If we were to define The Cold Stares’ new album Mountain purely by its lush lyrical content, to describe it as anything other than a cryptic dreamscape that presses all of the psych-tinged bluesy cues hinted at in Head Bent into full blown experimentalism simply wouldn’t be accurate. Mountain is a gorgeous realization of singer and guitarist Chris Tapp and drummer Brian Mullins’ original audiological blueprint in high definition sound, still fitted with a razor sharp rebelliousness and accentuated by a studded groove that has only gotten more aggressive in the last year. Mountain has some gigantic riffs – “Wade In The Darkness,” “The Great Unknown” and the chorus on “Stickemup” just to name a few – but it also offers a litany of acoustically-styled slow songs. Continue reading “The Cold Stares release Mountain LP”
If you’d asked me whether or not I knew who Jared Finck was just a little over a week ago, I would have had to tell you that I had never heard of him or his truly profound musical catalogue. But recently I came into contact with “New Kids (SEAWAVES remix)” while exploring for new music, and I couldn’t help but be taken by the charmingly relevant nature of both the lyrics and the music that Finck composed in this powerful slice of indie pop/rock. To say I’ve become a fan since would be a complete understatement, and I’m confident that if “New Kids” gets the proper exposure that it’s entitled to, the rest of the world will be singing Finck’s praises as well. Continue reading “Jerad Finck releases New Kids SEAWAVES Remix”
This is a great “I’ve had it with you” song, maybe the best in a long time. Kanisha K is frequently classified as country music, but there’s a tangible rock and roll spirit beating inside of the song as well. The instrumental elements running through the song like banjo point the way towards a history steeped in such sounds, but the lead guitar work recalls blues rock and hits the right spot without ever over-exerting for listener’s attention. Kanisha K and her collaborators are clearly focused on making this a full-bodied musical experience and the addition of acoustic guitar in the song gives experienced listeners an aural glimpse of the song’s likely beginnings and makes an even deeper impact on the audience. The song runs just a hair under three minutes thirty seconds, but it never comes off as anything less than a fully realized and often cinematic effort. Continue reading “Kanisha K – Talk is Cheap”
2018 has been the year of rock n’ roll revivalism, and no one has been taking charge of the movement to bring chest-pumping rhythm back to the forefront of pop music than Elsewhere. Elsewhere are a band based out of New England and originally started back in the 90’s, but their sound is about as far from grunge and proto-alternative rock as Boston is from Seattle. Their latest EP, Multi-Man, is out this August 31st everywhere than independent music can be streamed or purchased, and to say that their fans have been eagerly anticipating its arrival might be the understatement of the year. I braced myself to be slightly disappointed by Multi-Man in light of the massive hype surrounding its release, but to my delight I found that I didn’t need to; Elsewhere seriously delivers the goods on this one. Continue reading “Elsewhere Band release EP”
If you’re one of the many country fans who has been disappointed in what you’ve heard coming out of the south in the last few years, Spayed Koolie might have made the album that you’ve been waiting for in Ashtray Change. Fitted with 11 of the most stylishly original country rock songs you’ll hear this side of the 21st century, Ashtray Change is a record that comes as a result of years of angst bubbling up just beneath the surface of the country scene. It’s independently stylized and raw as they come, but if you’ve got a taste for the blue collar sound, this is an album you need to hear. Continue reading “Spayed Koolie releases LP”
Out of the same fire and brimstone that once gave birth to music’s most spirited performers and composers comes Apogee, a rock album that deserves to be listened to by anyone who considers themselves to be a pop aficionado or just a fan of bold music in general. Vinyl Floor, the band behind Apogee, have been making noise in the European underground for a number of years now, but in the totality of their four album discography nothing has been quite as ambitious as this most recent undertaking, and that’s really saying something considering that their last couple of records have been symphonic in their construction and design. Instead of applying their garage-influenced rock format to a larger set of conceptual framework, Vinyl Floor is flipping the script of the musical direction of the last five years and exploring a more old school sound in the vein of proto punkers like The Stooges and even doom pioneers Pentagram. That said, don’t get the impression that Apogee is a retro exhibition piece in the same style as Wolfmother’s self-titled record; this is an album that is very unique to this period in history. Continue reading “Vinyl Floor release Apogee LP”
I had a really eye opening experience recently, and it was at the last place where I would ever expect to learn something new about my job, and really, myself. I was in an antique store, and for the first time in my entire life of shopping in antiques stores on the west coast, I didn’t see a single record player. Not one. No vinyl either. This surprised me, as I couldn’t remember a time when old people weren’t selling off their old albums and turntables in favor of the now almost defunct compact disc and more recently digital formats like MP3. I inquired with the store clerk about my discovery, and she told me that “Music and old record players never last around here anymore. Kids come in and scoop ‘em right up.” I don’t know why this got me thinking as much as it did, but I could stop considering the fact that, in waves, people pick and choose which archaic trends to revive. I’ve always hated the term “retro” being attached to anything, because I feel like looking backwards is always counterproductive to us getting to where we could be instead of here. Someone who I think understands my impatience to dive into the future head first with zero inhibitions to hold us back is Lauria. The mononymous Lauria is an R&B/indie pop singer hailing from Canada that is just beginning to get some attention south of the border in my native country of the United States. She’s very DIY/indie in her artistic presentation. She’s a no frills kind of artist with a lot of heart and a knack for throwing layer upon layer of elegant poetry at us until it feels like we’re completely removed from the physical world and transported into her mind, her point of view. But you know what Lauria isn’t? She’s not a hipster.
Lauria doesn’t strike me as someone who is looking to sell ten million records this summer, and that is actually a really, really good thing. She comes across like an authentically introspective artist who doesn’t want to rush into her career, but instead let it grow along with her own abilities. She’s playing this thing out so that her energy isn’t spread too thin, and her music is allowed to flourish and come into its own on its own timeframe, with an audience that is still forming as this decade comes to a close. Nothing in her debut song “Losing Me” sounds like a manufactured piece or a tool in her distribution of textures. It’s a very simple, artfully arranged pop song that is deceptively unsophisticated. The brilliant woman behind it is holding all the cards, and she is in complete control of her destiny at this point. Imagine if she would have come around twenty or even just ten years ago. Would the world be ready for this kind of autonomously crafted music? Would the business? It doesn’t really matter, because we are more than ready for her now.
Dr. Dabber’s Budder Cutter is a tool that should be utilized by anyone that wishes to make the dosing of concentrates constant. The device (retailing at around $50) is a tool that allows for one to choose the head that best doles out, cuts, or otherwise interacts with the concentrate, no matter the viscosity. The tool heats up to the optimum temperature quickly without becoming too hot for the product. The ability to turn the Budder Cutter on, dole out enough for one serving and to transfer it over to another device is perhaps the strongest function of the device. What used to be a tremendously laborious ordeal with metal dental-type tools is an easy dosing and anointing experience after one utilizes the Budder Cutter. Continue reading “Dr. Dabber’s Budder Cutter”