Rasmus Fynbo is a Danish singer and songwriter who got his start back in 1993. It wasn’t till 2004 however where he released his debut album. In 2010 he took some time off of music and was certain that he wouldn’t be making music anymore. That changed in 2017 and he was at his most prolific, releasing four new albums. One of his recent albums is entitled The Azure Sea. 

Fynco describes his music as a combination of pop, rock, as well as folk and Balkan with a smidge of salsa. I’d say that’s a pretty spot on description. The songs felt accessible but a little off kilter in a good way.

The album opens with “Prelude” which sounds a bit like music from a traveling European circus. It’s orchestral and a great way to start things off. The mood brightens up with “Above The Sea” which is more or less catchy rock in the spirit of bands like The Shins or Beirut. I loved the vocal melodies as well as the rich assortment of instrumentation especially the horns.

“The Rabbit Hole” is a highlight. The song is very catchy with one of the best hooks on the album. I loved the traveling European circus type quality you often hear in music from Tom Waits. The title track “The Azure Sea” is another great song. There’s again a full range of instrumentation. I loved the accordion on this track as well as the tremolo infused guitar and banjo. It did feel similar to a song from The Shins although this felt more worldly. 

“Feel The Summer Breeze” is yet another great song and I was starting to wonder if there were any lulls on this release. So far it had been consistently great. Turns out there really aren’t. “Golden Mirage” is a joyous and uplifting song while “Down The Rabbit Hole” contains a different lead singer who also happens to sing really well. I thought “Below The Waves” as well as “For Others To Shine” were some of the other highlights.

​There really isn’t much to critique with these songs. I loved the whole thing from beginning to end. Highly Recommended.

Back in 2018 Keys With No Purpose by Amanda Ekery received Top Album honors from Divide and Conquer. Ekery is back with a new release entitled Some (more) Short Songs. There’s some amazing music on this release but perhaps just as vital is the message behind the music. Ekery explains the album “is written as a reaction to the sexist culture women continue to face in jazz.”

The album begins with “LCC #13 (Vision)” which I wouldn’t describe as a short song as the album title implies. This song is a bit of slow burn and starts with haunting, crying cello and guitar. The two instruments do a little dance and leave plenty of space for the vocals. That being said the vocals are ephemeral and there are long passages where it's just instrumental. It’s an open and spacious song that’s in no rush to get anywhere.

“LCC #14 (Mind Games)” is a little faster and the vocals are more consistent. The song is again haunting and spacious. There are sections which are like a spell of madness where the vocals feel more like an antagonizing inner voice asking you to play the “game.” I think that might be why the song is called Mind Games.

“LCC #15 (Maybe I Should Drive)” has some incredible flourishes. The technical ability is pretty incredible from all the musicians involved. I had to listen a couple of times before it started to all seep in. There’s also a mantra where she repeats “Don’t say a word till I’m finished.”

There’s exceptional bass and piano interplay on “LCC #16.” The piano is all over the place and almost frantic. There are other instruments which visit like guitar but if you aren’t paying attention you might not even catch them.

“LCC #17” is a very somber and haunting song. It’s the most emotionally resonant to this point and felt like a good place for the song sequentially. Once you get to “LCC #18 (Up There)” you should feel immersed in her particular style and aesthetic. 

“LCC #19” explores long vocal phrases that can suddenly feel energetic. There’s more incredible piano playing on “LCC #20” as well as some awesome sounding fuzzy guitars.”LCC #21 (That Dog Won't Hunt)” is one of the catchier songs in the batch while “LCC #22” is more atmospheric and cosmic sounding than any other previous tracks.

​I’ll admit this album might not be for everyone. It’s a deep dive in music theory and doesn't play into the verse/chorus/verse type structure. On that note I absolutely encourage you to spend time with this release. There are treasures buried along the way that can be discovered. Highly recommended.

It’s a fact that a lot of drummers often think about leading a band. I’ve been in too many bands to think otherwise. The truth is some of those drummers can have a boat load of talent. I think David Grohl might be the best example of this. Another one is Mr Griff. After 20 years as a session drummer, he has moved forward to front his own band learning the piano and playing original songs all written over the last 18 months. His album Hey Friend contains eleven songs.

