Multi-instrumentalist duo Joanne Hunt and Justin Handley of Silvermouse have a story worth repeating. The musical duo who also happen to be married decided to move to the jungle like hills of Western Peru to raise their kids, make music and more or less live off the land.
In 2013 they made this happen and since then have been working on new songs. I was intrigued how this move might affect their music. I think environment is a very big factor when making music and there is no doubt that is the case here.
They describe the ten songs, a nearly eighty-minute sonic experience of Earthadelik as “love, really,” a transportive work inspired by their current soundscape, sweet tropical air, rich forest floors and spores, roots and sweet fruit surrounding them.
I have to admit this album very much reminded me of my youth. When I was eighteen and nineteen years old I would go to raves in Chicago. The music has all the key ingredients that ravers would look for. What are those ingredients? I would say hypnotic grooves and rhythms are essential and this is one thing this music has. The music is repetitive but also ever changing. It’s like you can sink into the groove while also being able to appreciate the nuances and subtleties.
They create tribal grooves on “Dream Valley” which imparts a symbiotic relationship between nature and technology while the alien textures and pulsating synth on “Existence Experience” are serene and tranquil. One of the highlights entitled “Beef in D Minor” in one of the more unique tracks which surrounds you with disparate sounds that give it a hyperreal quality.
Suffice to say this is a meditative and entrancing music that sounds best on the dance floor. It also should be turned up loud to where you can feel the frequencies of the music travel through your body. Oh and that sub bass needs to be felt as well.
This is an album that hits the heart of rave culture. There is no denying that. I’m sure there are plenty of DJ’s who would spin this. Take a listen.
Jason Drew is a singer/songwriter based out of Brooklyn, NY who recently released an eponymous EP Jason Drew that contains three songs. On his Bandcamp page he explains that the EP “is a journey into the mania of all nighters, their consequences and the daily struggle.”
I’m not sure what that means exactly but he generally is speaking about insomnia. I just don’t know what the causes were. The first track “Hard To Live” starts with the lines “Wake up in the morning and it’s hard to live.” It seems like he got some sleep since he is “waking up.” He also mentions his influences like Elliott Smith, Nick Drake and John Butler Trio. All of which I could hear in this song. I was also reminded of Kevin Morby. The guitar work was great on this track. His vocals are fairly simple and repetitive but catchy.
The next song is a lot more clear to me. I’ve suffered from insomnia before and the title “Tired and Wired” is a perfect way of explaining it. It’s like your body and brain are not communicating and got lost in some kind of permanent fight or flight response. This song is quite good in terms of melodies and the effects really add to the dreamy but sort of dreadful experience of insomnia. His guitar work on the song felt more reminiscent of Kurt Vile. Great song.
Last up is “Okay” and the Elliott Smith vibes were a little more present here. That being said there are atmospheric elements which I don’t recall Smith ever using. This song goes down the trail of an insomniac. He talks about staring at the clock. One of the first things a sleep doctor will tell you is to turn the clocks in the other direction to get rid of the anxiety. There are some other great lines on the songs like “It’s Okay to not be Okay.” I thought this was also a great song.
This is a very cool and interesting subject to write about. Considering that millions of people are insomniacs these days and the amount of people on sleep medications is increasing I think people will be able to relate. I sure was. In fact I thought it would be interesting if he wrote a whole album about it. On that note this EP was a very enjoyable listen. Take a listen and then get some sleep.
The Wild Allegations is a band from Boston that recently released Mercury. They are a three- piece but seem to only have two instruments from what I hear - bass and drums.
The EP starts with “Caloris.” There is some light guitar with what sounded like someone in the way distance amplifying their voices .
I was completely taken aback with “Icarus Blues” which sounds somewhere between The Black Keys, The White Stripes and Zeppelin with free jazz. That being said the melodies and song in general sounded improvised and wild. There is a lot of screaming, some bluesy yet experimental rock guitar but is there a verse of chorus in there? It reminded me of free jazz quite a bit. There was a lot coming at you very fast and it seemed like it could stop suddenly or go on forever.
Up next is “Messenger” which simply felt like an extension of “Icarus Blues” until the second half. There are some more drones but the view felt exactly the same at first. The drums hit hard and the guitar and vocals change all the time and even after listening multiple times it felt like I was listening for the first time in some ways. I can’t say there was a hook or melody that stuck with me here.
