BUNNIES’ “The Deep State of Strawberry Tart” is one of those immersive efforts that fans would do best by strapping a pair of headphones on and focusing in. Taking on bits of Trans-era Neil Young, The Velvet Underground, and the 1980s efforts of Kraftwerk and Devo, BUNNIES ensure that listeners will have to play this track multiple times before hearing each and every note and interaction secreted within. The chiaroscuro…
Matt Tarka’s “Vision Hazy” is a thoughtful piece of alternative rock that draws upon Tom Petty and the Avett Brothers. With a robust instrumentation that allows the guitars, bass, and drums to shine at all the right points, this track possesses a polish that would allow Vision Hazy great ease in sliding into radio or playlist rotation. Tarka’s vocals build upon the style of Perry Ferrell and Wayne Coyne. We…
Ben Bostick’s “No Show Blues” is a fascinating track in that it blends together traditional country and western music with hints of mid-1990s Dave Matthews. No Show Blues is able to link together a very close and comfy production with tremendous charisma and instrumentation that will have listeners’ toes a-tapping. Bostick’s able to craft something familiar while boldly forging through with his own unique take on one of America’s most…
Cat Called, the latest single from Witchsister, has the same immediacy of early Dead Kennedy. The taut instrumentation of this single will immediately be present to listeners as the band draws upon the tradition of the Red Hot Chili Peppers and the technical metal of Primus and Fear Factory. When the vocals enter into the mix, the single shifts into a totally unique effort. The vox are able to both…
It’s been more than 35 years since the Dave Wakeling-fronted group, The English Beat (known outside of Canada and the U.S. as simply The Beat) last put out a record of new music. Maybe it’s the fact that the band has been touring fairly frequently for the better part of the last decade – and still putting on an amazing show, by the way – but it’s hard to believe…
In 1994, Liz Phair was coming off of one of the most critically-lauded debuts of the decade. With expectations set incredibly high, she put out the follow up, Whip-Smart, just 15 months later and while she could never escape the comparisons to Exile in Guyville, decades later, that second album still remains a gem. UMe, alongside Capitol is finally re-releasing a trio of Phair records from her time with Capitol.
“I’m so proud of my dogs, I don’t care if I’m not what you thought” Mike Ra announces in his single “Dogs,” out now courtesy of the masterminds behind DXB Studios. In a slowly unfolding chapter play of verses that swing and slide along the lines of Desiigner without the glaze of neo-G overproduction. I hear a lot of Future and early Young Thug when I listen to Mike Ra,…
Although I just recently became familiar with her work, I must say that singer/songwriter Cat Dail’s discography has been becoming a bit of a regular in my playlist lately. Her sixth studio album Fight For Love grabbed my attention immediately the first time that I gave it a spin as an indie pop/rock record easily in contention for album of the summer, and for good reason. Its excellent fusion of…
There are a number of themes that are promoted prominently through Simpler Days, the new album from Chapel Hill (North Carolina)’s McCauliffe Brothers Band. Nosedive, the album’s first track, is a perfectly-polished piece of alternative rock. There is a good amount of mid-to-late nineties rock threaded through, with a set of vocals put at a focal point as introspective guitars, bass, and drums create a supportive backdrop. Light of Day comes…
We were fortunate to check out Les’ last song Arctic Mistress back at the beginning of 2017. Stroud has released a new single, How Long, and are impressed with the robust sound contained within. The bit of piano, on-point drumming, and guitars that resound with hints of The Who. A bold chorus will have listeners singing along long after the effort concludes. Stroud’s message rings out clearly through the entirety…
“Fool”, Man Made Time’s new single, is an effort that whips together EDM, alternative, and indie rock in a fashion that is wholly distinct from other performers. Rising and falling in tempo, Fool is an effort that keeps fans at the edges of their seats through alluring vocals, larger than life distortion, and a backing beat that keeps everything neat and tidy. Man Made Time are able to create an…
Rick Trevino’s “I Am A Mexican” (featuring the accordion work of Flaco Jimenez) refreshes the classic country sound of performers like Hank Williams and George Jones. By bringing in the authenticity of Latino music style, Trevino is able to imbue his latest single with a timelessness. Furthermore, the simplicity of I Am A Mexican allows fans to focus in on each element – the vocals, guitars, and aforementioned accordion) to see…
MoZaic’s “Damaged” is Mary J. Blige, building upon a rich and deep nineties R&B style. The backing instrumentation acts as the perfect counterpoint for MoZaic’s unique approach. The most interesting thing about Damaged has to be the fact that one can focus on any one element – the vocals, the percussion, or the twinkling synths – and hear something considerably different each time. Damaged is a great way to put…
Christopher Shayne’s “Burn Me Down” is a perfect blend of modern country and rock, drawing upon the style of Chris Cornell and later-era Kid Rock. However, where Shayne adds to the corpus of popular music has to be the intense passion he inserts into his latest single. Couple this bold approach with sizzling guitar work and production that makes everything else pop, and one has in Burn Me Down a…
Haley Reinhart’s “Last Kiss Goodbye” is a sunny effort that mixes reggae and modern jazz with softly-sung vocals in the vein of Corinna Bailey Rae and india.arie. Little more is needed for Last Kiss Goodbye than a bit of guitars and the lightest of percussion. The bit of echo that enters into the vocals at the 1:35-ish mark adds another level to Last Kiss Goodbye. Haley Reinhart is able to…
Tiny Fighter’s “Hollow Talk” will immediately draw listeners in with rich vocals and emotional instrumentation that is deep, dense, and detailed. The interplay between Travis Barker-esque drums, strings, and non-lyrical vocals ensure that listeners will continually find new twists and turns many spins in. Hollow Talk’s extended instrumental section acts as the coda for the single, providing a finality to the effort that further drives it deep into listeners’ minds.…
Seasonal Beast’s “I Can Make You Disappear” begins with a trippy, trancy set of vocals and thoughtful instrumentation that calls back to Portishead or Belly. The band moves into a tremendously intense sound shortly after, bringing in hints of Wolfmother and OK Computer-era Radiohead. Seasonal Beast is able to turn on a dime with their latest single, and the Shirley Manson-infused vocals represent the glue which unites this fantastically disparate…
Nicotine and Neon is a track that draws together the echoing rock of The Velvet Underground with the tremendous vocal range of Heart or Fleetwood Mac. With chugging guitar lines, on-point drums, and a thick, ropy bass line, Nicotine and Neon recalls 1960s and 1970s rock perfectly. Heather O’Neill’s vocals are unmatched during this single, both telling a story and contributing to the overall harmony of the cut. The track’s instrumentation…
There are sadly way too many stories out there similar to the tale of the boys in Zuider Zee. A Memphis-based power pop band that started recording in the early 1970s, Columbia Records released their one and only album in 1975, a self-titled LP that should have been big, considering the success of other power pop like Cheap Trick, Badfinger and The Raspberries. The band also curiously opened for the…
Frank Falvo’s This Is A Lie is an effort that draws upon 1990s alternative acts like the Goo Goo Dolls, Tal Bachman and Fuel. Rich instrumentation creates a tapestry upon which Falvo’s vocals shine brilliantly. Of particular note during this single has to be the gradual increase of tempo as listeners make it through the 2:15-2:45 time frame. Frank’s vocals build upon Max Bemis’ (Say Anything) while the instrumental side…