The album shows a range of genres, so let’s get into it. I loved the opener “Wait up” which contains a good amount of ’70s funk in the spirit of Stevie Wonder. The groove is undeniable but the vocal hook is even better. It’s a song that feels familiar and I think by the second or third time you listen it will sound like a classic.

“Looking good to me” is up next and has more of a classic rock type of quality. The vocals are delivered in a different way but it works perfectly for the song. Lyrically, the song hits on familiar themes and I loved the harmonica solo.

“Somebody else's shoes” is a mix of soul and rock. It’s another great song with memorable vocals and also just a nice and warm mix of instrumentation. The funk comes back with “Half a chance” although it’s so smooth on this song I just wanted to chill in a lounge. “There for you” doubles down on funk and soul and again I thought it was a memorable song. I was getting a Bill Withers vibe on this song.

One of the more emotional and melancholy songs was “Hey friend.” The song contains a beat with some organ and an emotionally resonant vocal. “Angels falling” is super smooth funk and oh so sensual. “Later” is more like a piano ballad in the spirit of Elton John. Last up is the very upbeat funk of “Fuzzy logic.”

My only slight critique is the jumping around of genres the artist does which isn’t too out there. The album might have felt a bit more cohesive if he stuck to the soul and funk. I loved the other songs like “Looking good to me” but they might have worked out better on a different release. 

​Overall, this is a great album. There are some gems on here and clearly it is a tip of the hat to ’70s music.

Tony Arnold aka Gray Mortuary is an artist currently living in Florida who recently released Singular. Arnold mentions "Singular reflects on the various previous releases in the esoteric electronics end of things. Although some similarities to Tangerine Dream may emerge, I also invoke a few ghosts of 1970s classic rock, as well as less commercial leanings. Trying not to repeat myself, I often immerse myself in obscure literature during the creative process. As I am also a book author, my musical output often carries literary references.”

Singular is about a double album's worth of music. There are fifteen songs and most of them are well above the five-minute mark. I would consider this a fairly ambient album perhaps in structure and approach. Arnold has no issues immersing himself into soundscapes where you can get lost in.

The album starts off with the title track “Singular” and sounds a bit like I was in the control of a spaceship. There’s buzzing, harmonic tones and more. It’s not the most musical sounding song at first but makes a transition I wasn’t expecting where the songs starts to feel very new age mixed with perhaps a bit of Pink Floyd.

“Gator Boots” is a lot more straightforward guitar rock. In fact this was a classic rock vibe with heavy guitar chords, an uplifting energy and some killer lead guitar melodies. “Observing the Fall in Real Time'' revolves around an arpeggiated synth, pads and other elements which bring with it a cosmic quality. In fact I thought this could work in the popular series Cosmos. 

I also have to mention the nine-plus-minute epic “Mfkzt.” This is a song where you can just submerge yourself. In fact for maximum effect I turned the lights off, lay down and let this one ride. It takes you on a journey that gets slightly more intense as if you're traveling through hyperspace.

As the album progresses there are a variety of moods. It doesn't  always have this pensive quality as if you were traveling through the cosmos. Some of it does work better than others. I thought some of the standout songs were “Gynocentric Aberrations,” the funky “Uzumaki” as well as the foreboding “Dreams of Permanence.”

​This album has a lot going on and I encourage you to take some time with this one. There are a lot of gems to be found. Recommended.

Snarkier listeners might posit how Ron Burgandy made things safe for jazz flute back in 2004 (or, perhaps, 1974 depending on one’s adherence to chronology). And while I’m sure Eric Fraser doesn’t need fictitious newsmen legitimizing his career – particularly since it involves a North-Indian classical derivation of the instrument – mass appreciation rarely spoils the party.  Look at Ian Anderson. Not only did the Jethro Tull frontman incorporate woodwinds into popular rock, but he rocked woodwinds. And that’s a hell of a lot further than plaid suits and casual misogyny would ever take the flautist demographic.

To his credit, Fraser adheres to the original “gayaki-ang,” or vocal style, of bansuri flute. In exploring traditional ragas, he also uses novel guitar chords and midi beats to keep things fresh. The result, a four-track EP titled Reveal, breaks convention without forcing the issue. In fact, by flirting with psychedelia, indie and alternative sounds, it scores points for originality. And flirt it does, often relying on a sensual vibe while melding the various genres. This is not, however, a “fusion album,” as Fraser is quick to note. Perhaps that’s a nice way of silencing the cultural appropriation crowd. Or perhaps this is an enjoyably organic 26 minutes that owes us no explanations. With crisp production and forwardly mixed bass, each track plumbs areas that Peter Gabriel might almost have fathomed. 

