demonstrates the
immense artistry that Hagner and his band mates bring to the band’s more
obviously personal material. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Hands
Down”, however, is much more clearly in a rowdy rock mode than any song save
the first one. It boasts a particularly zesty chorus, as well, with Hagner
riding high on the wave of its momentum. The band turns in their most inspired
performance of the release as well and it’s keyed by a superb bit of drumming
that sticks in the memory. We end up in a more poetic, imaginative realm with
the EP’s final two cuts as “Countdown” envisions impending global calamity
while the ending tune “The Coming” is open to a number of interpretations
depending on your own imagination and familiarity with Shofar’s past material.
Once again, they distinguish themselves by providing a compelling musical
landscape and allowing listeners to arrive at their own conclusions. This
self-titled EP is an experience like that – it doesn’t force itself on
listeners but, instead, shares its heart and communicates with the hope that it
finds different meaning with each new encounter. </span><span style="font-family: "Times New Roman","serif";"></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-84114592347661676852018-01-22T09:02:00.000-08:002018-01-22T09:02:08.489-08:00Blue Apollo - Light Footed Hours + Circles (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUSHy95x5GikQ0jMova95sntEW_NDV4_jv3zNyS2DE3BII-8QAFch6mTJIUhk1voLW0TCNcywTqG03PEnvKnVH9OfTa5HaoHziS_nxiJJsAlmBTZOjciOKnKke42l8XYYd6A-qGt2YLkT4/s1600/blue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="714" data-original-width="1000" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUSHy95x5GikQ0jMova95sntEW_NDV4_jv3zNyS2DE3BII-8QAFch6mTJIUhk1voLW0TCNcywTqG03PEnvKnVH9OfTa5HaoHziS_nxiJJsAlmBTZOjciOKnKke42l8XYYd6A-qGt2YLkT4/s320/blue.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="http://blueapollomusic.com/">http://blueapollomusic.com/</a></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/blueapollomusic/">https://www.facebook.com/blueapollomusic/</a></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/BlueApolloMusic">https://twitter.com/BlueApolloMusic</a></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Daniel Boyer, posted by blog admin</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">With
music to match the EP’s cover (a girl’s face with eyes closed surrounded by the
infinite cosmos), Dallas three-piece Blue Apollo dig into spacey, gracious
textures and serene melodies that collide head-on with rock n’ roll brawn on
their debut, <i style="mso-bidi-font-style: normal;">Light-Footed Hours</i>.<span style="mso-spacerun: yes;"> </span>It’s a delicious difference split of sound
with some pop-vocal hooks, surprisingly complex instrumental threading and
tougher movements that leave behind a memorable impact. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Walls”
kicks the EP off with Jeremiah Jensen’s big sound that practically throttles
the toms while peppering the mixture with monster cymbal crashes and agile rim
playing.<span style="mso-spacerun: yes;"> </span>As his performance slips in
more volume and rhythmic trip-outs, Luke Nassar colors in the gray space around
the beat with head swimming melody chords blanketed in low-end warmth thanks to
Rodman Steele’s prominent bass swagger.<span style="mso-spacerun: yes;">
</span>The track works up a good head of steam, seemingly getting louder by the
minute, until releasing all of its pent-up energy into a semi-progressive indie
hard rock jam.<span style="mso-spacerun: yes;"> </span>One moment the
instruments will dip out and allow Nassar’s emotive voice take center stage and
the next the band will lock onto a groove like a homing missile that ultimately
explodes with crashing crescendos of epic soundscaping.<span style="mso-spacerun: yes;"> </span>Subtle touches of keyboard mimics a clavinet
and is probably the reason that the trio added a fourth member to handle all of
the group’s various auxiliary instruments.<span style="mso-spacerun: yes;">
</span>A superlatively rocking and careening lead topped off by a smacking
snare-fill sends the tune hurtling towards a whirling, oscillating and truly
exciting finale.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Feeling
Right” is all about the groove and Nassar sips his guitar melodies from the
tropics with some flamenco/funk/reggae flourishes that wouldn’t be out of place
on a Sublime record (albeit more subdued than Nowell and company would mess
with).<span style="mso-spacerun: yes;"> </span>Ragtime piano maintains a lively
atmosphere and the stop/start bass lines also toy with funk as the mix between
straight timekeeping <a href="https://www.blogger.com/null" name="_GoBack"></a>and syncopated jabs sprinkle some
jazz into Jensen’s drumming.<span style="mso-spacerun: yes;"> </span>Pitching
yet another curveball, “Therapy” repeats its main guitar lick akin to a mantra
and by doing so it becomes permanently ingrained in its audience’s memory.<span style="mso-spacerun: yes;"> </span>It’s a cool amalgamation between pop punk’s instant
immediacy and indie rock’s mind wandering charms.<span style="mso-spacerun: yes;"> </span>Luke’s voice carves wonderful verse and
chorus hooks as his guitar trades-off between being a lead instrument and a
backing one.<span style="mso-spacerun: yes;"> </span>A few craggy, jagged drum
fills and scorching guitar licks give this piece an occasionally aggressive
bite that fluidly transitions into the song’s more sugar sweet ideals.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Album
centerpiece “Avalanche” throws in the kitchen sink and everything else it can
find into a sprawling piece that begins as just picturesque melodic singing and
melancholic piano beauty.<span style="mso-spacerun: yes;"> </span>Cellos, violin
and a filled-out string section encompass a vast array of influences that
unexpectedly sees the entire band joining in with smashing percussion (heavy on
the crashing symbols), rubber burning guitar peel-outs, soul screaming blues
guitar licks and quaking low-end grooves.<span style="mso-spacerun: yes;">
</span>“Meant to Be” is mostly based upon Luke’s stunning lead vocals, his
acoustic guitars and the return of an exotic string section, though it doesn’t
forget to include a rock n’ roll finish for good measure.<span style="mso-spacerun: yes;"> </span>The EP’s final cut and the band’s most recent
single “Circles” mingles never-ending, kinetic tom-tom rolls, piano majesty and
ringing melodic chords into a penultimate track that couldn’t have been a
better closer; cementing <i style="mso-bidi-font-style: normal;">Light-Footed
Hours</i> into a sweeping indie-rock release that pulls out all of the stops
