William Dranes is a musician from France. He is only twenty-six-years old but has a good amount of experience because he started when he was six. He did however stop three years later and picked it up again when he was nineteen years old.
He recently released Dreamrock which is a twelve-song album. The album is a complete DIY bedroom project and even though it’s called Dreamrock I really wouldn't consider this a rock album. There are lots of synths, electronic percussion and keys.
The album starts with “Burning Will.” He combines an electronic 4/4 beat with dark pads and piano. I would say the piano certainly felt like the focal point of most of the song. The mood gets a little brighter with “Adrénaline.” It’s a pretty straightforward song all things considered and leads to a hopeful climax of sorts.
“Autrement” felt like another hopeful song to my ears and very aligned with “Burning Will.” He finds another crescendo that feels like the end of a movie sequence where the protagonist wins whatever he or she needs to.
One thing I can say is the artist did a good job making a cohesive experience. I felt like I was often listening to the same track. It was hard for me to tell when one song ended and another began and I think it could probably work as one continuous piece.
The piano certainly felt like the star throughout these songs. There is some solid drum programming and good use of tones and textures but the technical ability shined through the keys more often than not. I’d love to hear a collaboration with perhaps some other musicians, I have to admit hearing violin and cello was something I was thinking about while listening to these songs.
This album contains a solid mix of instrumental songs that display Dranes’ talent. I have a feeling this is just the beginning for this young artist.
Green Light Silhouette started in 2012 in Santa Rosa, California as Neal Mckenzie’s (vocals/guitar) previous band “Wonkaface” ended. He started jamming with drummer Joel Heun, Nick Yanez on lead guitar and Daniel Galyean on bass. Working on a handful of songs they put together some shows. Shortly after, Galyean moved and was replaced by Ryan Macauley on bass, who also added backing vocals. After writing several more songs they released their debut The Mind Suggests Less Knowing. After the release, Heun and Yanez left the band, so with no drummer or lead player, the newly formed band was going to call it quits unless they could find players that fit their style and passion for music. Enter drummer Josh Tellez. After collaborating on new tracks, they eventually found a new lead guitarist in Estevan Hernandez (lead guitar) who brought in another level of technicality to improve their overall sound. With the new lineup, Green Light Silhousette wrote an entire album's worth of material, which resulted in These Waves. Drawing heavily on various influences like Sunny Day Real Estate, Nothing, Pixies, The Smashing Pumpkins, Weezer, Failure, Thursday, Superdrag, Ozma and Smoking Popes – the album is a mix of rock, alternative and shoegaze.
The opener “Hidden Mines” attacks with buzzing guitars, reminiscent of early Smashing Pumpkins, a melodious bass line and drums that have a great live, raw sound. I loved the classic Hollies-like sound of the beginning guitar to “Shapes + Colors” which segues into a classic ‘90s alternative progression. I also thought there was something of The Smithereens in here too but couldn’t tell you exactly what that was. What really grabbed my attention was the band’s vocal harmonies – captivating and haunting – as well as the guitar solo. I marked this one down as a fav for sure. “Detection” takes a page from the dark tones of shoe gaze, post-rock and even goth. It’s as if the band meshed together melodic bass lines, distorted guitars and an indie/prog structure that birthed a new genre. “So Why?” features a playful beat, a somewhat pop-ish style, with clean sounding guitars and again, a fantastic alternative rock style.
“Goodnight” was by far another one of my most favorites from this group. The band effortlessly blends together a dream pop sound and rocked it up a bit but at the same time, transported my mind back to a simpler, care free time of being younger – yeah, sometimes music does that to you when you get caught up in a song’s melody and structure. These guys nailed that certain “feeling” within this number. The bummer thing I thought was that the song wasn’t long enough, but maybe that’s what made it more effective. With “Monsters” the band kicks up speed in more of post-punk pop fashion, kind of like Weezer but edgier and rough and less bubble-gum. “Take This Round” blew me away – ok, first off, the opening guitar chords reminded me of The Cure’s “The Forest” but then a few measures in, once the song’s main melody is established, the band throws in some awesome sounding minor chords, like some death metal dirge, but then turns things around again with a chorus structure that reminded me of Soul Asylum – I mean, who does this?
