Dojos is a rock trio based in Granite Falls, Washington. After forming in September 2019, they played a few shows in the Seattle area before lockdown, then took the opportunity to complete their first, self-titled album Dojos. The members are Nick Michel (guitar/ vocals), Christopher “Burger” Thomas (bass/vocals) and Matt Wyscoki (drums), with additional vocals by Kirk Rutherford.
The songs are a mixture of rock, blues, pop and funk, and were birthed from hours-long jam sessions. “Because there are only three of us,” they state, “we try and fill the space with busy bass lines and percussion as well as an emphasis on guitar.” The album was recorded by Tim Wilson at Summertime Studios in Snohomish, Washington, and mastered by Chris Hanzsek at Hanzsek Audio. Dojo’s recorded sound is crisp and upfront, coming off as both live and studio-polished.
I don’t have to think too hard about a band like this, as I had two or three similar bands myself. There’s a primal power to a rock trio, especially one that recognizes the need to keep things interesting. As expected, after the tribal all-boys vocals are done, guitarist Nick Michel often steps up to take a solo (as he does in the opening “Aztec Song”) but the rhythm section does indeed find plenty to do within the open spaces.
“Something To Say” features a Sabbath-like main riff and growly vocals with some harmony lead guitar for class. I really like the Egyptian-sounding guitar solo. “Stranger In My Car” has an evocative minor-key feel, jazzy staccato guitar chords and ’60s garage band vocals. Best track so far!
“Lights Out” feels like a dark ballad, as the pace and the chords take a slow, downward turn. The vocals sound like the narrator was left out in the desert for too long, asking to be let back in but pretty certain you’ll refuse. Another tasty lead guitar solo seals the deal, after which the boys sneakily switch to waltz tempo. The vocals here (Nick or Burger, I can’t tell) take on a wild Jim Morrison quality.
“Freaks” has a Mexicali feel, though of course on electric guitars. It’s a kind of narrative anthem with that classic Sabbath quiet/loud dynamic and a lot of wicked Hendrix-style soloing. “Modern Art” is a darkly dramatic mini-epic that feels more substantial than some of the other tracks with a Michel guitar solo that surprisingly recalls Steely Dan. “Bolognious Funk” is two-and-a-half minutes of something I would also term “Red Hot Chili Funk.” They even manage to channel the Mahavishnu Orchestra during the choruses.
“Portal” is the doorway to the end of the album. Starting with appropriately portentous minor chords, it appears to be an ode to refugees or immigrants. The vocals are among the cleanest and most unadorned on the album' with nicely restrained chorus singing, and Michel’s solo has echoes of Cream.
Honestly, there’s nothing here that will necessarily change your life, but fans of hard rock trios should find lots of great songs and many killer moments within this album.
Colin Monette is an experienced musician from Minneapolis who recently released Lucky*. This is a very polished but organic and live sounding album. A lot of the styles revolve around blues, jazz, folk and other like-minded genres.
The album starts with the very Americana influence entitled “Go To California” and even though the song has familiar themes as well as sound, Monette just sounds great. It’s warm, inviting and balances melancholy, hope and nostalgia quite well.
I loved the older guitar sound on “Honest Man’s Misery.” The recording is crisp but you feel like you’re in the room with the music. There's a ton of soul that wraps around this almost traditional sounding song.
Monette sounds a bit like a band from the late ’60s on “Foolish Man” while “Summer Love” is stripped back with some lovely slide guitar. There’s some beautiful guitar picking and breathy vocal work on “Faces in the Clouds” which is an intimate highlight.
The energy picks up with “Aurora Borealis,” “Caffeine City” and “Feel Free.” Monette continues to display exceptional delivery on “You Remind Me” and “Hills of Sage.” We hear some rare percussion briefly on “What is Cool?” which reminded me of jazz legend Django Reinhardt. We get a full band with “Today” while the title track “Lucky*” revisits that warm Americana style folk.
Monette is very talented and he doesn't need to fill up his songs with tons of instrumentation to prove that. These songs are heartfelt, human and sincere. Take a listen.
Brooklyn, NY-based Joseph William brings us his debut solo release What If, It Was. The tunes on the album were inspired by some Amtrak travel he took in college. He says that he “got to see a lot of the country from a different perspective” and that influenced his songwriting on the EP.