and succeeds at every single turn.</span></div>
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<![endif]--><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-70733304971829769522018-01-17T00:16:00.000-08:002018-01-17T00:16:43.804-08:00Man Called Noon - Everybody Move (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="http://mancallednoon.com/">http://mancallednoon.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/mancallednoon/">https://www.facebook.com/mancallednoon/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/ManCalledNoon">https://twitter.com/ManCalledNoon</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by David Shouse, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It’s
evident from the shucking and jiving pop n’ rocky fury of lead-in number
“Everybody Move” that Man Called Noon is intent on getting limbs swinging and
bodies bumping with their danceable acrobatics.<span style="mso-spacerun: yes;">
</span>Anthony Giamichael’s post-punk guitar shimmers and scorching solos work
up a good melodic sweat set to a thrilling tempo ride set by drummer Josh
Fontenot and bassist Dave Aitken’s well-oiled swagger.<span style="mso-spacerun: yes;"> </span>Citing soul and Americana influences these
elements ebb to the surface of Man Called Noon’s style thanks to the call n’
response vocal dynamics of Giamichael’s leads and Erin Piortrowski’s lavish
back-ups; together the team makes the verbal component of the band’s sound
airtight uber-contagious.<span style="mso-spacerun: yes;"> </span>There’s a
breathy, slightly nasally vibrato to Anthony’s leads that sounds a little like
Tom Petty, but he keeps subtly shifting his tonality for a very original
feel.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
second composition “Kiss Kiss Bang Bang” might be the EP’s best overall piece
but with the quality of material on offer here, well, that’s a tough call to
make.<span style="mso-spacerun: yes;"> </span>Still this tune charges forth on a
careening drum performance that embellishes punk rock tempos but twists them
towards new wave’s lockstep syncopation and fluid bass work.<span style="mso-spacerun: yes;"> </span>The guitars hang back in this one and seem to
add extra notes to help complete certain grooves, embracing a near minimalist
approach to the<a href="https://www.blogger.com/null" name="_GoBack"></a> playing which delegates synth-player
Nathan Crone to a pivotal role that sees his swelling, sonically tough
keyboards riffs placed right upfront in the track’s production mix.<span style="mso-spacerun: yes;"> </span>Speaking of the production there’s a fine
sheen to the total package yet a certain amount of rawness is present on each
instrument; rendering Man Called Noon as a rambunctious act who can take a wiry
rock song and sand it to a smooth pop masterpiece.<span style="mso-spacerun: yes;"> </span>Again the harmony vocals shine as the
instrumentation delves into a complexity one seldom hears when exploring this
style of music.<span style="mso-spacerun: yes;"> </span>These cats should be all
over rock radio and hopefully they are.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">This
superb EP crosses the finish line with “One Last Ride’s” raucous punk n’ soul
shakedown; Piortrowski steps into a co-lead vocal position providing some
wordless blues melodies that wrap around Giamichael’s hooks like man-eating
pythons as a throttling rhythmic groove nails everything down tightly.<span style="mso-spacerun: yes;"> </span>Upper echelon vocal trade-offs and some of
the most striking guitar work on the recording (marked by another killer little
solo run) yields this jam a rowdy aura that will make you really want to bounce
off your bedroom walls.<span style="mso-spacerun: yes;"> </span>The alchemical
split between soul, rock, punk and electronic music isn’t performed quite like
anybody else out there.<span style="mso-spacerun: yes;"> </span>Man Called Noon
is fiercely original when stacked against their closest competition.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">All
three tracks on this EP hit the bullseye with abandon and attitude.<span style="mso-spacerun: yes;"> </span>Though pop elements prevail and the
songwriting is tailor made for dancing and bedroom mirror vocal performances,
there’s a sonic slap in the snout to this music that makes it a bit more in
your face than anybody else that does it. Man Called Noon is poised to release
the best album of their career based on the strength of <i style="mso-bidi-font-style: normal;">Everybody Move</i>; keep an eye on them!</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-41905447977741284622018-01-03T00:15:00.000-08:002018-01-03T00:15:45.949-08:00Joe Olnick Band - Downtown (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCmkCd5h03173Nt7b1EvAN2r81bBed2EteO1-Tw7DR4wSgvnAXaRJQIDemEv7gpyNp8kBge99HFV3rFJy3g5wZnW8cPs9cUfsXrQwMqzeTc4Jn0UCImnGePe6RakqhEYpyZMuPlnCoCnO0/s1600/olnick.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCmkCd5h03173Nt7b1EvAN2r81bBed2EteO1-Tw7DR4wSgvnAXaRJQIDemEv7gpyNp8kBge99HFV3rFJy3g5wZnW8cPs9cUfsXrQwMqzeTc4Jn0UCImnGePe6RakqhEYpyZMuPlnCoCnO0/s320/olnick.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.joeolnick.com/">https://www.joeolnick.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/JoeOlnickMusic">https://www.facebook.com/JoeOlnickMusic</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Pamela Bellmore, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
Joe Olnick Band’s sixth album, Downtown, builds on the artistic and critical
success of his fifth release Defiant Grooves while extending the band’s
instrumental reach in a way the aforementioned album never dared. The seven
song collection is, like earlier efforts, an instrumental affair, but Olnick
and his band mates avoid the typical self-indulgence often plaguing such
releases. The collection is, likewise, united by a loose knit theme of life in
a big city, circa 2017, and the music embodies it artfully without ever
resorting to any bells and whistles in an effort to convey its narrative. The
high quality production reflects the level of behind the scenes talent involved
in assembling this collection, but it all begins with Olnick’s guitar work and
the sterling interplay between Olnick’s rhythm section of drummer Jamie Smucker
and bass player Jamie Aston. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
title song emphasizes groove and never hits an unconvincing note. Aston and Smucker’s
chemistry is practically palpable and one can only imagine whether or not you
are a musician, Olnick’s unbridled joy derived from playing alongside such
superior musicians. There’s an easy confidence about this performance that
allows the three piece to stay loose, yet precise, and maintains a deliciously