“Nu Chaoren” is perhaps the group’s most creatively arranged and spacious tune with all sorts of stops and starts and soft and loud parts. Tellez plays some great drum fills on this one too. “Pretty Signs” doesn’t pull any punches – loud and explosive in the beginning and then a choppy, crisp guitar rhythm and a style that speaks to Weezer’s more anthem-like rockers. Hernandez’s solo was quite excellent too, if that was indeed him playing. Next up is the group’s cover version of “Fade into You” a hugely popular dream pop/shoe gaze tune from the ‘90s, originally written by Hope Sandoval and David Roback from the band Mazzy Star. At first, it sounds unrecognizable to Mazzy Star’s version until Mckenzie starts singing the opening lines, and then into the chorus. Still, these guys made it all their own – and their delivery proves that as their vocal harmonies shine well on the chorus.
“Skies to the Earth” is the band’s most mysterious and dynamic song. There was just something about it that I liked a lot which set it apart a bit from the rest, in my opinion. I think it may be that the song’s style had a progressive / stadium rock edge to it. Plus, the song’s title just sounds bad ass. Lastly, “Strange Houses” ends things on a strong note and keeps the album’s energy going, but also sounds like it fits well at the end of an album – if you know what I mean.
Taken from a review on Bandcamp Diaries: “Green Light Silhouette is a band with a focus on creating music that blurs the lines between alternative rock, shoegaze and garage. The resulting sound is filled with passion, focus and creativity, making for a one-of-a-kind feel.” I would certainly agree – this band has their own “one-of-a-kind” sound, and they harness many styles within that sound. With a fantastic formula of vocal harmonies, instrument arrangements and song structure, I reckon we may hear a lot more from this quartet in the years to come.
Anything Goes, a punk/garage quartet from rural Indiana, offer their eponymous debut EP Anything Goes. The band crams ripping guitars, slamming drums, a bleak lyrical outlook, frustration and anger into five tracks across fourteen minutes--all for the clever price of four dollars and twenty cents.
“Maybe…” starts by lulling us into a false sense of security. The guitars are smooth and the vocals almost pretty. Maybe life in rural Indiana isn’t all that bad? Then the quick count-in from drummer Matthew Meehan, the screaming from Rusty Stenger and we’re off: “if you see this is your life / you’ll always just barely get by / What’s the point? Why do you try?” Ouch.
The sentiment continues on “PG” as Stenger tells us: “f*** aspiration / they’ll never give us a chance.” The band cooks underneath him as he describes subjects who are “inebriated every day”; they’re “so afraid / to say what they gotta say.” The breakdown section evokes a lo-fi Elastica with crunchy guitars against distorted feedback. It’s a great punk track: the emotion is clear, the playing is tight and it’s all over in less than two minutes.
“Freaks” which alternates a ska feel with heavy-metal, advises us to “pack your bags and run away.” Clearly, the Indiana Chamber of Commerce didn’t commission this record. The direct storytelling continues with “On a Binge” which finds Anything Goes exploring the grunge style into a sing-along chorus. Stenger shows off his bass chops here, where his four-string breakdown leads to a fine guitar solo.
The final cut,] “What?” starts with pretty, echoey guitar--almost like Def Leppard’s “Hysteria”--until they turn up the amps and kick us in the face again. Stenger says: “I don’t want to be a person / if it means I feel emotion.” Halfway through, we get the nice guitars again (sporting some decidedly non-punk chord shapes), with Stenger’s vocals far, far away. He comes running back as the track builds to its terrific climax--a shout-along chorus and guitar solo. And they’re gone.
Anything Goes’ EP is exactly what it says it is: angry garage punk from flyover country. Their songwriting is direct, and the band drives the point home. We know exactly what they feel and it’s refreshing.
They’ll be touring the East Coast soon. Enjoy the show and please bring the band home afterwards so your mom can give them all hugs.
WINDOW is the product of patience and a working internet connection. The band is Marcus (vocals/guitar/bass/moog/flugelhorn/trumpet), Gil (bass/bass effects) and Damian (guitar/bass/ vocals/synth). Their arc as a band is an all too familiar story in music. The band forms in Wellington, New Zealand in 1993, record tunes for an EP, can't decide on a band name, Marcus leaves for Europe and the project is never released. The specifics differ from case to case, but the idea is the same: it’s hard to keep a band together. But WINDOW kept in touch and would record a track from time to time whenever they were in New Zealand.