Around the four-minute mark the drums drop and the guitars go clean. I’ll admit this was a unique transition and caught me off guard. I preferred her vocals like this which are still pushed hard but not as hard. Her vibrato is less forced and her vocals seemed warmer.
“A Billion Years” starts with some moonlight jazz. It’s a little noir and mysterious.The song picks up eventually and sort of goes into some spaghetti western vibe which is the band's best moment.
It seems like the band is on to something that I felt like they were discovering throughout the process of making this release and it wasn’t fully realized yet. One thing I will say, I would like to have heard a couple of hooks or a chorus or something that made the songs stick more after they were over.
This seems to be a case where I’m very interested in where they go from here. If they really figure out this unique hybrid they are trying pull off it could be epic. This is a solid start and very much a band that has a lot of potential. Take a listen.
Lenny Smith is the father of the band Danielson, the composer of “Our God Reigns” and the ex-publisher of Sufjan Stevens. In fact Stevens recorded his album Seven Swans in Smith’s basement on a four track.
Smith also released You Are My Hiding Place. Similar to Stevens this album does have themes of Christianity but I never felt that I needed to be religious to appreciate the music. There are some great melodies but even more importantly the lyrics never feel like I’m being preached to.
Take for instance the opener “Teach Me, My God” which is a delightful song with lyrics like “I’m after something more than silver or gold” that can apply to anyone. There is almost a childlike playfulness to this song. It’s infectious and I felt like the sing-a-long quality could have worked on a program for younger kids. There are different styles as well. “Ho! Everyone Who Thirsts” sounds like it has a retro late ‘60s vibe between the organ and clean guitar. It feels like a revival and the song does some solid rocking out as well.
The title track brings to mind a band like the Grateful Dead. There is a warm, mellow vibe here but it still has enough energy where you could dance to it. As the album progresses I thought there were a number of standouts. “Who is The One” is another song that has that sing-a-long type quality with plenty of vocal harmonies. The energy is both hopeful and motivational but also warm and comforting. “City, O City” is one of the more high energy songs while “Ask Me Not To Leave You” is a song about devotion and gratitude. The closer “With All My Heart” is another song where the melodies and warmth of the song were very easy to appreciate.
I really did pick on the Sufjan Stevens energy with these songs. There is an undeniable similarity here and you can even notice it within the song titles. If you do happen to be Christian I think this music is really some of the best the genre has to offer. Take a listen.
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An occupational therapy student at Radford University, Josh Howard grew up in Shawsville, Virginia where he currently lives. He first started writing songs in high school in an unofficial little two-piece acoustic band called The Besiders which was made up of Howard and a friend who was an exchange student from Germany. For a time, Howard had difficulty singing and playing guitar at the same time, but after much practice he overcame it. After recording some songs for his own use, a friend encouraged him to record his work for real so that others could listen too. That resulted in Howard’s debut Beside Myself. As of right now, Howard is trying to assemble a little band to work with by putting fliers up around his college campus. He’s not sure what genre to label his work when people ask him, but he thinks acoustic indie pop or Americana describes it pretty close. He says artists such as Anthony Phillips and Elliott Smith have influenced what he plays.
As far as songwriting goes, Josh usually picks up his guitar and starts playing some random stuff until he stumbles across a melody or chord change that he likes. Then building off of that, the songs write themselves rather quickly. For the lyrics, he tends to write songs that reflect the mood that he’s in at the moment. The first words that pop into his head get usually are the ones written down. He tries not to think about the lyrics too much so they don't sound contrived, leaving some ambiguity so listeners can relate or make up their own meaning. The songs on Beside Myself were recorded in his parent’s basement and other locations. They were chosen to suit the “singer-songwriter with his guitar” mold.
