Artist Interview: The 30's

Alright Punk fans, for this week's interview we have The 30's

MW: Thanks so much for being here.

Panda:  Thanks for having us!  Katerina:  Yes, we're stoked to be able to do our first interview.

MW: I'm mostly curious about your new EP, but before we get into that, can you tell the readers how you met?

Katerina:  It's definitely the most millennial answer ever, haha!  "We met online!"  Panda: Haha, it's true! I had joined a bunch of "elder emo" and pop-punk meme and nostalgia groups on Facebook, and Katerina posted in one of them that she was a session vocalist.  It just so happened that I written an instrumental that was screaming out for some vocals to be added to it, so I message her with a rough mp3 of the track and asked if she'd be interested in collaborating with her vocals.  Katerina:  Yeah, social media does a lot of bad.  But it's been cool to have this "scene" be kept so global.  I had been doing some session work locally already, but I wanted to expand my side-gig/hobby.  So I posted to a bunch of music groups on Facebook to see who would bite!  When Panda message with the instrumental, I jumped at the chance to work on it!  I came back the next day with a draft recording.  After another day or two of sending drafts back and forth, we had "Senseless" our first track together!  Panda: and it's still our most successful. 

MW: What was life like before venturing into "The 30's?"

Katerina:  Well I'm still an educator full-time... for now at least, haha. But you never know!  I ahd been doing music as my side gig for awhile, but this is the first time I've something that I can say is my own!  It's been really liberating to be able to sing AND create.  Panda:  The 30s helps me stay sane haha!  I was making music before, but it mostly stayed in bedroom.  I thought I left my band days back in high school.  Public Defenders need healthy outlets, and I have that with The 30s!

MW: Let's talk about the song/video for "Justice partners," can you tell us how that one came about?

Panda: Politicians, judges, and prosecutors have always been screwing over the rest of us.  I feel like whatever veil still existed was fully removed during the pandemic.  Katerina:  It was one heinous act after another.  People could barely go outside, but somehow they still found ways to be evil.  Panda:  Working as a public defender means I fight that shit, but I fight it within the system. I have to stand next to some of these evil assholes and be polite with them.  Writing Justice Partners was me stopping the politeness and calling it like I see it!

MW: There's a strong social message in the lyrics - would you say that most of your tunes reflect a similar sentiment?

Katerina: Not explicitly.  Punk, and all its offshoots, is inherently political music.  But Justice Partners is the most explicit we've gotten so far haha!  I wrote a track for our debut album called 'Still Drinking' that had a similar vibe, but Justice Partners delivers the message a little more raw. 

MW: I'm curious about the division of labor, can you describe who does what as far as the creative/performance process goes?

Katerina:  it's pretty much 50/50 between instrumentation and vocals, with me handling the latter. Panda will send me a track without vocals, and I'll lay down some vocal lines.  We send each other notes back and forth with edits and changes sometimes, but usually it just clicks right away!

MW: How would you describe your music for someone who hasn't heard it before?

Katerina: We're somewhere between The Distillers and Paramore. Panda: With a little bit of Sum 41 spunk thrown in, haha!

MW: Any major influences?

Katerina:  Haha, I guess I jumped the gun on my last answer.  But yeah, Brody and Halley are big influences for me. Panda: We're both big Hawthorne Heights fans, too.  Katerina: And Saosin!

MW: Is the new EP "Seasonal Depression" your first recording?

Panda: It's our first E.P. at least, haha!  But we released our first full album this past summer, May 2022.  Katerina: We're hoping to keep this pattern going for as long as possible, with a full album in the summer and a small EP in the winter. 

MW: What's next for you two?

Katerina: Hahaha, I keep doing it!  But yes, hopefully another full album this upcoming summer!

MW: Where can people find out more about your music?

Panda: Our website has it all!  The30sband.com   But we also love all of our fans on social media!  instagram.com/the30sband. 

MW: Thank you so much for doing this:

Katerina:  No thank you!  We've never done an interview before and we're honored to be here!

Jeff Lake & Cellophane Flowers - "Happy Xmas (War is Over)"

I remember being a lonely 20-something and putting together a playlist of sad-Christmas songs. So, it had Willie Nelson's "Pretty Paper," Murder City Devils "364 Days," and of course, "Happy Xmas (War is Over) by John Lenon. And even though I'm no longer that depressed quarter-aged gent, I still come back to those songs every season, which is why I was happy to come across Jeff Lake and Cellophane Flowers' version of the last on that list. 