When Marcus moved to Tauranga, New Zealand, he and Damian “began sharing ProTools files” and eventually did some tracking at Gil’s studio. Finally, after more than 25 years, WINDOW’s album Dopamine Glances was completed and released in December of 2019. The album is genre-bending. It’s dreamy, noisy, dance-y and poppy with its roots deep in alternative rock. It’s a fun and intriguing listen that was worth the wait.
The album’s second track “Yamaduta” is an upbeat tune that sounds right in line with what was played on the airwaves back in the early 2000s. It does a great job of mixing pop with noise elements, adding feedback and reverse guitar to the song’s catchy melody and beat. It's a fun listen.
“Everything Barrows” utilizes an unusual time signature and brings in elements of post-rock with dreamy layered guitars and a syncopated beat. WINDOW successfully infuses static and distorted synth and bass to make the song wholly their own.
The album's highlight is the 11-minute track “Lost Weekend.” Its length is a testament to the track's quality because it flies by when listening. It’s cheery and dance-y, with a catchy vocal melody and hook. The swelling synths and guitars are mesmerizing during extended instrumental jams and provide a nice balance to the verses. WINDOW manages to fit feedback and reverse guitar seamlessly into the track. The performance itself is done tastefully and mixed beautifully.
It would have been interesting to hear some of the dreamier instrumental moments on Dopamine Glances drawn out in a way similar to the jams on “Lost Weekend.” Doing this would have made for some cool ambient moments. The instrumental moments throughout the album are excellent, but the majority of these moments are upbeat. I would like to hear what they can do with their talents in more subtle ways.
WINDOW deserves praise for persevering and completing Dopamine Glances. It took a long time, but the finished project is a polished and unique album. I’m looking forward to the next one.
New Orleans-based indie-jazz group Sweetheart released their EP Blood Moon at the end of 2019. The disc offers four tracks of well-executed performances. Electronica/dance fans will enjoy the first cut; vocal-jazz consumers will feel at home with the other three cuts.
The EP starts off, appropriately enough, with “Introduction.” This short instrumental track is made up of fuzzy synth sounds in jazz voicings, anchored by Rodney Weber’s in-the-pocket drumming. While it brings interesting sounds, it’s out of character with the rest of the EP; the other three tracks don’t sound anything like this.
After “Introduction,” the shift to “Blood Orange” is striking. While the modality of the music is similar, the instrumentation and feel is pure jazz-combo: guitar, bass, drums and vocals. The band is tight (especially Weber’s drum breaks), but it’s Saskia Walker’s vocals that make the track. She sings in Italian, and executes some wonderfully dextrous vocal lines, showing terrific control of her instrument. For those not in Rome, you could google-translate the sultry lyrics, but really there’s no need: just let her voice wash over you.
The theme continues on “Nowhere,” which evokes a late-night, smoky, stygian basement jazz lounge. After Walker’s mellifluous vocal, the band kicks it up a notch, first giving us Wyatt Pinto’s clean guitar solo over some crunchy chords. Then it’s Weber’s turn to shine again with his solo against layered vocal oohs. Walker returns to tag the song and it’s over--they pack a lot into two minutes!
The EP closes with “Kites” with some cool auto-wah guitar. It’s mixed a bit differently than the prior two tracks: here, Weber’s drums are more forward. It feels as if we’re sitting between his kick drum and his snare, and we can hear every cymbal strike clearly. It works well and is a nice contrast to the other cuts. The track itself moves along nicely, propelled by the bass figures, again with great work in Walker’s vocals.
Blood Moon is a very enjoyable spin. Sweetheart will give you exactly what you’re looking for, and more. Mix up that Manhattan, light the Dunhill, turn the lights down low and enjoy.
Neal McCamis is an artist currently based in Tampa, Florida, who spent time recording under the name New Lands and contributing to a band called The Vera Violets, among others. Nothing Wrong is his first solo effort.
McCamis plays as a one-man band with the project entirely independent and DIY. McCamis handles all the recording, mixing and mastering with all the songs written and performed by the artist, all except the last track “A Deathbed Adieu” which was written by Thomas Jefferson in 1826. He plays all the instruments himself from the acoustic and electric guitars, bass guitar, dulcimer, synthesizer and programming. He was also behind the artwork design which features McCamis standing before a field of tall grass. The open skies, expansive landscape and the carefree and blithe way McCamis poses before the camera evokes the album title Nothing Is Wrong. Certainly, the sweeping countryside and McCamis’ nonchalant stance conjures up feelings related to this.
