by Meredith Schneider | May 31, 2019 | albums, review
Today, Houston-bred, Nashville-based artist Luisa Lopez released an incredible 8-track feat titled 45. Her entrancing vocals add a level of poeticism that wouldn’t otherwise be attainable, a fact that simply elevates the appeal of the release. But before we even get to the content of the album, the title itself holds significance in many areas of Lopez’s life. It was both the age at which she began to create the release, as well as the number that represents our current President, a person who fueled some of the work.
Beginning with “Tired”, Lopez plays with dissonance instrumentally and gives us a taste of those far-ranging pipes. “She Had to Go” and “Heaven” bring in a groovy, nineties-inspired feel, while “They Ain’t Gonna See Me Coming: An American Western” picks up the pace, and with “Heart Side”, she ensures you can feel that emotions that went into the song’s production. “China” unfolds into a very specific story and is littered with unique instrumental layering that is absolutely inspired. “Nothing Left” and “Nothing New Under the Sun” slow the pace down quite a bit, bringing forth a vibe that could easily be played at a casual cookout or in a hotel lobby. However, if you truly examine the lyrics, “Nothing Left” is centered around the lives affected by police brutality, especially in black communities. Her social commentary is sobering, yet so beautifully presented.
Above all Lopez admits, “I want people to feel something. I want them to feel inspired. I want them to put themselves in these sounds and I want them to want to hear from me again. I want them to be curious about what will be next.”
Mission accomplished.
Track list
1. Tired
2. She Had To Go
3. Heaven
4. They Ain’t Gonna See
Me Coming: An American
Western
5. Heart Side
6. China
7. Nothing Left
8. Nothing New Under
The Sun
Keep up with Luisa Lopez here.
by Karina Marquez | May 27, 2019 | albums, review
Composer and performer
Thomas Kozumplik leads a 16-member orchestra in a riveting performance of instrumental artistry with his latest project,
Child of the Earth.
“Mother Nature (la inocencia pérdida)” is quite an attention-grabbing opening — with the cacophony of various bells and drum beats and piano chords that doesn’t quite allow you to figure out where the song is headed —mirroring the beauty and unpredictability of Mother Nature itself. Then it shifts with the use of heavy percussion and ominous vocal work that creates an intense juxtaposition to the first few minutes. As the composition comes to an end, it settles back down, bringing back the playful xylophone, plus some piano chords and vocals that ring with finality.
The next two tracks are the small but sweet filling between the two thick pieces of bread in this orchestral sandwich. “Mysticism (Carillon) resembles a wind chime in its breezy tone. It is the most serene of the tracks, bringing about a certain peace and calm that only chimes can do. “A Journey (baile de los tambores)” goes back to the more chaotic sound of “Mother Nature.” The intense yet catchy drum beats are a mirror opposite to the quiet romance of “Mysticism.”
“Beauty and its Passing (cuando habíamos podido amar)” is quite a triumphant ending to this large-scale orchestra. It is a more subdued work in a way that is more contemplative. For most of the song, the signature heavy percussion is not present, putting piano and marimba at the forefront, as a way of bringing the intensity of the orchestra to a gentle close.
Child of the Earth is an incredible feat. His work and artistry certainly speak for themselves — Kozumplik manages to create something entirely new and interesting, allowing listeners to disappear into a world of magical music.
Be sure to check out the album, and keep up with Kozumplik
here.
by Meredith Schneider | May 22, 2019 | albums, review
Forever X2‘s new self-titled 6 track EP is thrilling, from the very first, edge-tinged lines of “Keep the Devil Waiting” through the last, soothing notes of far more ethereal sounding “Forever Times Two”. The four tracks between are simply the well-rounded center of the Oreo, AKA all some type of amazing. “Think About It” and “Walk the Ocean” have similar paces, the focal point, so to speak, of each track truly being the artist’s raspy vocals. “Mad For Me” sounds much more influenced by punk music, It’s our favorite, as it feels 80’s other-worldly and we’re more than into that headspace right now. If you take the time to sit and enjoy “God Don’t Want”, you’ll feel so much better about the world around you. And the inclusion of such varying soundscapes might inspire you in a different direction.
Forever X2 is definitely worth a listen. I mean, don’t you want to stay on top of new music?
Keep up with Forever X2 here.
by Karina Marquez | May 14, 2019 | albums, review
Ohio-based band The Shootouts’ debut album Quick Draw is the ultimate throwback to the age of honky-tonk in America. Every detail, from the lyrics to the vocals to the instruments to the album cover art, hearkens back to the good old days of classic country music. The band, consisting of Ryan Humbert (lead vocals, acoustic guitar), Brian Poston (electric & acoustic guitar), Ryan McDermott (bass), Dylan Gomez (drums, percussion) and Emily Bates (harmony vocals), create a wholesome album with heart that is sure to make their listeners feel as if they have travelled back to a much simpler time.