What can I say? It's a beloved song, so only those with the best of vocal chops should attempt it - and Mr. Lake delivers in spades. His upper register is exactly what this tune demands - I dare say, and don't crucify me here, that he sings it better than Lenon himself. The orchestration is top-notch. Overall it's a great take on a classic tune and it should definitely make the rounds in your Christmas music lineup. 

Mark Newman "At the Border"

When we think about the subject of "border" in our current political climate a bunch of issues pop up, especially those highlighted in the news. When you think about it though - the word can have a lot of meanings both literal and metaphorical. In its essence, a "border" is a boundary between two things, and I the concept is explored wonderfully by Mark Newman in his new song titled, incidentally, "At the Border.

The song has a deep and folky vibe - the low percussion almost has a cinematic quality and the addition of what sounds like a 12-string rhythm guitar really fills out the arrangement. The chorus then erupts into an anthem of "At the border, we can be free!" and it sounds like musically coming home. It is a long track, clocking in at about 6 minutes, but it's well worth the time. Check out Mark Newman's Spotify here. 

Alessi Brothers "Dreams Come True"

 Something about a slide guitar will always make my heart glad, even if it's a sad song. So I knew instantly when I started listening to "Dreams Come True" by Alessi Brothers, I was going to be a fan. The song is aptly named as it features heavily delayed vocals that pan from left to right. There is an overall country vibe in the instrumentation but this is offset by the very post-rock vocals. The cumulative effect is, well, dreamy. 

Dreams come true belongs to the album Eden Roc, a thirteen-track LP released just this year by the duo. It's well worth the listen  as it runs the gambit from songs like the aforementioned track, but also the largely instrumentally/orchestrally driven "Suite" as well as the fairly folky "Little Wings." You can listen to all of these on the Alessi Brothers' Spotify page here. 

The Immaculate Crows "Business Girl"

Here's a fun little gem from Australia, "Business Girl" by The Immaculate Crows (great band name BTW) is a quirky upbeat tune about facing life in a cubicle. The song opens with what I can only assume is a melodica, accompanied by a chugging guitar-driven 1960's-esque pop beat. There's a fair amount of nostalgia sound to this one, which will always get high marks from me. I also really enjoy that a fairly mundane, and sometimes dreary subject matter can be so wonderfully juxtaposed to the mood of the song and the instrumentation. 

Have a listen to "Business Girl" on Spotify here. 

Sanjana Nuwan Bandara "Don't Kill My Vibe"

It's one of the great regrets in my life that I only speak one language fluently. There have been so many times I've attempted to learn Italian, Russian, Persian, and Hindi. I was reminded of this when I was passed Sanjana Nuwan Bandara's "Don't Kill My Vibe," a raucous dance tune with predominantly Hindi lyrics (but rather adeptly singing some clever rhymes in English in the second half of the track), but sounding fresh out of a Florida night-club. Electronic flutters, synth stabs, and danceable rhythms pulsate through the song beginning to end. This thing has a killer backbeat and is mixed perfectly. Mr. Sanjana, for his part, has an extremely fresh/smooth vocal track and is well worth the listen. 

As someone who's studied Hindusthani classical music for most of my life, I long to hear the native instruments from that country, but that's just a matter of taste. When I let the song stand on it's own, I can honestly say it lacks nothing. Actually, in all honesty, I feel quite a bit of kinship with Sanjana Nuwan Bandara, as someone in the west practicing music from India, it's heartening to hear someone from India successfully and innovatively doing musical styles from the USA. I'll be curious to see what else is up his sleeve in the next release. 

Do yourself a favor and check out his Instagram page here. 

Artist Interview "Ahmed Abdurahimli"

 Hello readers, for this week's interview we have producer and composer Ahmed Abdurahimli

MW: Mr. Abdurahimli, thank you so much for doing this

AA: My pleasure. Thanks

MW: I was really taken with your remix of Tove Lo's "2 Die 4," what made you want to tackle that song?

AA: From the moment that Tove Lo 2 "Die 4"  released, I loved listening to that music and thought that I should remix this song in a different way and genre.