The album sounds like a blend of indie folk/rock with a bedroom pop cadence. McCamis’ vocals come in loud and clear. You can clearly hear the nuances of each striking note and vocal harmony as the album unfolds. McCamis’ close proximity to the mic embellishes his voice texturally. Listeners can detect the subtle changes in his inflection and emotional emphasis. What arises is an alluring aura that will lure in more listeners as the album progresses.
Nothing Is Wrong aptly enough starts off with a track titled “I’ll Begin.” Right from the get-go the acoustic guitar comes through with an evocative vibe. There is a hushed sensibility to the vocals. The recording comes across as loud and clear with full dynamic force.
Retro-laced guitars elicit a ‘60s -‘70s era vibe on “Wherever I Go.” Distinctly invigorating strumming from the acoustic guitar flares with energy. The guitars reverberate with a distilled effect. The track has a great sing-along vibe to it.
On “Old Soul,” atmospheric synths add a bit of ethereal ambience into the song towards the start. The sounds are airy and soaring. McCamis’ vocals come in, in a hazy and dreamy pulse. There is a hushed expectancy to the vocals. The synths are extended in one endless note. The stillness then changes up to exciting strumming on the acoustic guitars. The acoustic cadences are dynamic and riveting. This track contains the interwoven sounds of both the electric and acoustic guitar.
On the closer “A Deathbed Adieu,” airy guitars give off a soaring vibe. An ethereal quality emerges from the start of this song. McCamis’ vocals come in filled with warmth and emotion. A real sing-along appeal is elicited. A monotonous piano melody also trickles in toward the close. From the words of Thomas Jefferson, this is an apt closer to a deeply resonating album.
According to the artist, “What I did try to accomplish was to make an album in the classic sense – nine to ten songs, 40ish minutes, with a running order that made sense as a side A and side B. So that was accomplished. The first five songs make up “side A” and the remainder makes up “side B.”
Side A features the interwoven sounds of the acoustic and electric guitars. It also prominently utilizes the synths on many of its tracks. For example, on “Nothing’s Wrong” airy synths go on to erupt in the track towards the close. And on “Old Soul,” the sound of synths is extended in one long endless note. This droning sound trace the track until the close, whereas Side B consists of a more fuller band vibe with the effort encompassing mainly the electric guitar, bass, drums and percussions.
Raw and unrelenting, these bedroom recordings carry a singer/songwriter sensibility that makes them that more searing. These tracks sound like the type of music to be found on an open mic night. These intimate recordings contain a relatability to them that makes them accessible to audiences beyond the coffee shop crowd. These emotionally soaring numbers will find a place among fans of the above genres.
These guitar-based tracks have a distinctly great sing-along vibe. With catchy and highly melodic riffs, listeners will either find themselves humming along to the rhythms or catch themselves singing along to McCamis’ warm vocals. These infectious melodies will be sure to be stuck in audience’s heads all day long!
Elliot Nichols is an artist currently based in Fort Worth, TX. Music has been a lifelong passion for him. He started playing drums when he was about 13/14 and picked up the guitar around 17. He has played a few shows in Denton, TX as a rhythm guitarist with a band called the Blimps and did another project as a front man with the same band mates as the Pricks. He is releasing his latest album entitled Mantis.
The sound falls in-between the alternative scene and a slick crooner style mixed in with a bluesy and jazzy lounge vibe. With catchy melodies and an infectious sound, the instrumentals reverberate with a dynamic vibe, Nichols’ vocals are big and bombastic with a full-flavored style. Nichols sings his heart out, wearing his emotions on his sleeve. What you get is many a lively performance filled with verve and enthusiasm. Nichols certainly gives it his all in these fully realized and full ranging compositions. There is no holding back in these energized numbers.
Mantis opens up with “Moment” where a bluesy twang arises from the guitars and pulsating bass lines. A wonky and funky sound arises from the rhythms. Nichols’ vocals comes in crooner style with big flourishes and finishes. A jazzy vibe could be elicited. Due to the dissonance, the vocals sound like they are sung underwater. This is a little distracting.