William started his musical career as a drummer, but there’s very little drumming to be had on What If, It Was--just a little percussion on one track (“Hill Street Blues”). Instead, for his first solo release, he’s tracked a four-song set of folky, acoustic-guitar centered songs that fall broadly in the Americana bucket. It fits his subject matter, which reflects his observations on small-town life from the perspective of someone who has left and come back.
As is typical for this genre, the lyrics are the focal point. William builds in a good sense of humor right from the opening couplet: “If you keep on smoking all them cigarettes / I bet you’ll never die.” He casts a flat eye towards the pious (“I gave a poor man a dollar, and I called myself a saint”), and on rural life in general (“I got nowhere to go, nowhere to be tonight”). William’s take on small-town America is not congruent with Norman Rockwell’s.
Musically, the songs are centered around open-chord acoustic guitar arrangements with some obligatory harmonica sprinkled in. His vocal delivery suits the Americana backdrop--it’s the right blend of technical, casual and rougher-edged. William does a nice job varying the textures and tempos with each track having a different feel. The album builds in intensity and instrumentation all the way through, culminating with the electric guitar and backing vocals that are included on “The Good Never Came.” As a listener, it’s an enjoyable journey.
William concludes, “I’m waiting for the good to come, but the good never came.” Well, there’s some good on What If, It Was--give it a try!
San Franciscan singer, songwriter and pianist Ciara McAllister fuses elements of pop, rock, blues and jazz with classical music, the latter of which she was formally trained in. With a voice that’s as strong as it is vulnerable, a gift for intimate songwriting and an old-soul sensibility, McAllister calls to mind ‘70s greats like Carole King and Stevie Nicks. And yet, she brings modern influences too — a bit of Regina Spektor’s avant-garde, folk-pop and a touch of Fiona Apple’s sultry edge. After more than a decade of performing in Bay Area bands, McAllister struck out on her own and the result is To Shimmering Light – a 13-track album both deeply intimate and grand in scope. It was recorded at John Vanderslice's Tiny Telephone Studio in Oakland and San Francisco by Beau Sorenson (Death Cab For Cutie, Bob Mould). McAllister recorded all keys and synths, vocals and harmonies, and then arranged the tunes for guitar, bass, drums, strings and choir (i.e., track 12).
Thematically, the album is about hope. It's a deep dive through the mysteries of how one finds light in a sometimes-dark world. McAllister began writing this album after the breakup of her rock band Hidden in the Sun. The breakup was heartbreaking, and she found herself alone at the piano. But through this, new songs began to form that reflected her feelings of isolation and the strength she was finding in her own voice. McAllister started her musical journey as a classically trained pianist, so there are cinematic elements to this album. However, other genres are present, including jazz, funk, folk and electronic. Altogether, the album combines experience, inspiration and insights. There are also strong natural elements –light, water and air – things that McAllister connects to deeply. These are reflected in the use of strings, synths and effects, which layer into the aural landscape of the album.
The album open with “Musings” – a just under three-minute introduction into McAllister’s style of piano playing and the commanding control she has with her voice. Strings come in at the song’s climatic moment and some quite unique percussion elements are added in, too. “Off the Hook” begins with an organ and then a rhythm in an alt-pop style. Her voice gets a layered treatment here, adding more depth within the song’s melody. I remember listening to Fiona Apple’s debut when it first came out, sometime in the fall of whatever year it came out – this song reminds me of her early stuff. Next is “Planks” and this one has a groovy, ‘70s soul/jazz feel to it, but with a modern sound as well. Pretty cool guitar solo, too. “Run” has a bluesy edge with a great slow dancing rhythm. A traditional piano was perfect for this one. The artist takes her own songwriting advice – “when I see danger, I run.” “Now” focuses on a stripped-down sound of McAllister’s voice and piano with some drums and an electric guitar adding to the song’s more dramatic moments. This one’s got a lot of romance behind it.
“Just Hang On” showcases a mellow vibe in a more traditional singer/songwriter fashion of the early ‘70s. The positive message in McAllister’s words, coupled with a soft folk rock vibe, reminds me of Carole King’s Tapestry. As a young child of the ‘70s, I really liked this one. “Fairytale” gives the listener another quieter piano/singer moment. She sings – “We grow older / the light starts to fade / we stay in the shadows / that swallow our faith – we can’t help but wonder/ what happened to yesterday? – “Let’s not let go of the Fairytale.” This tune was powerful both lyrically and instrumentally – very moving. “Under Your Skin” is a short, lush number about pining for someone or courting them, I think. The guitar playing was cool on this one. “Please Tell Me Why” features a gentle swaying, soft rock rhythm and old-school keys in a jazzy-lounge style.