The opener “Revive” exudes rug-burned warmth. Its deep throated bass and gulping rhythm push things forward while allowing enough space for Fraser to playfully explore the arrangement. “Melt” etches a graver vibe. Unlike its predecessor, the song doesn’t so much bounce as it creeps. Visuals of shimmery heat set the tone. We could be listening to the soundtrack of a serpentine courtship, disrobing amidst the furnace-like air, or be gazing toward a boundlessly plain horizon. Either way, the piece unravels – without nearly missing a beat – into “Reclaim.” Here, light percussion excites, although the mood swings from sultry to solitary. This track is sparser, reedier and, eventually, punctuated by a baritone chant. Gone is the heat, and in its wake hums a gratifying vocal.

​"Mate” continues the trend, with Fraser now singing in English. “Desires are many,” he begins in a trance-like drone. The words drip and stretch, as if the entire composition were being cast in amber, slowing our collective pulses. Maya Angelou, this is not, but there’s a certain poetry to the straightforwardness of each phrase; a whale-belly echo in perpetual yearn. Plus, “I need a woman, intelligent” comes off as the best courtship line since David Lee Roth’s “you know you’re semi-good looking” four decades prior. And who can blame the sentiment? No one wants to speak geopolitics to some bubble-headed floozie. Even if she’s impressed with your flute.

Laurre is the project of queer multi-instrumentalist Lauren Wachenfeld. Based in Cincinnati, Ohio, Laurre's sound ties together vibrant guitar hooks, poetic lyrics and dynamic rhythms to create a space to dance and celebrate or cry and ruminate. Laurre's debut EP Paper Blue was released last October and is immersed in themes of heartbreak, mental health, identity and coming of age in a way that is honest and authentic. The EP was recorded in the home studio of Nashville-based recording artist Mike Mains from Mike Mains & The Branches using Logic. Some of the instruments used include Taylor acoustic guitar 314ce, Roland FA08 keyboard and Fender strat guitar. Wachenfeld’s songs were written between 2016 and 2020, all starting on the acoustic guitar or piano.

For the artist, usually a lyric will pop into mind first, and she would construct the rest of the song around that lyric. Wachenfeld is very inspired by the honesty and vivid descriptions of artists like Phoebe Bridgers, Lucy Dacus and Big Thief. She is also really inspired by the genre-bending aspects of Jon Bellion and Twenty-One Pilots. Playing piano for 20 years, a lot of Wachenfeld’s songs are rooted in the piano or keyboard. Paper Blue, as a whole, has reverbed vocals, vibrant bouncing guitars and dynamic bass lines. The album is punctuated with intimate, slower songs that really explore identity in depth.

The opening track “Lilac” is a fun and catchy alt-pop song that is very well written and played. I liked the extra backing vocal track, too. “Control” starts off with a light sounding ukulele and quick stepping beat. “Homecoming” features the piano as the main instrument. There’s a nice, gentle drumbeat accompanied by a guitar rhythm in this song about “two girls in love.” “P.S.” starts off with keyboards and a solid funky drumbeat. This is another fantastic song with a great pop melody hook. I liked the “horn section” played on the keys as well. So far, some of Laurre’s styles remind me of a lighter pop version of Liz Phair, The Breeders or Lucious Jackson, with a bit of Suzanne Vega in there, too.

The next song “Don’t Ask” I think is about gender identity and about remembering the ending of a relationship that went through some awkward changes. Great exchange between the keyboard melody and drumbeat here. The next track “Remodel” is one of Laurre’s slower, introspective songs. This one gets up close and personal, as Wachenfeld sings about remodeling a home that no longer holds any meaning. Whether or not she sings about a literal home or a metaphorical one, doesn’t matter – this one is very emotional and moving. Wachenfeld has a remarkably beautiful voice, and it really shows here. The backing vocal tracks brought out her voice even more.