natural feel. “Philadelphia Moonlight, Part One” features more tasty Olnick
guitar work than the opener and has a bright, upbeat demeanor without ever
coming across as forced or too saccharine. There’s some light funk propelling
the third track “Food Truck” that definitely exudes a strongly urban feel
without ever belaboring the point and Aston’s ear-popping bass line is ideally
complemented by Smucker’s work on the skins. The trio’s stylishness comes
through but it’s all the more impressive because they are able to couple it
with genuine musical substance. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
band stretches out some on the song “Parkside” and its gradual accumulation of
detail makes for an invigorating listen. Olnick’s six string inventiveness
comes burning through on this track but never overreaches and he receives
excellent accompaniment from Aston and Smucker. “Philadelphia Moonlight, Part
Two” is much moodier than the first half and has some similarities to the
previous song, but there’s an ambient edge to this performance that “Parkside”
lacks. “Rush Hour”, the release’s second to last track, is busier than any of
the earlier numbers and features some guitar pyrotechnics that never take an
overwrought turn. Olnick and his band conclude the album with “Sports Complex”,
a rampaging and raucous guitar work out that nonetheless goes from point A to Z
in a logical, dramatic fashion. Downtown will more than please guitar fans, but
there’s something here for anyone who enjoys challenging music that’s willing
to take chances. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-33594030794828090142017-12-26T12:12:00.000-08:002017-12-27T09:53:42.474-08:00Slow Burning Car - Defection (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://www.slowburningcar.com/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://www.slowburningcar.com/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/SlowBurningCar/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">https://www.facebook.com/SlowBurningCar/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by Mike Yoder, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Defection,
Slow Burning Car’s fourth album, is a ten song collection aggressively putting
this Los Angeles band over as one of the more cutting edge rock/metal acts
working today. The band’s four musicians are obviously extraordinarily talent
and play without any obvious ego trips, but they are clearly talented
songwriters as well who thread influences into their work that further enhance
their penchant for the personal and physical. These are songs capable of
engaging listeners mentally and, naturally, physically. The muscular movement
of the band’s music conforms to certain expectations we have about this style,
but they prove themselves equally effective at twisting arrangements in
unexpected directions and bringing the listeners with them. This is an album
that cannot be denied and Slow Burning Car is definitely intent on winning over
new fans to their work so, despite its idiosyncratic air, the songs never fails
to strike an accessible note. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Much
of Slow Burning Car’s accomplishment with this release rests with their ability
to mix up their musical approach, yet retain compelling coherence. Defection’s
first half is largely devoted to big, brawling guitars. It begins with thenotic
riffing behind “Alpha Duplicor” colored with just a hint of electronic flair to
give the song a distinctive modern bite. The band’s guitar sound is current,
but their sense of what constitutes a good riff is very much a throw back to
older acts and the mix suits their aims quite well. “Soul Crimes” unleashes the
band’s aggression in a more pronounced way as the uptempo charge of the song
comes at listeners without compromise. There’s a genuine punk spirit you can
discern along the edges of their musical attack, but the musicianship remains
at a high level throughout. Bassist and lead singer Troy Spiropoulos excels
with his vocal every bit as much with a barnstormer like this as he did on the
more moderately paced opener. The unusual tempo and herky-jerky movements of “The
Orb” allows Spiropoulos’ bass playing a chance to step into the spotlight and
he also serves up a simmering, yet understated, vocal that dovetails well with
the song’s subject. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“The
Sunday Derby” is another idiosyncratic band achievement and another rhythm
section centered tune. There’s some particularly jagged electric guitar
inserted into the song’s mid way point and second half, but six string heroics
aren’t what powers this song musically. It shifts through different textures,
as well, to supremely compelling effect. “You Can’t Stay Here” dispenses with
any frills and gives listeners probably the closest thing to an all out rocker
on the album and definitely taps into a rambunctious punk rock spirit. The album
takes on a much different tone and even an experimental edge the rest of the
way – it’s largely devoted to acoustic sounds that never follow a predictable
path with the exception of the album’s penultimate number, “Polar Warden”, an
eight minute plus near ambient workout heavy on electronica and sans vocals. It’s
a bold risk to take so late in the release, but Slow Burning Car gamble and it
pays off quite handsomely. The finale “Clouds” is best considered more of a
coda – after the explorations of “Polar Warden”, casting it in any other mold
feels anti-climatic. It’s a graceful close to the album however that underlines
many of the band’s strengths. Defection easily qualifies as one of 2017’s most
interesting, varied releases in this vein. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-70713408822402607502017-12-11T05:25:00.000-08:002017-12-11T08:44:07.285-08:00Thomas Abban - A Sheik's Legacy (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://www.thomasabban.com/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://www.thomasabban.com/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by Mike Yoder, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Thomas
Abban and his maniacal debut <i style="mso-bidi-font-style: normal;">A Sheik’s
Legacy</i> is the kind of album that you know if going to be great from the
very track.<span style="mso-spacerun: yes;"> </span>This multi-instrumental
prodigy (aged only 21) pulls out all of the stops on opener “Death Song,”
wandering through dreamy ballad waters of acoustic guitar, psychedelic keyboard
signals and mixed percussion sounding like tabla mixed with a standard kit
before smashing into crazed vocal histrionics and throbbing, deadly precise
guitar surgery.<span style="mso-spacerun: yes;"> </span>The motifs are many and