“No Good as Strangers” is a powerful number about a relationship that should really stick together. A sultry, slow dancing song. I like how McAllister ended this song on the piano. Another slow rhythmic number is “You Can’t Buy Love” – a folksier tune in the style of Carole King and The Band. “Saving Grace” has a bit of a gospel edge and a choir of seven singers to prove it. There was an inspiring feel to it, and I thought the drum playing/treatments sounded interesting. The chorus’ part delivered the goods – “Just keep believing / trust in unanswered prayers / you can reach heaven.” Last up is, “Set You Free – Shimmering Light” and it’s about loss and letting go. Not sure to whom McAllister is singing to, although there are some hints in her words that suggest it may be about a parent – “I can’t save you anymore / so I’ll just set you free / as forgiveness comes / and washes us clean / I’ve been dying for relief / I should have been trying to release you.” This is the album’s only song that features just McAllister and her piano. And if you wait for it, the last minute or so features some gorgeous piano playing. Another moving number, no doubt.
Not to sound too cliché, but McAllister’s work is quite breathtaking – a lot of emotion is packed within her songs. So, give this album a listen! I’m sure we’ll be seeing more from this West Coast artist in the coming years.
Brand-new band Nick Froelich features Nick Froelich (vocals/piano), Nick Warren (electric bass) and Logan Frewen (drums). The band is a vehicle for frontman and pianist Froelich to arrange and perform original music he was writing while attending school. Froelich met the rest of the band members while attending the University of Michigan School of Music, studying Performing Arts Technology and Jazz Studies. Their latest album Fire Escape is centered on piano-led numbers that is similar to other singer/songwriter pianists like Billy Joel and Elton John. In fact, a lot of their sound is largely owed to ‘90s piano rock band Ben Folds Five. There is a sensibility that definitely feels in debt to Ben Folds while certain parts sound like a perfect fit for the show tunes or Broadway crowd. There’s a theatrical-ness to the vocals that you might find inescapable. There are also instances of jazz and bluesy lounge in the music, as the band changes up the pace for some real cool tunes. There’s a lot packed into these nine-tracks as Nick Froelich carries the torch for other like-minded bands before them.
Fire Escape starts it off with “Unprepared.” In a stop and go motion, Froelich’s vocals are dynamic and filled with charm. Balancing piano with bass and drums, there was just something about the energy of the band that reminded me of a Broadway show. The track also had a sing-songy quality to it that would make it great to sing-along to. Up next is the jazzy “Right On Cue.” I greatly enjoyed the energy of this piece. The jaunty rhythms and catchy beat really made this song. The harmonies fit right in. Froelich’s vocals sounded really great here. A staccato beat meets the start of “Rain.” As the groove slowly grows in traction, next a meandering piano melody eases in. What erupts is a cool bluesy lounge vibe. The smooth jazzy notes could also be felt here. This changes up toward the chorus where the sound becomes bigger and louder. This felt like another inviting piece to dive right into.
Starting off on a somber note, the band makes a departure from their more hard-hitting energy and trades this up for a ballad-based sound on “Close To Me.” I was equally swayed by the vocals and the outpouring of mood and feeling. More music in the ballad vein, the vocals are simply accompanied with piano which starts off “Real?” The resonating simplicity really went to give this song an emotional emphasis. The powerful notes of this track really took flight here. More of the band’s high-energy returns with this delightfully spooky number on “Ceiling Fan.” The bass rhythms make for an eerie, spine-chilling feel. As the saloon-like piano powers through, this felt like an operatic rock anthem in the vein of The Rocky Picture Horror Show. This proved to be a highlight out of the bunch.
On “Too Far Out From The Shore,” more piano ballad-based sounds move forward here. Froelich’s vocals here are heartfelt and filled with melancholy. There was an overall sorrowful sound that fills this track. You can definitely feel the broken-heartedness in Froelich’s vocals. On “Tightly,” some jazzy percussive beats start off this song. Froelich’s vocals bring in a very ‘50s and ‘60s era doo-wop-like vibe. The classic rock notes are prevalent here. The band definitely shows their flair for jazz-driven pieces with the great energy coming from this number. Froelich’s vocals here are somber on “Actually Said Something,” easing us into the melancholy notes of this soaring ballad. Simply rendered on just piano and layered vocal harmonies, the sound slowly builds becoming more and more powerful. More in the pensive ballad form, the band keeps things contemplative on this introspective closer.