The opener “Double Angel” is layered with double guitars, one rhythm and one a solo accompaniment. Howard also dubs in a couple of vocal tracks, giving the song’s melody greater depth. His lyrics suggest an “Angel” acting two faced, in other words, a former love that disses him while he tries to come to grips with that reality. The line “Go and cast another shadow” hit me right in the gut, great line! The rolling guitar melody in “Small Talk” was enough for me to grab a box of tissues. Howard layers his vocals here too, in unison this time around. During the bridge, or maybe the chorus part, he brings a fuller sound and speeds up the tempo a bit. It definitely has that sad “my lover just broke up with me” quality to it with its bitter, biting words. Switching gears, “Summer Rain” has a much happier tone. Light, lofty and with a bouncing rhythm from start to finish, I liked how Howard waited till well after one minute to start singing. There are some hints at southern folk rock in here somewhere and lyrics which reminded me of the optimism of early ‘70s folk movements – “Lift your hand up to the skies right now / Won’t you join and sing with me?” and “Let us elevate ourselves / Elevate ourselves while we still can.”
“Need Be” features hushed, almost whispering acoustic tones. Tender songwriting addressed to a “little one” about “Why things are this way?” really packs a powerful punch lyrically. “Daydreamer” showcases Howard’s prowess at guitar picking and quick chord changes. I was impressed! He then switches into a full-fledged rhythm and carries that through till the end. His words suggest not being able to get someone he loved “off his mind” and that he’d rather “stay inside my fantasy” because he knows he’s insane. Sounds to me like that break-up just happened and the wounds are still fresh.
“Lost in a Memory” features a good use of rhyming words, half of them written as couplets, poetically speaking. The song’s overall style feels like classic singer/songwriter and structurally it’s tight and wraps up quickly in the end. “Lonely Echoes” is written in a similar way but the song’s tempo is a bit slower and the sound feels airier like a soft folk pop song. The lyrics here are harder to decipher and I like that about this artist. The two lines at the end drive a universal tone – “But it would be really cool if / We could sit and share a smile.”
The last number is “Better by Now” and Howard lays down a beautifully hushed guitar rhythm very well in the intro. He cuts into that with harder edged strumming and adds in layered vocals in unison. He makes another change during the song’s bridge/chorus with words again that are universal and ambiguous. But a few of his words hint at something spiritual – “Is it all gonna go away? / Cause I talk to him every day / And he tells me that I don’t have much time.”
All things considered, I think Beside Myself is a deeply, introspective album but it also has moments where others could relate to the songwriter’s messages as well. Production wise, the quality was good, and I liked how Howard overdubbed his guitars and vocals, giving each song their own unique qualities.
Accidental Caps is the brainchild of artist Gavin Farmer. The one-man musical experience performs all the instruments himself blending funk, pop and progressive rock into one sound. Farmer assembles local musicians to help him deliver an explosive live show filled with rock grooves and psychedelic improvisations. Playing various bands and touring in the southeastern part of the US for the pass 15 years, Farmer has a versatile approach to music.
Embarrassment of Richards begins with the funky jam “Tamale.” It definitely has a surfer rock edge but the instrumentation and high pitch vocals are so lively that it makes you want to get up and bust a move. The background vocals are wavy as Farmer’s catchy chorus sings, “There is nothing you can tell me!” On top of the fast pace tempo is a solid guitar solo. The following track “I Want You to Know” is a much more traditional rock song. With its smashing drums and gritty tone in the vocals makes it less of a dancing swing song and more aimed for those who want to open up the mosh pit. However by the second half of the song, it evolves into a funky jam session equipped with stylized organ keys fading the song out.
Only two songs in and you’re already on a musical roller coaster bouncing back and forth between rock and groovy tunes. Accidental Caps changes the pacing on “Sunflower.” It’s a slow acoustic guitar song that has a bit of a country feel to it. If that isn’t your thing no problem because you’re jolted awake on “Satellite.” The calm spirit on “Sunflower” puts you at ease which is juxtaposed against the loud sounds on “Satellite.” Later on in the album “Celia” and “A Song for You” are both innocent songs that focus on soft vocals.
Thankfully, Accidental Caps brings the funk-rock sound back on “Silver.” The instrumentation here is fantastic. The high pitch voice blends well with the funky sound as everyone holds their own and each has a moment to shine. As the song continues to get more chaotic the vocals get an edge as they stay screaming with a gritty tone. “Pillow” is a psychedelic tune that is heavenly. It’s a dreamy vibe that melts your heart away. The blissful vocals fade away to allow a beautiful guitar solo that lets you space out. Accidental Caps ends the album with “The Ice Queen” continuing the theme of some psychedelic rock with some sick guitar riffs.