none of them paint a clear picture as to where Abban draws his influence;
according to the scant information online given by the artist himself, he’s
very much a classical music fan and it’s without a doubt there is a sense of
arrangement to this song and the rest of the album that transcends basic
“jamming.”<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
hard-hitting passion of Abban’s vocals and the overwhelmingly expressive of his
crazed ear for time-signatures lend “Symmetry & Black Tar” an unrelenting
barrage of emotional earworms.<span style="mso-spacerun: yes;">
</span>Galloping, full-throttle drums are heavy on the tom/kick patterns as the
guitar work runs country music through flamenco mysticism and even an esoteric
Celtic pulse that one might find on a prime Pogues’ record.<span style="mso-spacerun: yes;"> </span>Thomas’ voice embraces wind-whipped falsetto
and grainier blues hues as Abban rips out maniacal guitar tapestries that break
stylistic barriers with a sledgehammer.<span style="mso-spacerun: yes;">
</span>Those tempos get more harried, frantic and angular as the song races
towards a monolithic climax that proves to be a pitch perfect set-up for the
bulldozing, Clapton-esque riffing (circa Cream and Blind Faith) of “Fear.”<span style="mso-spacerun: yes;"> </span>“Fear” is riff after riff piled high atop of
a molasses-y rhythm that slowly uncoils its python-like death grip into a
lightning fang strike of increasingly complex drum/bass progression.<span style="mso-spacerun: yes;"> </span>Again, Abban who sequenced the album himself
places the most appropriate track in succession, this time manifesting in the
form of “Aladdin.”<span style="mso-spacerun: yes;"> </span>The groove is a touch
looser not QUITE as heavy as “Fear” but it’s not far removed either.<span style="mso-spacerun: yes;"> </span>His chord choices and phrasings, powerhouse
riffs and slamming rhythms still will nevertheless knock the paintings off your
wall and shake a few molars from your gumline.<span style="mso-spacerun: yes;">
</span>If you find it odd that Abban is the only musician I reference, don’t be
surprised when you pick up the album and find out that he played every
instrument but two on the entire record.<span style="mso-spacerun: yes;">
</span>Even crazier, he wrote, sang on, produced, mixed and arranged every
single bit of the album himself.<span style="mso-spacerun: yes;"> </span>The
magnitude of such a feat, so early in a musician’s career is nothing short of
mind-blowing.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">A
smoldering, slow-burn blitz seethes through “Time to Think” and its lonely,
desolate acoustic guitars, whistling melodies, blaring organs, guest musician
played flutes and fuzzy electrified riffs deliberately stack the song up to the
sky, bit by glorious bit.<span style="mso-spacerun: yes;"> </span>“Horizons” is
a less intense, subtler take on his ambitious track layering; this time piano
and a wall of acoustic guitars providing a softer yet no less commanding
fortress of audio might.<span style="mso-spacerun: yes;"> </span>Abban’s
songwriting literally overtakes the mind, usurps the eardrums and engages the
palette, no matter what manner in which Thomas presents a song.<span style="mso-spacerun: yes;"> </span>Be it the castle conquering, riff-y black
magic of “Uh” and its snubnosed groove, the pop sensibilities of “Sinner” and
“Irene,” “Don’t You Stay the Same’s” well-travelled Dylan licks or “Echo’s”
long climb from an acoustic well to high-temple, 70s-soaked progressive rock… Abban
leaves no stone unturned on <i style="mso-bidi-font-style: normal;">A Sheik’s
Legacy</i>.<span style="mso-spacerun: yes;"> </span>He takes everything
wonderful about the 60s/70s and then applies his own 2017 spin on the material
which sounds like nobody else playing rock n’ roll in the current musical
climate; a highly recommended album from an artist we should keep an eagle eye
on.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-86812357631651461072017-12-08T10:35:00.001-08:002017-12-08T10:35:51.991-08:00Cyborg Asylum - Never Finished, Only Abandoned (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFcBsCkG9kvtiJzRQ-3ctrtR8e9onrKd9lXjz_lErv-SNMZ1BrZtRoMG-0avXADnDiGGmJsYC5YbTRC-psazU5NbKmiwvokBihR1bqZdfhjdLM9xGZ70lsjQU8eQi3pVVAO6eWpJuWlMDE/s1600/cyborg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1490" data-original-width="1490" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFcBsCkG9kvtiJzRQ-3ctrtR8e9onrKd9lXjz_lErv-SNMZ1BrZtRoMG-0avXADnDiGGmJsYC5YbTRC-psazU5NbKmiwvokBihR1bqZdfhjdLM9xGZ70lsjQU8eQi3pVVAO6eWpJuWlMDE/s320/cyborg.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.cyborgasylum.com/">https://www.cyborgasylum.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/CyborgAsylum/">https://www.facebook.com/CyborgAsylum/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/cyborgasylum">https://twitter.com/cyborgasylum</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Daniel Boyer, posted blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
New York City headquartered duo of David Varga and John Tumminia, collectively
known as Cyborg Asylum, are brandishing their own style of post-industrial
electro fueled alternative rock with their first recording Never Finished, Only
Abandoned. The dozen songs included with this new release crackle with
creativity unlike we’ve heard from similarly themed acts and has an
idiosyncratic slant thanks to the musical and life experiences they bring to
the composition of the album’s material. Varga, an Emmy award winning
contributor whose musical scores have adorned film and television alike, brings
an artistic point of view deftly balanced with a level of accessibility that
enhances the impact of the arrangements while Tumminia’s vocal and lyrical
talents give the songwriting an added depth of character it might not otherwise
possess. Despite the fact that the writing of the album, soliciting guitar work
from Varga’s UK based cousin Phil Jones, is conducted via filesharing before
the participants ever occupy the same room at once, the songs on Never
Finished, Only Abandoned sound seamless and listeners will be hard pressed to
find any hiccups in their execution. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Blitz”
opens the album with an evocative instrumental and the album’s first song with
vocals and lyrics, “Synergy”, also announce the presence of guitar on the
album. Jones lays down some biting six string work here veering from dramatic
string bends over to sharp powerhouse riffing that helps elevate this track to
unforgettable levels. There’s a relatively rare excursion into more
commercially viable territory with the melodic track “My Metallic Dream” and
the duo mixes those qualities quite well with their electro/industrial punch.