MW: Probably, what's so funny about "2 Die 4," for me, is that it quotes the famous "Popcorn" melody - which is not a small statement at all since it's been a long time in the electronic music canon. Did that have anthing to do with your interest in the track?

AA: I have been listening to Popcorn music since I was a child and I really liked it. Different versions of this music were created since that time when it was released in back 1950s . The original version of the Tove Lo - 2 Die 4 song used the melody of the "Popcorn"  song in the chorus and I felt this music close to me. Cause this song is also my childhood memories. 

MW: A lot of my readers are producers. Can you talk about your setup?

AA: My headphones are Beyerdynamic DT 990 Pro 250 ohms, my speakers are M-Audio BX5 D3, my audio interface is Focusrite Scarlett 2i2 (3 rd Gen), and my midi keyboard is Samson Graphite M25

MW: Do you have any favorite gear or software?

AA: I currently produce my music with Fl Studio and its my  favorite one . In the future, I'm thinking of learning Ableton Live too.

MW: What's the live scene like where you are?

AA: At the moment I am not taking a stage at any venue. But in the future, I am thinking of taking the stage as a DJ at festivals and clubs.

MW: Anthing on the horizon for the near future?

AA: I am currently working on an EP album. After finishing the album, I plan to release it in the near future. In addition, we will collaborate with some of our musician friends

MW: Please let us know where we can find more about you

AA: You can listen to my musics by typing Ahmed Abdurahimli in the search engine on music platforms and YouTube. You can also follow my @ahmedabdurahimli instagram page.

MW: Best of luck with everything you're doing

AA: Well, thank you for the interviewing me and for the interest of my music. Best Regards !

The New Starts Now "Letter to Myself"

It is perhaps one of the most profound questions that has ever been asked: "how do I navigate my existence?" And because every generation and every individual must face this quandary, every approach to an answer is worthwhile. To this end, we should have a look at The New Starts Now's "Letter to Myself," a heartfelt rock (some might say "emo") ballad addressing deep introspection. 

From a technical standpoint, the track is elegantly simple; strummed guitar chords, a pulsing drumbeat to carry the momentum and a rather gifted lead singer. One very stand-out aspect of this tune is the tight and beautiful harmonies. It's a fantastic song by a fantastic artist. 

The Veils "Influx"

Imagine a scene in a movie - you're in an underground burlesque club in the year 2050. There are pulsating lights, a sexy floor show, and dapper men conducting shady business deals while the main character looks on in wonder. What kind of soundtrack should such a scene have? My vote would be "Influx" by The Veils. 

This is exactly the kind of track that would have sent me over the moon as a young person. Electronic orchestra-synth sounds which appear to come out of nowhere as ear candy, against the backdrop of a thumping percussion line. And to top it off, a stylish and sweet singer who couldn't be better. This track is expertly produced, sensual, and very stylish. These folks have quite a few tracks on their Spotify, so hop over there and give them some love. 

Melissa Quinn Fox "Dear Self Doubt"

One thing especially true for artists is a (sometimes) crippling anxiety about what we're creating. Couple that with the fact that no one can really predict what the audience will take to, and we have quite the quandary. On some level it's good for us - I think it keeps us searching for ways to self-improve, on the other hand, it can be a pathway to paralysis. These subjects and more are tackled amazingly by Wammie-Award-winning singer/songwriter Melissa Quinn Fox and her new track "Dear Self Doubt." 

The song itself is exactly the kind of thing I love - a smooth bass line, stuttering drumbeat and psychedelic guitar playing stabs and counter-melodies.  Of course, we have to comment on Ms. Fox's singing, which is impeccable. She has a country-alto style mixed with just the right touch of blues. Overall "Dear Self Doubt" goes to the heart of what it means to be a thriving person in spite of challenges. I hope to hear more in the near future. 

Artist Interview: Srv-musicmaker

Hello readers, for this week's quick interview we have SRV-Musicmaker, an EDM artist, producer and blogger. 

MW: SRV, thank you so much for doing this

Srv-musicmaker: Hey Michael, it's a pleasure. Thank you for having me, I really appreciate it. 

MW: So, a lot of our readers are really into audio production, can you tell us a little bit about your setup?