With the first track, “Cleaning House” jumps right in with a toe-tapping ditty that’s as fun as it is metaphorical. Other tracks like “Who Needs Rock & Roll” and “Reckless Abandon” have the same carefree, catchy vibe that almost guarantees its ability to get stuck in your head. They’re short, sweet, and incredibly charming. Even a song called “Alimony” is full of charm and humorous lyrics:
Alimony, oh alimony,
I thought I bought steak and it was old bologna.
Me oh my, oh goodness sake,
I’m paying for my mistake.
There’s a fair share of the album’s softer side with songs such as “California to Ohio,” “If We Quit Now, “Lonely Never Lets Me Down,” and “Losing Faith in Being Faithful.” These songs are pretty and emotional, bringing us back to traditional country ballads that are often hard to find in the current age of pop-country.
At first glance, Quick Draw may seem like just another country album, but it is entirely its own entity. The lyrics are sharp and well-written, the instrumentals are skillful, and even if this isn’t your kind of music, it’s quite an enjoyable listening experience.
Be sure to check out Quick Draw, which is out now, and keep up with The Shootouts here.
by Ian Schneider | May 13, 2019 | albums, review
Indie-folk duo Cricket Blue are storytellers in ever sense of the phrase, and their new album Serotinalia is packed full of them. With pristine harmonies and scaling acoustic guitars, Cricket Blue is able to cause the listener to drift off into another conscious zone, full of hope, but also darkness.
Members Laura and Taylor are a vocal match made in heaven. As you listen to each song/story, you feel you are at a concert, with Cricket Blue performing just for you. This concert is not at a large venue. It is simply in a small room, with just the sound of Cricket Blues voices and strings enveloping the confined space. The darkness in every song prompts contemplation of self, allowing the listener to be full immersed in the art. I cannot stress enough how talented these two musicians are, and how their chemistry creates an album containing the purest form of the indie-folk genre.
Serotinalia is out now, and you can keep up with Cricket Blue at http://cricketbluemusic.com/. You should keep up with Cricket Blue.
by Ian Schneider | May 10, 2019 | albums, review
Punk in every sense of the word, the Zig Zags’ new album They’ll Never Take Us Alive rings out loud and proud with electric guitars and metal riffs. From its lead off track “Punk Fucking Metal”, the Zig Zags let it be known that they are not messing around with their fourth album.
You can physically feel the metal influences in every single note and lyric sung. This listener appreciates the constant appearance of the galloping electric guitar, accompanied by fast kick pedals. Like something straight out of a Guitar Hero video game, the ever present guitar solo will have you wanting to do anything requiring physical energy, let’s just say, I don’t know, run head first into a roaring mosh pit. With all this speed metal talk, it is hard to look pastZig Zag’s ability to also slow it down, in a very punk rock way. Their track “Fallout” brings the tempo down just a hair, almost reminiscent of Dio’s “Holy Diver”. But, the consistent theme across the board is the methodical gallop of the electric guitar that will be ringing in your ears for days to come after listening to this album.
Zig Zags have been an ever evolving force in the punk rock landscape for years now, and their fourth album really puts on display their growth, in the most punk way possible. They’ll Never Take Us Alive is available now, and make sure to keep up with ZigZags here.
by Karina Marquez | May 10, 2019 | albums, review
Acclaimed artist Allman Brown captures intimate love and all its facets in his sophomore album Darling, It’ll Be Alright. Brown has created an album that is so smooth and captivating in both vocals and lyrics that you find yourself easily slipping into a constant loop of his music for hours.
The album opens up with the effortless soft pop of “Home,” a heartfelt track that is as catchy as it is uplifting. The title track, along with “Dust & Heat” and “Bury My Heart” have a similar positivity to them that feels genuine and sounds like summertime. On the flip side, songs like “Crazy Love” and “Shapes in the Sun” delve deeper into the sultrier aspects of Brown’s music. It is reminiscent of fellow British singer-songwriter Ed Sheeran’s many hits in the unique vocal melodies and edgy, sharp guitar riffs.
Brown also delves into more somber ballads with “Hurting,” “Waiting for Something to Believe In,” and “Lonely Hearts, Los Angeles.” In particular, “Lonely Hearts, Los Angeles” stands out as a track that discusses the solitude of being in a big city, but still manages to be romantic in its depiction of something as gloomy as being alone – a difficult feat. Another standout was the final track, “Natasha,” which is a perfect example of Brown’s ability to emphasize the details of a loving relationship as well as highlight the beautiful simplicity of the song itself:
I bought you a Neil Young CD,
You made me try different food,
Showed me that being angry is not the same as being strong,
My darling, my darling one,
This is you love song.
Much like how Brown comes across in his music, Darling, It’ll Be Alright wears its heart on its sleeve. It is deeply romantic, heartbreaking, optimistic, and incredibly honest. To put it simply, this is what passionate music sounds like.