The mastermind of Gavin Farmer does a great job orchestrating his raw talent on Accidental Caps’s Embarrassment of Richards. Songs like “Silver,” “Tamale” and “I Want You to Know” are absolutely worth listening to. The flow of the album is unique and arguably unusual. There could have been other ways to arrange the pacing which may have been more beneficial. With that said Gavin Farmer is a terrific artist who is clearly confident with what he brings to the table. Which is a lot! Check out the three songs mentioned specifically and you’ll see what I mean.
Chelsea Spear is a prolific songwriter and busker from Cambridge, MA, known among street performers as “the mother pitch.” She is also the creative energy behind the brand-new musical act Travels With Brindle. Spear took up songwriting three years ago. During that time, she has played every MBTA station with a performance space. Spear brings to the table her latest EP entitled Greetings from Rocky Point. These are six songs out of 125 she has written since 2016.
The EP features solely the ukulele supporting the vocals along with other embellishments. Greetings From Rocky Point opens up with “Summer Stock” that begins with the cheery sounds of the ukulele highlighting the start of this track. The vocals are warm, showing an effusiveness that matches the sunny cadence of the music. Although summer has long fizzled, this song contains a warm and bright summery sound that makes you reminisce of those summery months that had slipped by. There is some on-point strumming from the ukulele that fills this track. This is the oldest song in the catalog – one of the first songs Spear has written. With under four minutes of playing, she sings, “I knew the bigger things were coming soon…when I look back on summer stock / That is the summer I missed most of all / The night went on forever.” A real sense of nostalgia permeates this track. Light and blithe, the vocals and instrumentals will really speak to you innately. Upbeat and catchy, “Texas Tourney” has a whimsical and quirky sound. Cadences of the ukulele makes another splashing appearance with the sounds of the tuba underlining the song. It has an inviting and warm feel. The vocals contain a real comforting vibe that really envelopes listeners with open arms. Again, this track also contains a bright and sunny cadence filled with a real glowing sense of optimism.
“Happy Birthday, Chicken Boy” pervades with a softer and lilting quality. This is a slower sauntering song that is also ballad-esque. Percussions add a more spirited approach to the track. This a quirky song with whimsical lyrics that give this track a more fun-loving vibe. Spear sings in the chorus, “Happy Birthday Chicken Boy / To you we raise a toast / Statue of Liberty in the West Coast.” Following is “Where’s Francesca?” where apt noodling on the ukulele gives off a hint of a boss nova tune. Sounds of a cello weaves in and out of this song. The strings add a nice lush touch to this track. The singing is upbeat and sun-soaked, pulling forth a great cadence.
“Feather” is the most recent song Spear wrote. She was inspired to write it on a Boston-bound train in August 2018 and which features solely the sounds of the ukulele and vocals. The cadence from the singing saw adds a reverberating eerie touch. With some great folk-pop sensibility, this is another track that embraces Spear’s uplifting and positive attitude. She sings, “You gave me this feather / I’m giving this feather back to you / Thanks for owing me your feather / Holding your feather I finally flew.” On the closer “Small Change” upbeat percussions make this song more energized and upbeat. The ukulele paves the way for some more dynamic playing. The sounds of the cello also trace this track. With sincerity, Spear sings, “I hear the small change in your pocket / Why don’t you throw that small change my way / From the small change I’ll make good use / With that small change I’ll make your morning.” Every song on this EP rings true with a positive spin and a welcoming tone. Each are memorable in their own right. Polished and filled with sharp wit, these songs with their cheery attitude attain a show tunes bravado. I could see audiences being swept away by these songs at a Broadway show. And like in a Broadway show, these songs feature a wide cast of characters. Whether they be names of real people she came across during her adventures busking or pseudonyms, the name-dropping provides for a vivid way for the storytelling on these songs to come to life. According to the artist, “When I recorded this, I wanted it to sound like the EP of the summer of 1983, if you only listened to college radio and albums from Cherry Red Records. Translated into plain English, I wanted this to have the spare sound, classic songwriting and unusual instrumentation of bands like The Marine Girls and the Raincoats, and I wanted to write from a place of nostalgia and hard-won optimism.” In summation, Spear manages to pull this off with aplomb.