Froelich takes the lead on this album with his commanding stage presence. In the backdrop, the other band members keep things top-notch. The band’s immediate sound keeps things consistent from start to finish. You can’t help but be riveted by their sound, a mixture of theater and ‘90s piano rock. This is a great intro to the band and I look forward to seeing what’s up next for them.
The Lonesome Bones is a rock band with members based in Stuart and Martinsville, VA. On their debut self-titled release The Lonesome Bones, each member brings in their diverse background and distinctive musical tastes to give you this demo, which is an amalgam of their collective vision. Containing ‘90s guitar riffs, melodic grooves with understated vocals, this collection of songs balances a good amount of mood and feeling to give you something that will resonate deeply with audiences for the long term. Naming one of their influences as The Cure, you can see how Rob Smith’s goth and atmospheric delivery has informed The Lonesome Bones’ sound. The band doesn’t just take from bands that have inspired their sound. Proving that originality and authenticity are some of the key things that make a band, The Lonesome Bones tackle the indie, alternative and psychedelic rock genres with dynamic precision, showing us they have what it takes. Written by Joshua Jones, The Lonesome Bones is a semi-autobiographical piece of work, heavily leaning onto the cinematic and nostalgic. This set of songs will have you in equal parts relishing in its goth-y nature as well as swaying to its persuasive beat.
The Lonesome Bones gets going with “Once Knew A Girl” that starts off with a sparse guitar riff. The melody then builds for a fuller effect. Next, Jones’ melancholy vocals gain a somber footing in this track. The instrumentals continue in the backdrop, keeping the energy alive. Jones’ vocals are mumbled and are barely audible. It is hard to make out what he is saying, but this hushed sense of the vocals also sets the tone, giving off an understated indie rock feel. The simmering feeling on this song ebbs and flows from start to finish. Starting off with a sauntering groove, the instrumentals really come together here for a smoldering feel on “When Saturn Blinks.” This is another atmospheric piece though the moodiness does make way for some melodious riffs. More of Jones’ subdued vocals come in here. This more or less feels like a continuation of the previous track. Strumming from the acoustic guitar jumpstarts “Day Drinker.” Interwoven into this song are both acoustic and electric guitar, making for an even more involved sound. Jones’ vocals come across both haunting and vulnerable here. He really seems to be wearing his heart on his sleeve on this dynamic track.
The previous song right away segues into “She’s Got Friends.” The melody is prominent and you can get lost easily in its fluid flow. I liked how Jones’ breezy vocals sounded here. He does a lot less mumbling and I enjoyed how easy-going and breathy he sounded instead. This had elements of ‘80s and ‘90s rock. The guitar work was also spectacular here. The muted sound underscored a vibe that recalled The Stokes and The White Stripes. On “Lydia,” more of the slow burning tones saturate through this particular recording. The melody unwinds for a bit as Jones’ vocals slowly enter. The band keeps their pace even, creating an ambiance that surrounds the audience. The music slowly builds over time. Leaning more towards an acoustic sound, the intro is solely made up of the acoustic guitar on “Baltimore.” Next, drums and more instrumentals follow, creating a fuller effect. The band’s slow grooving sound comes into form, making their finale another balance of melancholy and melody.
The demo was recorded during a live session for a social media feed. It was also mostly mixed and mastered right there on the spot, freeing the release from any overdubs or second takes. A live recording, these unadulterated takes showcase the band’s energy in giving you something that you can bob your head to while contemplating the somber lyrics. A moody album with elements of goth, ‘80s rock and alternative, The Lonesome Bones plays music that won’t just get stuck in your head, it will also get you thinking. Reviving The Cure’s edgy energy, the band is giving us something we can talk about. My only critique is that all these tracks sound very similar to each other and it began to bleed into one another after a while. A little more variety would add a certain kick to things. Perhaps by including a pop song here and there will get listeners moving as well as showing another side to the band. Overall, this is a good start from the group, and I look forward to seeing where they go from here.