​The last song is for all you geometry nerds out there, although I don’t think the artist references any equations whatsoever here. “Parallelograms” ends the EP with a classic, old school guitar sound, warm bass lines and deep, resonating drum rhythms. What I liked about this number is the gentle play between the piano and bass lines during the solo, but most of all, the charming soft rock/pop melody that’s in here. There’s something Joan Jett, Suzi Quatro or Pretenders about this tune that l like. The piano outro was fantastic, too! What can I say – Paper Blue by Laurre, is a great sounding, solid debut filled with lots of catchy indie pop melodies and well written songs. I look forward to hearing more from this Cincinnati artist.

Jimmy Hill is a 16-year-old artist from St. Thomas, Ontario, Canada who recently released Ambivalence. Hill explains on his Bandcamp page “Ambivalence means ‘the state of having mixed feelings or contradictory ideas about something or someone. This album is a collection of questions, doubts, grief, hope and everything in-between.” Hill also mentions that Elliott Smith, Nick Drake and Adrianne Lenker are some of his influences and although I’m in my early 40’s Smith and Drake had an effect on my own songwriting when I was around Hill’s age.

“Out Of Tune” is the opener and you are greeted with warm guitar and hushed vocals. The recordings contain an intimacy to them which I felt was crucial to the emotional resonance. It’s a very melancholy song but quite beautiful. The vocal harmonies in particular sound great.

“Things Inside Are Burning” is up next and the energy does build a bit more here. The song isn’t as melancholy but still feels like a lament. Hill comes across with some memorable vocal melodies. “Into Your Arms” seeps back into the melancholy with glimmers of hope and gratitude. The lyrics are tender, heartfelt and human. Hill sings “Oh Lord / Don’t want you to be second place / Don’t want you to be confined to space I wanna be where you are / I know I've been lost.”

“Kate” is his first introduction to piano and he nails it. In fact this is the arguable highlight. HIs voice sounds fantastic here against the warmth of the piano. There’s some impressive guitar picking on “Ambivalence (Tea With My Shadow)“ which is both meditative and hypnotic. Hill has more success with “Eunoia” and sit eems like gratitude towards nature itself. Hill sings “Oh mrs. sky how pretty you look / Over snow covered rooftops /  And street lights above / The dreams of all children / Will float up to you / Then on to mr.moon / For his evening news.” “Downtown” is a solid song but lI oved the closing piano ballad “Stairwell.”

My only slight critique is that maybe he should combine piano and guitar on a couple of his songs. Other than that this is a strikingly well-written album especially for someone so young. I was not writing songs with these types of themes when I was his age.

​This is a great album and I have a feeling the artist is just getting started. Take a listen.

Working. is the collaborative project of long time friends and tour mates, Blake Marlow (formerly of Commander Keen) and Davy Haynes (formerly of Jim Shorts). Both of their other musical projects ended and with Blake in Tennessee, and Davy in Maryland, the two recorded and emailed tracks back and forth to create Retrograce which is a four-song EP. After principal tracking was finished at home, the EP was finalized at the home studio of Zach Ramsey with Wes Mitchell on drums and Neil Jones on pedal steel.

“Indoor Cats” is the first song , which is a fun and catchy rock tune. The song starts with a rocking section and builds which gains your attention. I loved the vocals on this song which are really the focal point although there are some great instrumental aspects as well such the killer guitar solo and ’50s pop drum beat that go together really well. I was reminded of a more anthemic ’90s like Pavement or possibly Guided by Voices. As the song progresses it does get a little more intense and feels like a way to make a statement.

“Take it Back” is this cool mix between country slide guitar and garage rock. This song is even catchier than the opener. I again really loved the vocals which are spirited, exuberant and sing-along worthy. The hook is great and the vocalist shows his range by straining his vocal chords and is close to screaming at points. There’s another great instrumental breakdown where multiple things are going on. It’s not a standard solo and it sounded similar to something you might hear from The Flaming Lips.

Although some people might not agree, the band plows forward with “Jesus Christ Ain't Comin' Back.” This is more or less a straight rock song with a heavy ’90s flavor. As a teenager in the '90s I grew up on similar music and they hit the mark here. “Julian's Hour of Power'' felt like the most power pop infused song and closer to a band like Weezer. The vocals are once again really accessible, infectious and make the song accessible. There’s a guitar solo and this one is the most straightforward although you also get dueling guitars which I have to give a big thumbs up to. 