Be sure to check out the album, and keep up with Allman Brown here.
by Ian Schneider | May 8, 2019 | albums, review
Goosebumps. The immediate sensation one gets when listening to the intro to Judah and the Lion‘s new album Pep Talks. The aptly named Pep Talks gives the listener a metaphorical punch in the mouth with numerous vocal buildups, booming horns, and a steady building guitar. This is the band’s third album, and it does not disappoint from start to finish.
Big band feels with heartfelt lyrics is how this listener likes to describe Pep Talks. 17 tracks long, Pep Talks boasts features from Kacey Musgraves and Jon Bellion, but the majority of the focus is on Judah and the Lion’s ability to captivate audiences with their pop-alternative style. The constant presence of the variety of strings, and the pounding of drums, just make you want to move. Even as I write this at my desk, my head is consistently bobbing, and my feet are thumping with every single beat. Emotionally stirring, Pep Talks is raw in every sense of the word, putting on display every single talent that Judah and the Lion possesses.
The release of Pep Talks signals the announcement of a worldwide tour from Judah and the Lion. With festival stomps throughout, the band will be touring from May until November. Without a doubt, the songs on this album will be triumphs live, all of them have a live feel even when you are streaming them through a computer. I for one cannot wait to witness Pep Talks live, and I can only hope that Judah and the Lion incorporate the intro track “Pep Talk” into the performance. It gets me amped just thinking about it.
You can keep up with Judah and the Lion on their socials and their website judahandthelion.com.
by Phlis | May 6, 2019 | albums, review
Dead Girls Corp. recently released an album. So what’s it like? Read on and you shall discover.
The album starts with Dead Girl, the feel of the track is very much 90s metal. It has nice droning chugging guitars and potent vocals. I also like the industrial feeling you get on this one.
From The Bottom is next, this has a gorgeous old school industrial start and feel, I must admit the feel of the music is nothing new but it’s amazing just by being what it is. This track has a lot of power behind it both vocally and musically, some very nice potent and energetic drumming here.
X’s No O’s again has that classic industrial start, the music is very packed full of sound which can sometimes detract from each angle of the music but this is not a bad thing. Again this track is nothing different from the previous two tracks in any way, but the music is one you find yourself moving to.
Alleys Of Death is by far the most melodic of all the tracks so far with great placement of each part of the music, it doesn’t feel as slightly too full as the previous three tracks do. This has a cock rock feeling to the track vocally and also the way that the guitars screech.
Ask For It is really a track that has very prominent vocals and guitars, they just seem to dual with each other yet compliment each other at the time. Though at points when both are full on they tend to drown each other out somewhat which is a shame as it detracts from the feel of the song.
Flesh For Fantasy again has a cock rock feel but this time it’s melodic and very sexy, almost orgasmic industrial metal. On this track the vocals sound like a sensual but aggressive David Coverdale. I like the music on this one, the backbeat is good but the guitars seem to tell part of the story which is quite clever.
Can’t Change does what some of the other tracks on this album don’t, it harmonizes the clutter of the music. It’s full on sound but with etiquette and emotion, I do love the slight echo on the vocals here as it adds a slight excitability to the feel of the music.
Promise Me is a track that is something different to other tracks on this album, this has more a late 90’s nu metal feel yet with a more slightly classic guitar sound. It’s almost a homage to the greats of that era like Stabbing Westward as it has that slight feel to it.
VDay comes next and to me as the album is winding down then so is the music, VDay is a lot more mellow than the other tracks but yet it does slightly peak at points. It has them chugging guitars again but yet there is something about this track, so far from what I have heard VDay is my favourite so far. It’s heavy, melodic, light and a true belter of a track.
Just The Same does similar to VDay, it winds down from the other tracks. Again this track is lighter, it’s less cluttered than some of the other tracks and I must admit this one is very harmonic. It just seems to fit well together, for the first time here you can hear the bass perfectly. Liking this track a lot.
Dynamite is again quite light compared to the beginning tracks, David Coverdale esq vocals make a return here. The music ebbs and gets a bit more heavier than VDay and Just The Same but then it calms down again, I think it’s perfect for the setting lyrically here.
And last but not least we have Worth, oh the bass here is very sexy. Only issue here is at points the music becomes cluttered again which kind of spoils what is a very catchy track, it’s just a little bit too much I feel.
Overall I feel this is not a bad album but there are quite a few tracks where the music is just too full and it becomes very cluttered which detracts from the actual talent of Dead Girls Corp. As the album comes to a close the music mellows and shows the true expertise of each of the musicians, vocals are amazing but they do get overpowered by the music sometimes.
If you like decent industrial then this album is for you, it’s nothing new but it does keep alive a genre that we don’t tend to see much of these days.
https://www.youtube.com/watch?v=Qqnfz5NzvOw
http://deadgirlscorp.com/
https://www.facebook.com/deadgirlscorp/