One of the things I love about this job is hearing artists improve and evolve. That in my opinion is exactly what I’m noticing happening to Liz Rohr. The young artist who is only sixteen years old released YEAH YEAH and it is her best release yet.
The EP features four songs and is filled with hooks, inventive instrumentation and well written lyrics. I thought the first song “Villain” was one the best songs I heard from her. The song has a Brazilian type of rhythm but the song also has a bedroom pop/rock vibe. She incorporates some engaging elements and the song is dynamic. The hook repeats a number of times but with different levels of intensity and energy.
“If You Asked Me”is a little more intimate. There’s a little bit of an older ’50s vibe here in terms of the way the chords are strummed and also the lyrics. The approach however is similar to Frankie Cosmos.
“Like You” is more rocking than the previous song. I liked this song quite a bit but I did notice there are very few low frequencies. My thought was a bass could have filled up the low end and driven the song a bit more. That being said there’s some fantastic guitar work and again the vocals are very catchy.
Last up is “I Don’t Wanna Go” and it starts with a wobbly guitar which sounds great against the cleaner guitar. She laments at first but it ends up being the most upbeat song as she repeats the name of the song. There are points on the verse where she sounds a bit like Courtney Barneet and she crushes it with vocal harmonies.
This is a huge step up for the artist and all the songs were enjoyable. Rohr is finding her sound and the only thing I can say is “keep going.” Recommended.
Lucas B. Smith (guitars/vocals) and Billy Coats (drums) are the Omaha, Nebraska-based duo I Hear Thud. They play, as they call it, “prairie rock” or “sensible Midwest desert rock.” The group’s Great Plain release is a concept album that explores Midwestern life from teenage through post-school years.
Let’s state this up front: Smith and Coats amaze with their ability to communicate the emotional arc of the story through music. And Great Plain is mostly music, as just two of the eight cuts feature vocals. The heavy lifting is done by the instruments, not the lyrics. This is a tall order, but they’ve succeeded. Furthermore, they’ve done it as a guitar-and-drums two-piece. There are some overdubs here and there, but Great Plain gives the sense that the live rendition wouldn’t be terribly different from what you hear on the record. Through the shifting feels and guitar tones, I Hear Thud puts you right in the story as it’s unfolding.
The music gives an undercurrent that reminds the listener of the sameness of the Nebraska landscape. Similar themes and riff shapes weave in and out of the various tracks; the band does a nice job with subtle variations, keeping up interest. They’ve also included environmental sounds between cuts, helping to frame the next song and advance the story. It’s a well-conceived, cohesive piece of work.
The opener “Smooth Cannon” is an instrumental that conveys a feel of desolation with its deep, heavy, groovy riff. There’s nice interplay between the drums and the guitar. The mood picks up with “Med Lee” as we drive down the highway to the fireworks displays of “Inside Outside.” The bluesy title track puts us back on the highway, but without the optimism of the earlier ride. It’s darker and confused, even a little angry.
We work through the anger over the next two tracks. “Falcon Heavy” features a nice switch between a heavy, modal main riff and a fuzzy pentatonic middle section. A tractor engine starts on “Worship”; our Nebraskans could probably tell us the make and model just from the sound. The lyrics intone, “every day, the same old mundane” and the music gives exactly that feel. Great Plain finishes on a happier note though with “Nimbostramus” and the prairie wind blowing through a set of chimes.
I Hear Thud has delivered a wonderful set with Great Plain. You get to experience midwest life through the comfort of your own headphones. Enjoy a spin!
Singer/songwriter Abby Carpenter grew up in Rochester, NY and now lives in Ann Arbor, MI. She is currently entering her last year of undergrad in Music Composition at the University of Michigan. Though music has been a life-long passion of hers, Puzzle Pieces is her first release. The songs that make up this release were written throughout different times in her life and putting them together was like pieces to a puzzle, hence the title to her debut EP. Though Carpenter wanted to get more musicians onboard this project, due to Covid, this remained mainly a solo effort. But I thought while listening to this album, she manages to showcase her talent on vocals as well as her abilities on other sections of the record. With the help of mixing from Paul Q. Kolderie and Christian Charley and mastering from Elle Curtis, Puzzle Pieces really comes together in the end, culminating in an EP that showcases Carpenter’s raw singer/songwriter sensibilities with a flair for alternative and indie pop rock concoctions.