Srv-musicmaker: Sure. I rely on FL Studio 20 as my primary DAW as it gives me all that I need, apart from its workflow and decent stock plugins. I rely on a handful of samples, software synths, romplers and FX plugins that are more oriented towards electronic music (EDM genres, electronica, sometimes experimental). The majority of what I use are free VSTs, along with a few tursty paid ones and FL stock plugins. I mix on a pair of Samson SR850s and check on various audio devices. 

MW: You've got an EP dropping on Nov 5, titled "Find a Way," how long has that been in production?

Srv-musicmaker: The idea originated last July and production has been in phases since then. 

MW: Where did the inspiration come from for the project?

Srv-musicmaker: The concept for Find a Way is actually more than a year old. It's an interesting journey for the composition actually. Find a Way has a dystopian vibe with a little bit of euphoria ushered in. It is a song of separation, longing for one's love, and 'finding a way' back to maybe build a relationship that was pretty great (but had ended in inexplainable confusion and sadness before). It is derived from my personal experience, and the Rules Man Rap Version is thematically same. 

I used to make random on-the-fly production session videos and post on my IG just for fun (hoping that a few would become potential song ideas). On July 19th, 2021, I dropped a video of me making an acid loop arpeggio with a breakbeat pattern. You can say the seeds for this EP was planted then. (Here's the video I'm talking about - https://www.instagram.com/p/CRg24f7gQ-m/) If you watch the end part, you'll see that the basic rhythm and synth pattern of the song were ready by the end of that video. 

Anyway, I wanted to work on it after the release of my trance number Can't Control in August last year. The problem was, I did not find a suitable vocalist to bring the vision to life, although a few tried. The project was shelved as I focused on other ones for the time being. In April 2022, I decided to give it another shot. This time, I wrote some lyrics and put my own experience as a rock singer into it. Got positive feedback from a few people too, so that was good. 

I thought that there's no way this song can have just one version. So, I put an advert out on the New Artist Spotlight (NAS) community's chat rooms to find a guitarist. Dustin Vandehey (also a fellow NAS community member) responded and I'm glad he did. I sent him my track without the synths and the arps, and he played some amazing guitar including a killer solo. 

At the same time, I reached out to rising rapper Rules Man (a Facebook friend and co-curator of playlists) about singing some rap bars. We did some brainstorming on the lyrics, I asked him to do a certain style of delivery, and he did an awesome job. 

I'm glad that the idea came to life. 

MW: Are you completely solo, or do you work with other talents?

Srv-musicmaker: I used to do solo tracks mostly before, but am now becoming a lot more open to working with others (singers and producers) It's all about whether our wavelengths and creative visions match adequately I guess for a collab to happen. 

MW: I'm curious about your writing outside of music, what do you like to cover in your blogging life?

Srv-musicmaker: Well, I'm a professional copywriter and content manager so there's a good bit of writing involved fairly regularly. On the music blogging side, I have not yet made much progress due to the lack of time. I do want to populate the blog section of my website with some good content in future though. 

MW: Are you playing shows live these days?

Srv-musicmaker: I think there has not been a performance aspect to my music career yet as most of it is just software synths and sample-based electronic. But never say never I guess, and we'll see (since I'm gonna do vocals on many of my future songs). 

MW: Outside of the "Find a Way" EP, do you have any projects in the works? Live shows, tours, or things like that?

Srv-musicmaker: Right now, I'm working on a new EP for the FIFA World Cup 2022 and it'll probably be multiple versions of a song (with collabs) so really psyched about it. I don't tour or perform but I do want to get some good exposure online to reach more listeners around the world. 

MW: Where can people find more about you?

Srv-musicmaker: I have an official website where I've written some words about my journey so far (srvmusicmaker.com) and I have a few interviews conducted by the New Artist Spotlight team on their YouTube channel and website. You can find all of those on this little landing page I've set up for your readers https://linktr.ee/Srv_musicmaker 

I also encourage people to reach out to me on my IG, Twitter or Facebook, as I'm always looking forward to getting feedback, helping to promote aspiring artists, and explore collaboration opportunities.

MW: This was great, thanks again!

Srv-musicmaker: Thanks again for giving me this opportunity, I really appreciate you giving a voice to independent artists who would otherwise be lost in the crowd. Keep up the great work Michael. Cheers!!