Percussions add in a lively backbeat on “Bruce Lee.” The acoustic guitar gives off a dynamic vibe with evocative strumming. Nichols’ vocals come across as somber sounding. An Eastern vibe could be detected from the instrumentals. The Eastern flavor really propels this track. Nichols’ vocals give off a real cool and smooth jazzy vibe.
Jazzy rhythms give off a melodic flair towards the start of “One And The Same.” The acoustic and electric guitar are both interwoven into this song. An electronic beat also sidles in, adding a more electric pulse. An atmospheric vibe courses through the ambience. The vocals are affected by auto-tunes, giving off a robotic flair. Due to the auto-tuned effects, it was hard to discern what the lyrics were saying.
On the closer “Return,” wonky and funky bass lines arises toward the start of this track. It offers up a groovy pulse to the recording. Nichols’ smooth crooner-style vocals creates a really invigorating cadence. His vocals are silky and soothing. Overall, the music is in equal parts arresting and dynamic.
According to the artist, the album was recorded in his apartment with GarageBand on his iPhone 7. He used his headphone mic to capture audio from his guitar and vocals and played the keys in-app and programmed the drums.
Due to the fact that this album was recorded via iPhone, the recording came off as a little distorted. I thought that for the most part the sound quality sounded like it was being recorded underwater. I don’t know if the discordant quality was on purpose, but I felt this detracted from the cool jazz lounge vibe that the album was leaning towards. From what I heard on this album, I was wondering what the artist could do with a professional studio and equipment at his disposal. This is a talented artist, and with the right resources, the results could be unbelievable.
Anissa has been singing her whole life and has recently recorded her debut album entitled After The War. She has won many talent shows including Kokomo’s Got Talent. Her album is a vulnerable look at a broken relationship but encompasses all human struggle. The overarching theme is that struggle makes us stronger. The idea was brought to Anissa by her producer, Ryan Record.
Her music is undeniably pop in every way. It felt like music I would hear on American Idol, The Voice or a Disney movie. Pop music often hits emotion right on the nose. There is rarely any dissonance or ambiguity within pop music and that’s what you have here. The lyrics are straightforward while the music replicates tones, textures, themes and more which you hear in the arena of pop.
The album starts with a melancholy piano ballad entitled “There Was A Time.” On “Heartbeat” I felt like I was watching the end credits to a Disney film. It’s very wholesome and felt like something young kids might sing along to. “Tell Me” is more or less a very similar flavor of emotion as the previous song. It’s got that sentimental yet hopeful feeling that you always hear on those shows like The Voice and American Idol.
“Without You” is the stripped back acoustic song but again it feels very pop oriented and geared towards a broad audience. “After The War” has a little more serious tone you could say. It’s very cinematic with synths and virtual instruments creating a swell of orchestration. “When The Red Sun Rises” was personally my favorite song. It felt a little more tailored for adults and has a bluesy rock vibe that I thought sounded great. “Meant To Be” is more straight acoustic pop and ends the album on a great note
After The War is a pop album from beginning to end. In fact, this is a pop album that holds it's own. Anissa is a good singer and the songs certainly seemed just as good as the material you would hear on popular TV shows. I’m certain a broad demographic will appreciate this music.
The Central Heart is a one-man band created by Alphonso Ramos, located in Orlando, Florida. He’s been playing music for the last fifteen years and could never find the right people to make a band, so he decided to do this music thing on his own. His 2020 release Nothing But Sound is his third full-length album, and he claims that it’s really hard to describe what the album sounds like. Ramos was heavily influenced by the bands Tool, A Perfect Circle and Nine Inch Nails (NIN) growing up. But through his own style of music, he tries to incorporate a more synth driven sound at times, like the bands Health or Chelsea Wolf. At other times, he likes to throw in heavier parts reminiscent of Meshuggah or Gojira. Ramos’ song writing process is one that he describes as “jamming,” where he’ll start with a beat or a melody and keep layering and making new parts until it's a song. Nothing But Sound is a sort of ‘diary’ for Ramos, where he hears his emotions in the songs during very troubled times in his life. He senses that things are turning around now and is willing to share more songs to the world.