Piece Pieces opens up with “I See You,” starting off with some keys. The vibe gave a very retro air to the track. Next, some drums come in along with Carpenter’s vocals. The drums are a little distracting when I would have loved to have this song focus more on Carpenter’s voice. Her vocals dance across this track, giving it a very feel-good energy. Moody guitars make their way on “Ego Hungry.” Next, a piano melody dresses this song. Her vocals are smooth and have a calming ability to soothe. Gradually, the music just builds, growing in groove, making for a dynamic and giant sound. This had a mixture of jazz, bluesy lounge and rock ballad all in one. Changing things up for a more vulnerable approach, the acoustic guitar comes in for a warm and reverberating melody on “The Man.” The guitar alone accompanies Carpenter’s vocals. The vibe captures a captivating and compelling sound. The simplicity of this track made way for more emotional resonance. On “Honey,” the guitar rolls forth with a meandering melody that slowly grows in sound. Next, some percussion comes in for a Latin-fused vibe. There was a sultry feel to this song that definitely packs in the heat factor. I also enjoyed Carpenter’s delivery here. In addition, the violin solo was very dynamic-sounding. It all came together for a radioactive sound, making it stand out as a definite highlight.
Off to a sauntering groove that reminded me of ’60s and ‘70s rock like Simon and Garfunkel and Bob Dylan, this song had a warm and golden flavor to it that felt very classic rock on “The Hypocrite.” This was another highlight. Carpenter’s vocals are intimate and heartfelt on “The Villain.” She sings with her heart on her sleeve, keeping listeners’ spirits warm with her on-point delivery. Another in the ballad form takes the reins on “Ships.” What sounds like a xylophone adds some unconventional instrumentation. Overlapping choral-like vocals creates layers of celestial-sounding harmonies on the start of “After The Rain.” Next, the sound clears the way for low rumbling bass. The mood then opens up for a straightforward rock sound. As Carpenter’s vocals arrive, the edgy hard rock sound becomes more electric. There was a touch of grunge and metal to this track as Carpenter goes toward heavy riffs on this hard-hitting finale.
A bedroom recording mainly recorded in Carpenter’s apartment, what remains is a lo-fi-ness to the album that points to its home recording origins. While definitely lo-fi, I thought Carpenter is able to close into the intimacy of a live recording with her sound here. Though listeners who can’t wait to see Carpenter perform these songs live onstage will have to settle for now on this EP. Hearing Carpenter belt out her tunes for the first time in this album, you will feel like she is in the same room as you, performing these indie pop songs right in front of you. Fans of the singer/songwriter genres, alternative and indie rock will find Puzzle Pieces a delight. This proved to be an enjoyable listen and I look forward to seeing more music like this soon.
German singer and frontman Casper M-B found Leo Vasquez while spending some time in Los Angeles and formed Foolish Deep. The band got to work and recently released an EP entitled The Fool. There are six songs and it only lasts about twenty minutes but they do make a lasting impression.
The EP is very well produced with slight ’80s vibes but the thing that stuck with me was the atmosphere. It’s slick, sleek and smooth. There’s a dream-like quality to the songs. The band slowly immerses you into their world with an “Intro” which is really just a field recording. You can hear sirens, street noise and someone singing as reverb makes it feel like a memory. It works well as a transition tp the first song entitled “One More Shot.”
The vocals definitely had an ’80s quality that reminded me of someone specifically that I couldn’t think of. I loved the groove and the atmosphere. The song unfolds like a blossoming flower when the chorus hits. It’s lush and surrounds you. The vocals are in the center making it a very well mixed song that also happens to be very catchy.
Up next is “Mistake” and the band does a great job here building on their signature sound. The guitars are clean and drenched in reverb which are juxtaposed against a driving beat. There is a lot to enjoy however and you might miss some of the elements if you aren’t listening with a nice pair of headphones or speakers. The use of distance is extremely well done.
There’s a very short interlude simply entitled “Interlude” which sounds like radio transmission but it is also an effective transition into “Never on Her Feet.” The vocals are perhaps the most memorable on this song and the ’80s vibe was strong. I thought the falsetto sounded great. The band closes with a more thought provoking and subdued song entitled “Stranger.” It’s perhaps the most pop-oriented song with a tinge of melancholy.
Foolish Deep have created an impressive array of textures and tones with their release and I wouldn't be surprised if they became a common name in the not too distant future. They really made a very cohesive EP and created a recognizable sound in a short amount of time. Recommended.
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