The storytelling on this album is absolutely riveting. These are like short vignettes that take a look into the more whimsical side of life. Recorded and mixed at ZUMIX in East Boston, a definitive spark underlines each track. Meant to be the kind of record you listened to on a Saturday morning in June drinking a nice cool glass of iced coffee before you go out on a fun outing, Travels with Brindle is able to achieve just that. Greetings from Rocky Point is like a breath of fresh air. Unique and authentic, the album shies away from your regular Top 40 fare and really produces a sound that is refreshing and optimistic. Be sure you have a listen today!
Rujen consists of Ryan Miller (guitar/vocals), Creighton Perme (guitar), Charlie Brady (bassist), Michael Cornwall (drummer) and Nick Hanchey (synth/keys). The five-piece band from Atlanta blends in elements of indie and neo-psychedelic rock to create a vibrant and dense atmospheric mix of tones, textures and synergy.
Rujen went down the DIY route with their debut EP, entitled Elsewhere, recorded from their quaint home studio in Atlanta. The album is mixed by Atlanta local Jason Kingsland (Washed Out, Deerhunter, Band of Horses) and mastered by Joe Lambert Mastering.
On “NY,” the drums and percussions start off this track with an upbeat tempo. The vocals are really spellbinding, eluding a magical and romantic quality. This is a slow burning ballad with a blend of slow grooving guitars, bass, and drums. A real dynamic song. The electric guitar solo really soars on this track. With soaring and ethereal sounds, this song has an atmospheric and ambient vibe. The guitars pivot over a giant sound toward the two-minute mark.
Several highlights include “Luna” that starts off to a spray of static and a cacophony of white noise. Miller’s vocals are dizzyingly suave with a smoldering smooth appeal. Reverberating electric guitar riffs sound off on this track. The song retains a groovy psychedelic feel and has a mellow and laid-back feel. The music has almost a lounge and bluesy vibe. The keys create an interesting array of melodies, providing for a dreamy and haunting quality. A beautiful track with a real romantic vibe, it at once hones a luminescent and dusky quality.
“Luna” contains both spheres of thought in this gorgeous song that hits all the right notes. With arresting and alluring feels, there is definitely a resonating appeal with peels of shimmering guitars shaking up this song. Another memorable gem is the title song, where electronic nodes sound off towards the beginning of this track. Right from the start the vocals join in with the instrumentals, electric guitars, bass and drums, mingling together to create a moving soundscape. A whirl of lush cadences. A truly riveting cadence paints a dynamic sound that reminds me of the intricate guitar work from Minus the Bear and Silversun Pickups. Waves of distorted guitars and keys evoke some lovely melodies. The instrumentals build up to create some soaring and ethereal cadences. There is definitely a whole lot of feeling.
Towards the closer, “Deep End,” the keys start off to a mellow melody. The vocal layers give off a harmonious flow. There is evidently an elegant and smooth feel and striking melodies and grooves. A real nice flow. Miller’s vocals cast an ethereal and otherworldly glow. Absolutely mesmerizing. The sonic detail on this EP is truly immense. The cinematic range on these tracks will really impact listeners, immersing them in a lavish production that brandishes a highly cinematic scope.
The record retains a surreal out of this world quality that is definitely otherworldly. In a word these soundscapes are simply magical. The music is iridescent riding on colors and sounds that is altogether awe-inspiring. There is a definitive glow to these tracks, a cohesive blend of harmonies and melodic guitar work. Be sure you have a listen today!
Scott Cornette (guitar), Jon Leeds (drums) and Chris Church (bass) are the scott cornette trio. The trio are long time friends who also happen to be musicians. They released their eponymous EP the scott cornette trio which is a rock instrumental EP. Rock Instrumental albums like this were at their peak in the ’80s and ’90s. Guitarists like George Lynch, Andy Timmons, Reb Beach, Joe Satriani, Steve Vai and many others guys who are mostly in their 50’s at this point defined the genre and created a legion of fans. These are the dudes you would see on the cover of Guitar World. They would tell you how to do a hammer on and what scales you should be playing to increase your speed.
I’ve noticed with this genre that people are all in or they don’t get it. There are no vocal hooks you can sing along with. A lot of the songs do sound very similar and it often sounds like one continuous guitar solo. It’s a hard sell for a lot of people especially if they have a hard time appreciating the technical aspects of a performance. This music in my opinion is joined at the hip with prog.