Tumminia’s vocal is one of his best on Never Finished, Only Abandoned. “Weightless”
isn’t quite as commercial, but it doesn’t completely forsake accessibility and
the marriage of Tumminia’s vocals and lyrics with some particularly understated
yet effective Phil Jones guitar playing makes this one of the more memorable
musical moments on the release. It’s certainly among the most realized. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Angle
of Incidence” is another instrumental track, shorter than most, but no less
eventful. Varga proves time and again on this album that the size of his
musical canvas, or lack thereof, is no impediment to him creating an artful
moment and this song arguably embodies that better than any other despite being
strictly an instrumental. There’s guitar and synths carrying the melody on
another instrumental track “Ion” and the performance essentially see saws
between those inviting passages and much darker interludes when the electronic
music strikes a distinctly darker note. The album’s final cut “Paradigm Shift”
continues exploring the lyrical and musical themes we’ve heard throughout the
release but Cyborg Asylum ups the ante by making their musical attack harder
and more uptempo than ever before. It’s a hard hitting and well paced ending to
the album and should impress listeners thanks to its energy level, if nothing
else. Cyborg Asylum has concocted a masterful debut with Never Finished, Only
Abandoned. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-84010113835390805172017-11-13T10:57:00.000-08:002017-11-13T10:57:42.179-08:00Nick Black - Summer + Spring (2017)<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="http://nickblackmusic.com/">http://nickblackmusic.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/nickblackfanpage/">https://www.facebook.com/nickblackfanpage/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/nickblackmusic">https://twitter.com/nickblackmusic</a></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by David Shouse, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There’s
scant or no power chords to be found on Nick Black’s Summer & Spring, it
isn’t his style, but there’s plenty of guitar driven fireworks spread out over
the album’s thirteen songs. One gets the feeling that there’s likely nothing
Nick Black couldn’t play if he applied himself to doing so, but the spectrum of
styles covered on his third full length album cover the areas of R&B, funk,
soul, and a little bit of blues. He’s equally at home on the acoustic guitar as
he is the electric and his vocal skills are the icing on the cake – history is
littered with the atonal output of expert axe slingers whose singing talents
never quite measured up. With Black, they’re part of an overall outstanding
package. It’s all wrapped up in classy, first rate production that treats every
part of the song as essential and renders the instrumental work with bell-like
clarity. The songwriting driving his first two albums was remarkable, but he’s
certainly stepped up his game with this release and the inclusion of some
comedic elements indicates a performer of growing confidence rather than
someone merely angling for attention.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">One
of the album’s first two singles, “Joy to the Girl”, begins things on a wry and
slightly funky note. It’s an infectious, celebratory number that makes great
use of the uptempo churning of its verses. This is a song that’s light on its
feet and has a bright spirit embodied by the tightly coiled rhythms and crisp
dispatch from every instrument. The album’s second single and title track “Summer
& Spring” is a much more sedate number by comparison, but its stylishness
never undercuts the heart and soul Black so obviously pours into its performance.
“Nick at Night” is a rollicking romp with jazzy inclinations that we seldom
hear on Summer + Spring, but when those traits come out, they capture your
attention. His guitar work has a rugged quality on the song that it doesn’t
typically sport, but it also pushes through the song with the same bounce we
hear from the horns and rhythm section alike. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Change”
is more like a light rock track with horns brought in as an added musical
measure. The steady 4/4 beat never wavers and avoids unduly spicing things up
with any sort of ostentatious fills or self-indulgent notes. The same lean, muscular
focus defining so much of the release continues with this song, clocking in at
just a hair over three and a half minutes, but the relative brevity of these
songs doesn’t indicate a paucity of ideas. Instead, Black and his musical
cohorts come off as a musical unit that knows exactly what they want to say
each time out. He continues flirting with light AOR rock on the song “Neighbor”
and it’s the drumming that, once again, gives this a four on the floor quality
impossible to deny. It’s the first song to exhibit his talents as an acoustic
player, but soon cedes ground to a musical arrangement more common for Black.