Chris St. John "When Dreams End"

 I enjoy cooking shows - it's a guilty pleasure of mine. It seems like aspects of celebrity chefs and their lexicon are increasingly creeping into popular culture - one such term is "umami." Which ends up being a catch-all term for "extra taste" or "that special something that no one can really define, yet we can all sense it's there" (come to think of it, maybe "umami" is a more useful word than I originally thought). It's yet another way of stating: "the whole is greater than the sum of its parts.

Many songs also have an "umami" quality - I often think of Calexico/Iron and Wine's "He Lays in the Reins" or Billy Idol's "Eyes Without a Face." Well, we can add another catchy/lovely tune to this list, and it's Chris S. John's song: "Lost Without Your Love," (the Grammy folks agree with me as the song has received a nomination) - a hauntingly sentimental love ballad with an equally beautiful music video (see below). 

"Lost Without Your Love" is from Mr. St. John's newest LP "When Dreams End," which if I'm correct, was recorded in Nashville with some pretty impressive lifting on the part of session musicians and production. Of course, Chris is holding his own as the frontman of his eponymous act. 

Listeners will be happy to know that there are more than a few gems on this record. From the upbeat folksy "Oh Papa" to the lamentatious "What's Wrong With Me," (this one has a killer fiddle part that makes the song extra special), and the country-sexy "These Curves." There's a lot to digest here, so you better have "When Dreams End" ready for your next long drive. 

I'm grateful to be passed along this album, I'll be excited to see where "Lost Without Your Love" ends up, and for that matter, same with the rest of the album. 

Jo Potter "Tonight"

From Tori Amos to Suzanne Vega, I've always had a thing for female singers/songwriters who have a lot to say. So I was extremely pleased when I stumbled across Jo Potter's 2019 release "Tonight," a hard-hitting 10-track album (complete with 3 acoustic versions of songs) featuring some incredible tracks with plenty of flavor and attitude. From the instrumentation to the vocals, this is a first-rate recording and well worth your time on Spotify. 

The title track "Tonight" is a fun and energetic party tune featuring pulsing guitars and a backbeat that belongs on a car-stereo heading out for the best night of your life. I like how Jo starts her album off with a rather optimistic feel, especially since there is some pretty serious subject matter on the horizon of her album. I'm not sure if she would call herself a country or rock artist but I could easily imagine fans of both finding a lot to like here. 

The second song is "Over and Done" which is still upbeat but a little softer in instrumentation than "Tonight." I love the intimate vocals of this tune and you can tell that Jo Potter has an incredible sense of melody in her writing - there's a lot to like about the arrangement too, it's almost like the guitar part could be a dulcimer tune. It's got a mild folk quality but is obviously in the pop camp with the rhythmic vocals. 

On to "Baby I am Yours" with a thumping beat it sounds sexy to start but some contrast comes in with the vocals - which are so sweet. I was getting a real Leslie Gore feel in this track (it might be the drums) but it seems to navigate that space between 1950s pop and country.

#4 on the album is "For You" (Seraphina's Lullaby) I was not prepared, as a listener, for how lovely this song was. I'm partial to ballads, so I'm biased, but if I had to choose one track on "tonight" to recommend, it would be "For You." With sweet string and arpeggiated guitar, the vocals sound just like, well, a lullaby. This one is just beautiful and heartfelt. If you could sing a warm blanket - it would probably sound something like this song. 

Next up is "You're Amazing," another attitude song with a groovy bassline and drums. On first listen it made me think this is going to be more bluesy (and I was right). A wake-up call to women wasting time with substandard men is the thrust of the lyrics - which I wholeheartedly support. Imagine later Annie Lennox ("Walking on Broken Glass") - again, it's a really fun track something like the first two on the album. 

"Goodbye," is a medium-tempo acoustic-vibe-jam. Ms. Potter sings very ballad-friendly vocals. This song reflects some of the most expert lyric writing of the whole album. Especially in the refrain - we all know the "goodbye" is coming but the way she stretches it out through the verse makes it sound like this is the first song of this nature we've ever heard. 

Track #7 is "Waiting." Some of the tightest instrumentation is in this song and I love the congas. I've got to complement our songstress on her sense of drama: especially in that it's a sentimental sound in instrumental and vocals with an energy and tempo rise headed towards the chorus. Be warned, it's very easy to get "Waiting" stuck in your head for days. 