Suffice it to say if you are a fan of the genre then there is a very high likelihood you will spend a good amount of time with this EP. Take for instance the opening track “Ghidorah.” The band sticks to basics here and just rip it up with guitar, bass and drums. If you are into technical performances there are plenty of guitar fills, drum patterns and bass melodies that your ears can appreciate.
The energy continues with “Conduce” which really hits into the popular instrumental sound that was happening in the ’80s and '90s. This song in particular sounded like Van Halen or even Dokken. “Triplicity” sounded like a summer jam while “Atone” has some darker shades and colors. They occasionally take off the distortion on “Triptych” which made it feel like a ballad. They close with “Forge” which is the arguable highlight.
There is a small niche fanbase for this type of instrumental rock. If that’s you, then I hope you are already listening.
Craig Carswell is a multi-instrumental, producer and singer/songwriter from High River, Alberta, Canada. Owner of the RedBlack Recording Studio, Carswell played in metal bands while growing up in the Calgary area. For a time, he was the vocalist for the well-known Calgary metal band Grimzen. After calling it quits, Carswell focused his energy on more behind the scenes aspects of music, receiving his certificate for production from The Academy of Production and Recording Arts (APRA) in Calgary. Since graduating, he has made a name for himself in the music industry as a producer, working with a large roster of popular local artists as well as being producer for Juno Nominee Maren Ord and recently producing a song featuring America’s Got Talent finalist Evie Clair. In September of 2018, Carswell decided to start playing as a solo acoustic artist and released his first single and music video for the song “New York Lights” later that month. A second single and music video for the song "Run" was released in April of 2019 and can be viewed on YouTube. Both of these emotionally driven songs can be heard on his debut release December Songs which came out last winter. Carswell has been compared to artists like Dustin Kensrue, Dermot Kennedy and Lewis Capaldi.
Carswell’s newest release is Dark and Dreary. The first track “Not Today” begins with a bright, clean sound. It features acoustic guitar rhythms layered on top of a solo electric in a style that mixes up country rock with contemporary pop rock. Carswell explains that he’s “not a country artist” but he “produced this song this way as a thank you” for the local radio station Sun Country 99.7 FM that supports his talent as a singer/songwriter. In a way, Carswell’s style and voice reminds me of Rob Thomas and Matchbox 22, but with a bit more country flavor. “Like a Ghost – Album version” has a somber feel to it and lyrics to match the song’s melancholy nature. The song is about loss, regret and thoughts of a loved one who’s passed on. If you’ve experienced losing someone close, you’ll be able to relate to this number. Carswell’s use of backing vocals emphasizes the sadness within the song’s melody even more. And I loved his line, “the path that we walk is paved by the death of our innocence.” Damn, that’s good.
“Acceptance” is another slower, introspective song but with more instrumentation added by the drums, piano and keys. I liked the dark chords of the piano – quite chilling. The song’s style is contemporary pop ballad and has a very likable, radio friendly sound. Carswell’s electric guitar solo brings an element of soul, too. Carrying on the singer/songwriter structure of thoughtful words and tender melodies is “Internal War.” Carswell sings about his struggles of battling the demons within and thoughts of a relationship that didn’t go as planned. Overall, the words are sad, but relatable in many ways. Stylistically, this tune has a stripped-down sound as the artist plays just enough guitar to focus more on the words he sings.
The last two songs contain a bare bones sound and will be featured on Carswell’s next album. “Burnout” (demo) features a straight acoustic sound and a clean, live sound like how I imagine Carswell would sound on stage. The last number is “Face in the Crowd” (demo) and it has a lively folk pop rhythm to it. It opens with the words “how do we carry on when the world is cold and gray / and it’s your mind that’s making it that way” that brings a philosophical point of view to the song. Other questions and observances within the songwriting ask – how do we get on with life when the world is so messed up anyway? Carswell’s style and the way he arranges his rhythm reminded me a little of Billy Bragg. A very honest and open song to end the album. And that’s my overall takeaway from Dark and Dreary – a sincere album that asks some tough questions that I’m sure we’ve all asked ourselves. A bit dark and dreary as the album’s title says, but Carswell taps into the singer/songwriter style very nicely and without a hitch.
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