He turns up the funk heat with his song “When the Morning Comes” and it dials
in to a bite missing from most of Summer & Spring’s songs without ever
sound radically different from the surrounding material. “The River” closes Summer
& Spring with a bluesy acoustic track that varies from the bulk of the
material, like the aforementioned tune’s sound, without ever standing out as
some sort of oddity. It proves to be a fine ending to one of the year’s most
rewarding releases from any genre. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-57653856301419283322017-11-11T15:08:00.000-08:002017-11-11T15:08:20.648-08:00Black Note Graffiti - Volume II: Without Nothing I'm You<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL: </span></u></b><a href="http://blacknotegraffiti.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://blacknotegraffiti.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK: </span></u></b><a href="https://www.facebook.com/BlackNoteGraffiti"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/BlackNoteGraffiti</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER: </span></u></b><a href="https://twitter.com/blacknotegraffi"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://twitter.com/blacknotegraffi</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Frank McClure, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">This
is a little bit harder of a review to write than most. You aren’t likely to
hear the songs on Black Note Graffiti’s second studio release, Volume 2:
Without Nothing I’m You, performed like this ever again. The reason is that,
after recording this album, the Ann Arbor, Michigan based four piece added
Gabrielle Bryant on vocals. The songs, undoubtedly, will continue to be
incorporated into the band’s live set, but they will take on a distinctly new
quality with Bryant’s presence on vocals and the chemistry she finds with
long-standing singer and second guitarist Ricardo Ortiz. It’s a pivotal time
for this band. The eleven songs included on Volume 2 are the band’s strongest
yet and it is clear that Black Note Graffiti are a band well on their way towards
realizing their potential and, undoubtedly, drafting a female voice to join the
band as a singer will transform and, likely, further elevate their art. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">They
may bring intelligence to hard rock/metal and alternative rock guitar workouts,
but they bring the firepower and thunder as well. “No Love Lost” is, indeed,
shorn of all sentimentality and is one of a few songs on Volume 2 where the
guitars and rhythm section whip up a hard-edged swagger any rock band with ears
would covet. “Such is Art” is a little more finessed than the first song,
particularly in regards to its lyrics, and singer Ortiz impressively tailors
his voice to the song’s demands. Drummer Kurt Keller and bassist Adam Nine
often figure as the band’s less than secret weapon with the assertive
performances they serve up that, thanks to their good sense and production
alike, understand their place in the band’s mix. They also provide all
important bedrock ballast for the album’s songs which allow Ortiz to stretch as
a singer while the playing can take any direction it likes knowing the two can
ably hold down the bottom end. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Castles”
harnesses thumping hard rock drums into a jagged guitar-driven alt rock body
and gradually wins the audience over despite being a slow-starter. The guitar
sound, warm yet unforgiving, redeems the deliberate tempo and Ortiz hits
listeners hard with a desperately emotive vocal. The song “Bars from the Cages”
dispenses, for the most part, with any glimmers of hard rock posturing in favor
of a more atmospheric and moodier guitar focused arrangement. The vocal
emphasizes a more theatrical side of their presentation as well. “Shadows”
continues the move away from outright metal and hard rock towards guitar heavy
riff music that’s coupled with astonishing variations of texture. The movement
of this song from a highly artful introduction into its explosive guitar and
rhythm section pyrotechnics is one of the album’s indisputable high points. The
strongest part of Volume II continues with the album’s moodiest number, by far,
“Why We Trust” and the seeming portentousness of the song title isn’t reflected
at all in this intelligently written piece. It grapples with big themes and
questions in a decidedly talented way. The dark dance between bass and guitar
opening “Relapse” is the ideal sonic preamble for the song as a whole and ranks
among the album’s best songs. Volume 2: Without Nothing I’m You may already be
consigned to be a bit of a curiosity in the band’s discography, but there’s no question
the songs have a tremendous amount of life in them. Black Note Graffiti are a band
with their eye on the future and looking to grow in any positive way.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-79466662764389120812017-10-31T12:11:00.001-07:002017-10-31T12:11:33.429-07:00Elliot Schneider - Don't Put All Your Eggs Back In One Basketcase (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL: </span></b><a href="http://elliotschneidermusic.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://elliotschneidermusic.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK: </span></b><a href="https://www.facebook.com/elliot.schneider.1"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/elliot.schneider.1</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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</xml><![endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written by Frank
McClure, posted by blog admin</span>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Elliot
Schneider’s new album, the improbably titled Don’t Put All Your Eggs in One
Basketcase, is an eleven song collection accompanied by some supplementary
historical material intended to further elucidate Schneider’s musical career
for the uninitiated. The mixture of this new and past material never damages
the overall presentation of this release; there’s a clear distinction between
the new and old material while still sounding part and parcel of the same
artistic vision. Schneider’s skills as a musician, performer, and songwriter
are naturally honed to a razor sharp edge because he continued playing and
writing for passion’s sake alone so his albums released since his late-life re-emergence
as a recording artist come across as impressively well rounded – he’s just as
home with modern rock as more traditional guitar driven styles. Don’t Put All
Your Eggs in One Basketcase is one of the year’s most inventive recordings and
pulses with life.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It
begins on a decidedly high note with the track “The Moon Has Flown Away”. This
has a pleasant, non-assertive feel while still maintaining a solid stream of
energy. There’s definitely a strong retro influence on the song, but it has an
engaging and warm sound coupled with sharply worded lyrics brimming with well
chosen energy. Some of the songwriting is particularly engaging, like the way
it builds up to its pay off line and the light touch of harmony vocals exerting
their influence over the final product. “Diehard Killjoy” uses backing vocals
more generously and it tempers what might be a lightly tedious recitation in
song of an obnoxious subject. Other elements of the performance are equally
good at distracting us – namely, the understated piano brawling just under the
mix along with rough and rowdy guitar work. There’s a more meditative mood
coloring the song “Captain Argent” and it comes with far less reliance on the
guitar and the classic rock tropes of earlier numbers. Schneider’s vocal
displays much of the same spirited engagement we hear on the earlier numbers,
but there’s a little more consideration at play here as well. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
propulsive drumming opening “A Key To You” unfolds like you might expect when
some low-hung, riffing guitar dive bomb in over the top and the band
immediately establishes an immediate groove. There’s some light keyboards