The opening chords and synths of “Burning All We See” features a great intro, then transitions into a progressive metal style and then back to the beginning structure. Overall, the speed is one part mellow, one-part heavy, crunchy guitars. I thought Ramos’ sound was clean and enjoyable for those not usually into this type of music and lyrically it’s a great opener. “Push and Pull” begins with a futuristic sounding synth, very sci-fi. The guitars here are much heavier and the rhythm a lot faster, too. Loved the echo effect on his vocals as well. Next is “Home” which starts off with sparse guitar picking, a traditional sounding piano, and an anthem-like rock sound. In a way, the song reminded me a little of Queensrÿche. “Come to Pass” features some terrific drum rumbling and edgy progressive guitar riffs. I really like the words to this one, speaking of how our “memories might stay – but our youth is fading fast.”
The album’s title track “Nothing But Sound” features a thick bass line and cutting guitar chords. Ramos’ words seem to be addressing some kind of denial in his life – “I pushed away to protect my heart” – but now he looks back on his regrets – “The rage and the fury were nothing but sound.” A pretty heavy song overall. “Waiting” offers the listener a short instrumental. Slow in its rhythm and guitars having a cleaner sound, the synths have a greater emphasis here, sounding something like a page from Zeppelin’s “In the Light” or perhaps Pink Floyd. The next song has got an intriguing title – “The Host That I Create” – I don’t know, it just kind of has a nice ring to it. Anyway, this song’s lyrics are perhaps Ramos’ most personal and revealing as he sings about a “host” that he’s created, and where the pain he experiences can be a teacher. Musically, it starts off very ‘80s retro but then turns on a dime with a heavy prog-metal style with a nice mix of rage singing. I really liked the added effect he did to his guitar, too.
Next up is “Retrograde” which starts off in an even more retro-futuristic style, like some ‘80s song for a sci-fi movie, but Ramos pulls it off very well. He mixes this up with what sounds like a rhythmically complicated song on the drums. In my opinion, this was one of his more dynamic and complex numbers. “We Become” offers some pretty dark words – “If I could become someone / I’d be a person that lies / Take advantage of kindness / and throw your pain aside.” By the feeling I got from this song, Ramos was in a very dark place. Musically, I thought this was his most heavy and rage-filled song.
The lyrics to the next song “The Ocean” are a kind of reprise to the first track – “Stride on, search for inner peace / move across these oceans of my disease” and structure- wise, this one seems to have the same approach as “Burning All We See.” Lastly there’s “Dream Now” and it has a mellower approach – ambient in some ways with a clean, contemporary sounding guitar that has just enough edginess to it. The added piano and dreamy, wispy singing style reminded me a little of King’s X.
On the whole, Nothing But Sound feels like it could be a great concept album, which I thought Ramos hinted at as two songs had repeating lyrics and a similar song structure. The songs fit together very well stylistically, and it seems like there is a theme, although it’s not easy to figure that out upon first listen.
Madeline Polley, also known as Madeline Usher, is a musician who currently lives in Chicago, Illinois. She recently released an EP entitled Phantoms. I was looking at the cover art and the gothic appearance was an indicator this was going to be a darker release. it is but it also can be beautiful as well.
I really liked her voice. She has the kind of the voice that I think could work in a number of genres. That being said, it sounds especially good covered and melancholy. I normally pull away from vocals that are going for a dramatic effect but she really pulls it off. Her vocals are dramatic and emotive but not melodramatic. There is a sincerity that resonated with me.
“His Phantoms” is the opener and the song combines darker ’80s sounding synths with a drum machine. The tone is fairly close to bands like The Chromatics but perhaps a little darker. I would say the synths sound a bit like the synths you hear on the TV series Stranger Things. She shows some range to vocals on lines like “I see you everywhere / I feel your bones under my skin / I’m not done / Mourning you.” I could argue this is the catchiest tune on the album.
“Deepest Shade of Blue” is a slow burn and might be the highlight. The music here combines ominous pads and other more striking synths that create an ever evolving soundscape. Her vocals sound good here. I was reminded of Zola Jesus at points.
“Birdland” is a little more upbeat. There is a constant 4/4 kick drum but it lays relatively low in the mix. The synths are more upfront in the mix along with her vocals. Her lyrics fit the mood here which seems to be about loss. She sings, “I'm still haunted / By the ghost of you / Maybe in heaven / I’ll meet you there.” The closing song “Bonus Track - His Phantoms” is strummed on guitar and I wasn’t expecting that. It was a nice surprise.
As an engineer myself I would say she did a good job with these recordings. I would say the next logical step might be to work with an engineer to really hone in on the song she is going for.
This is a good EP that is heartfelt and sincere. Take a listen.
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