It’s pretty incredible what you can do remotely these days and this EP is a testament to that. It sounds live and like it was recorded in a studio and I say that as an engineer myself.

​The band went four for four with these songs. I think fans of any of the aforementioned bands should add this to their collection.

bandcamp

Licorish is based out of Los Angeles and is a solo project for Jeremiah Page. Page started this project about a year and a half ago and previously he was the bassist of an art punk/dance band, Hawaiian T-Shirt. It's All Fiction is a four-song EP where, according to the artist, “these songs are reminiscent of bands like Felt, The Field Mice, The Jesus And Mary Chain, The Go Betweens and Slowdive,”

“It's All Fiction Anyway” is the opener and revolves around a driving 4/4 beat, a fluid bass line and jangly guitars. The mix is heavily distorted and reminded me of a lo-fi post-punk type of song not unlike that of Interpol. I liked the melodies on this song especially those coming from the bass guitar. Some of the vocals are a little off key at times but perhaps you could argue that is some of its charm considering the lo-fi type of sound quality.

“Vampire Émotionnel” is lush and more aligned with shoegaze. The guitars are laced in a hall reverb and the song feels more atmospheric and dream oriented. I liked how the vocals juxtaposed against the other elements but I still wanted a little more clarity in this department so I could make out the lyrics.

“Bright Stars And Black Holes” is a solid song as well and perhaps the highlight in the batch. The song felt the most accessible and I loved the guitar melodies that arrive a little before the one-minute mark. This song felt like a mix between The Cure and The Jesus and Marcy Chain.

For some reason “K Scope” sounded more garage rock oriented. The band The Strokes came to mind on this song. There's some noticeable digital distortion and the vocals sort of run into each other so it was hard to make out the lyrics.

As an engineer myself the main critique comes from the recording quality. I would say the songs are fairly well mixed for DIY but there are discrepancies in the volume of the songs which is handled in the mastering process.

​Overall, I thought this was a solid effort and I think fans of the aforementioned bands will appreciate this music most. Hopefully this is just the beginning because the songs show a lot of potential and I look forward to hearing more as he evolves. Take a listen.

Simo Bass (vocals), Tapsa (bass), Oskari (drums) Jani (guitar) and Sami (guitar) are s.e.r. The band from Tampere, Finland formed in 2019 and recently released an EP entitled Reload as well as a single entitled “Eyes.”

Let’s start with the EP. The songs felt pretty straightforward to me, mainly sticking to a familiar rock aesthetic primarily from the late ’60s and ’70s as well as a tinge of blues. 

The band starts with “The end is near” and this song starts with jangly guitars, a steady beat and bass. I loved the brief funk bass before the verse started. The vocals are well delivered, confident and dynamic. Once the chorus arrives, the drums introduce more cymbal, there’s some lead guitar and some additional distortion. It felt like a sturdy opener showcasing their strengths as well as overall sound. 

“Reload” is a slightly bluesy song and has just a more laid back type quality. It's a song that begs to be heard at nighttime. The vocals are at a lower octave and bring with it a darker quality. As the song progresses it does get more intense with instrumentation but stays fairly dark in terms of tone and color. This might the most sleek and slick sounding song.

“Again” is the arguable highlight. This was my favorite vocal melody out of all the songs. It starts off with a mix of acoustic guitars and a warm canvas of instrumentation. This song is pretty epic at a little over the one-minute mark. It sounded like a mix between Lynyrd Skynyrd and Pink Floyd and maybe a smidge of '80s opera rock. Awesome!

They end with “Master of the night,” which is definitely the most rocking and high energy song. This felt like driving Americana rock. The guitars are gritty, the drums have Bonham like quality and Bass goes all in with the vocals.

The single they released “Eyes” is atmospheric, melancholy and probably the most ballad-like song. That being said there's significant transitions where the guitars gain more distortion and around three-and-a-half-minutes have a killer guitar solo. The vocals are theatrical on this song. It felt like I was listening to something from a Rocky Horror picture show.

The songs are fun, emotionally resonant and feel cohesive. They have an energy that feels like it’s best to be experienced live but capture it quite well with these releases. I look forward to hearing more from this talented crew of musicians. Take a listen.