buried in a little in the mix, but their effect isn’t negligible. There’s a
practically doo-wop sound coming over on one of the song’s more memorable bits
of rock and roll, “Overruling Neo-Fascists”, and both every instrument is
handled with considerable aplomb. Listeners and lovers of Schneider’s more
overt rock tendencies will flock to the track “Surreal Survivor” despite it
being a re-recording of a track from earlier in Schneider’s recording career. There’s
an especially hard hitting quality about this number that’s lacking on the
album’s other guitar work outs. Elliot Schneider’s Don’t Put All Your Eggs in
One Basketcase is a thoughtful and expansive album with understated ambitions
and the talent to<span style="mso-spacerun: yes;"> </span>hit whatever lofty
peaks he sets for himself. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-18649584439997747932017-09-16T20:46:00.001-07:002017-09-16T20:46:31.581-07:00Grace Freeman - Shadow (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLVfqwda9oPNq80zvoQWODS6dBQMhS0VHsTxcRuxuZD6_Mk4DQM-atSeA3uIsX8fPnLtqyQoESedhQSu9nrvBjicLqGiKVNVNfdy2wm99znMLKZOSK9FdJ3LOJWuBLORcdX9QPYSRaHOvI/s1600/freeman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="400" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLVfqwda9oPNq80zvoQWODS6dBQMhS0VHsTxcRuxuZD6_Mk4DQM-atSeA3uIsX8fPnLtqyQoESedhQSu9nrvBjicLqGiKVNVNfdy2wm99znMLKZOSK9FdJ3LOJWuBLORcdX9QPYSRaHOvI/s320/freeman.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><a href="http://www.gracefreeman.net/">http://www.gracefreeman.net/</a></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><a href="https://www.facebook.com/gracefreemanmusic/">https://www.facebook.com/gracefreemanmusic/</a></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by William Elgin, posted by blog admin</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Shadow
isn’t Grace Freeman’s first taste of the experience had writing, recording, and
releasing an album. Her emergence into the recording world came with the 2015
release of The Moon Police’s The Lost Go Sailing By and it is only in the last
two years that Freeman has started to open shows as a solo artist for figures
like Suzanna Vega and Macy Gray, among others. It’s impressive for any young
performer, but when you take into account that Freeman hasn’t had her twentieth
birthday yet and wrote all eleven songs for this release, it’s nothing less
than a marvel. She shows off some various influences during the album’s
duration, but they are filtered through her consciousness and particular skill
set in such a way that they emerge as something much different and highly
individual. Shadow marks Grace Freeman’s emergence in full and, based on its
strengths, she’ll be around for some time to come. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Oliver”
begins things on a very pensive note. It’s obvious, even from a cursory listen,
that Freeman is an unusually considered writer, no matter her age. There’s a
discipline she applies to both her musical arrangement and lyrical content
ensuring there not a single extraneous word or note to be found in either. “Shadow”,
the album’s title song, takes a different musical direction from the opener
thanks to its elegant piano lines and the introduction of a rhythm section that
adds much more audible weight to the performance. Freeman works just as well
with an expanded musical lineup as she does weaving magic essentially solo and
the poetic touches distinguishing this song help it stand out as one of the
album’s peak moments. Listeners are brought back to much more fragile, sensitive
music surroundings with her performance of the track “Blue Eyed Boy” and the
crystalline beauty of the arrangement and Freeman’s voice will hang in your
memory for a while. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Another
high point of the album comes with “Autumn” and, even though it embraces a
rather spartan sound, still manages to incorporate elements like bass to give
the arrangement extra heft. Her ethereal vocal musings are ideal for the poetic
nature of her lyrics, but she never strains for effect as a writer. The clipped
melodicism of “Dreams” will brighten the mood of listeners after two relatively
exhausting tunes emotionally and Freeman’s beguiling vocal magic is just as
capable of embracing upbeat material as it is the album’s more introspective
fare. “Muddy Puddles” is an artful piece of writing, especially lyrically, and
Freeman performs the song with unfaltering and graceful confidence. The
literary qualities in Freeman’s writing are impossible to ignore. “God Forbid”
is another highlight on the album – there’s a stunning mixture of sorrow and
ruefulness filling the lyric and Freeman embodies both qualities
extraordinarily well in her singing. The musical accompaniment is ideally
suited and presents itself in such a way that it only helps highlight the
masterful writing job that she turns in with this number. Shadow is an
impressive album under any context, but as a solo debut, this release will have
lasting impact on Grace Freeman’s life from this point forward. It sets the bar
high. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-40820084212027820492017-09-16T17:12:00.000-07:002017-09-16T17:12:24.159-07:00KALO - Wild Change (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><a href="http://www.kaloband.com/">http://www.kaloband.com/</a></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><a href="https://www.facebook.com/kaloblues">https://www.facebook.com/kaloblues</a></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><a href="https://twitter.com/kaloblues">https://twitter.com/kaloblues</a></span></div>
<div class="MsoNormal" style="tab-stops: 64.5pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by William Elgin, posted by blog admin</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
power trio KALO spotlights the talents of vocalist and guitarist Bat-Or Kalo
but her musical partners bassist Mack McKinney and drummer Mike Alexander are
more than capable of matching her musical firepower and complement her playing
extraordinarily well. The band’s fourth release, Wild Change, is an eleven song
effort that doesn’t content itself with pursuing one style or formula but
definitely excels in a much stronger way when they play to Kalo’s strengths as
a gut wrenching blues singer with finesse and passion alike to burn. The
songwriting certainly knows its way around the musical style and makes
invigorating use of some long standing tropes, but it also features a number of
inventive musical and lyrical flourishes that are Kalo’s own, plus an
underrated sense of humor that’s always useful for this sort of music. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“One
Mississippi” is a swaggering and sinewy blues rocker that moves at a brisk pace
and has quite a bit of jump thanks to the rhythm section’s playing. Kalo gives
a physical and assertive performance that feels like she’s throwing all of
herself into the music. This sort of commitment and no nonsense approach to
their material gives Wild Change a mightily promising beginning. The
appreciative live crowd heard at the end is just an added bonus to a listener’s
enjoyment. “Isabel” is a real guitar wailer from the beginning and Kalo further
spices it up with a do or die vocal that really turns up the heat for the song’s
chorus. There’s some piano creeping through the cacophony during the chorus
that gives it an extra dramatic spike. The band turns toward hard edged R&B
on “Upside Down” and Kalo delivers a really showstopper vocal on a song that
sounds like it was cut live in the studio. There’s a kinetic energy they
achieve here, regardless, that sounds like a band letting loose and inspired by
each other’s contributions. It’s one of the best moments on Wild Change for
pure musical interplay. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Fix”
is a little more obviously commercial than some of the other songs in the sense
that it seems a little more ready made to be among the new songs the band will
incorporate into their live act and the chorus is far punchier than anything
else on Wild Change. Any widespread appeal this song holds isn’t a bad thing.
The symbolism in the lyrics doesn’t remake the songwriting wheel, but there’s
no question that there’s a lot of vulnerability masked by the sonic bluster. “Wild
Change” is a gritty title track that makes its relatively simple bluesy stomp
as effective as possible, but Kalo’s wide-eyed belt is the critical factor in
pushing this song over the top into something truly memorable. The loose
shuffle opening “Smile and Blush” ushers in some shimmering acoustic guitars
and KALO maintains the same low-fi approach for the entirety of the track. Kalo
scales her voice back appropriately and provides the song with a rather
haunting, lyrical vocal performance. There’s an abundance of creativity on Wild
Change that helps it stand out from the pack as a release worth noting. Kalo
continues to grow as a vocalist and songwriter with each new release and the
band, as a whole, shows no signs of slowing down. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4902024178946070512.post-19281458897926443172017-09-14T15:16:00.000-07:002017-09-14T15:17:22.550-07:00Dust of Days - Analog Mind Bender (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKShoqvqY1qR555F-isHU1oZyM23ouI66iikCJiSXrZno99HHz3tAqHEa26BurBRnqmIS1OJE6yQy5Mvil_2uDwkZ9rs9pXFj99XVcrblEbNNfGkocruJeuj4m8N3qPMDIITdrEYQrWEH2/s1600/dustofdays.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKShoqvqY1qR555F-isHU1oZyM23ouI66iikCJiSXrZno99HHz3tAqHEa26BurBRnqmIS1OJE6yQy5Mvil_2uDwkZ9rs9pXFj99XVcrblEbNNfGkocruJeuj4m8N3qPMDIITdrEYQrWEH2/s1600/dustofdays.jpeg" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL: </span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="http://dustofdays.com/">http://dustofdays.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">FACEBOOK: </span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="https://www.facebook.com/dustofdays/">https://www.facebook.com/dustofdays/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">TWITTER: </span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><a href="https://twitter.com/dustofdays">https://twitter.com/dustofdays</a></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br />Written by Jason Hillenburg, posted by blog admin</span><br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Dust
of Days’ Analog Mind Bender is the first release from this New Jersey based
band since 2013’s EP Ethers and Embers and poises them to ascend the ladder to
the next rung of widespread visibility. The dozen songs included on the release
are definitely personal in nature, but drummer and vocalist Frank Lettieri Jr’s
songwriting touches enough on universal human experiences that it further opens
the band’s potential while still surely satisfying Lettieri’s inner need to
write and communicate. Lettieri, obviously, reworked and refined this material
until he was certain that it was ready to go and the mere three days it took
for the band to cut the collection further testifies to that fact while
recalling the way iconic bands worked during rock music’s infancy. Dust of Days
are certainly big on guitars, but the six string isn’t the only story on this
release. Dust of Days, likewise, incorporates unexpected instrumentation that
never sounds out of place and repurposes traditional elements in exciting new
ways. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Scott
Silvester’s subterranean bass lays down a thick groove for the title song and
opening cut “Analog Mind Bender” that alternates with the band’s two
guitarists, Mike Virock and Jim McGee, striking a rousing note with the song’s
melodic axe work. There is a ringing quality, akin to a bell, recurring
throughout the song that gives it an added melodic lift. There is no such
melodic lift present in “Aurora”, but there is a certain amount of finesse.
Dust of Days goes back and forth from a full on vocal to spoken word during the
verses, but Lettieri imbues the verses with memorable theatricality in his
delivery that, nevertheless, doesn’t overreach. “Mustang” has a similar spirit
driving it along. Lettieri is afforded a chance here to show off his emotive
chops and doesn’t disappoint even if one moves away from this tune feeling like
its potential peaks aren’t exploited enough. “Little Angel” excels largely on
the backs of the fine rhythm section playing of Silvester and Lettieri’s
drumming. It’s a song full of light and shadow as it moves back and forth from
stripped back bass and percussion driven verses with massive guitar flourishes.
</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“My
Dear” comes off as a more fully realized version of “Mustang”, albeit about
very different subject matter, and it hits home with memorable emotional force.
The guitar work from McGee and Virok is more nuanced here than ever before on the
release and uncover a bluesy, elegiac eloquence in this performance. They make
another 180 degree stylistic turn with the raging cut “The Circus” and its
post-punk ferocity doesn’t diminish the same intelligence behind this tune that
powers so many of the other cuts. “Death Vibrations” has some of the same punky
spirit as the previous song, but there’s a more tempered edge to this than we
hear on “The Circus” and more of a focus on Lettieri’s singing and lyrical
content. Analog Mind Bender provides a thrilling listening experience
throughout its duration and one of the most fascinating moments comes with the
penultimate track “The Shore”. This haunted soundscape is carried by hazy
piano, hushed vocals, and some surprising contributions from strings. It’s the
most illustrative moment on the release showing off their capacity for surprise
and shows that this is a band developing at an exponential rate despite the
time between new releases. </span></div>
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