Nest up is "No Apology" I can't tell if I'm just semi-aroused by Jo Potter but I'm really enjoying the very sexy attitude. But come on, she sings the line "mover over you like the ocean." Again, like the rest of the album, there are wonderfully expertly played arrangements. 

Second to last "Everything" has the air of a downtempo jam. The groove is piano and drums driven, which strays just a bit from the other songs - but obviously belongs to the same body of work. Not to beat a dead horse but I'm a huge fan of the rhythmic melodic line which conveys a sultry side that I'm really digging from Ms. Potter. 

"Nothing" is the perfect parting song from the album. Swirling violins in a waltz rhythm. It has a similar sentimental sound to "Waiting." Again, it seems like ballads are where Jo Potter really shines - it's the right song for late-night whiskey while the record player winds down. Think of a more subdued "At Last" except, you know, it's about breakup, so it's kind of the anti-"At Last." 

Of course, I should mention the wonderful acoustic versions of "Baby I am Yours," "Goodbye," and "No Apology" which are all just as great as the studio versions (yeah, yeah, I know these were recorded in the studio as well, but you know what I mean). 

This is my first time hearing Jo Potter, but I'm deeply impressed with her material both as a writer and as a performer. It will be interesting to see where she goes from here. You can find her at her website: www.jopotter.com

Danjul "Drama"

Admittedly, I'm past the age where the rave-scene or dance club is right for me (outside of being a DJ or manager). I am not so old, however; that I've forgotten those halcyon days of pulsating lights, sweaty bodies, drunken flirtation, and of course the music. Frankly, I'm rather grateful for songs that give me nostalgic flashbacks to that period of my life. So I was thrilled to hear Danjul's newest track "Drama"

I guess the first thing that jumps out to me is the beautiful buzz-saw-like synth leads cut through the mix, almost like the beat is screaming "Dance!" Seriously, the track is expertly produced with continuous energy, yet so varied from line to line, that there's not a dull part of the song. Of course, no matter how good the beat is, "Drama" wouldn't work without equally matched vocals, and here Danjul delivers in spades. The melody is unrefined in the best possible way - like Michael Jackson always sounded like Michael Jackson, but at the same time he was a great singer - this is the kind of vibe I get from him. 

To learn more about Danjul, visit his website here. 

Niclas Tamas "Interstellar Surveillance"

Everyone who knows me, knows that I LOVE synthesizers and what's more I love ambient compositions featuring all the lush textures that a good synth can produce. As a kid, I listened to Jarre, Vangelis, and even Stockhausen alike and marveled at the beautiful sounds all produced mechanically and so full of life (and I don't play favorites either, I love FM, analog, Wavetable, Granular, PCM, and every other form as well). So when I came across an extraordinary composer writing for some of my favorite sounds, I just had to let you all know. 

Niclas Tamas is out with "Interstellar Surveillance," a six-minute overtone-laden soundscape that is gorgeously transitioning between major and minor tonalities all the while giving us everything his machines have to offer. The piece is slow and features string-sounds (some acoustic) entering and exiting - basically, all the sounds are rather slow on the attack which gives a beautifully meditative quality. It's very cinematic in its approach and would fit rather well in a piece of multimedia (I wonder if Mr. Tamas has ever written for ballet). It will be interesting to see where he takes us in his next venture. If you're interested, his BandCamp page is here. 

Chris Poulson "Can't Let Go"

Let's face it - relationships have always been hard. If we look back through human history we see that whether or not you're family, friends, or lovers forming and holding cohesive bonds is difficult. That being said, our modern world offers young people challenges in achieving long-term cohabitation or marriage almost too many challenges to count. I appreciate that these struggles are reflected in modern art, and we're talking about Chris Poulson's "Can't Let Go" today. 

The first thing that we have to mention here is Paulson's voice is masterful, he's got amazing control, especially over his upper register. The arrangement is simple, but I kind of prefer that when we're listening to real vocalists (like, let's let the singing shine in this one). We should also note the accompanying video, where he gives one hell of an impassioned performance. Overall, it's a heartfelt-from-the-soul kind of song that ought to have ten times the views it does, but it's still doing pretty well. 

Lo Trillinger "U Remind Me (of my Slab)

We've all thought of Port Arthur, Texas's hip-hop scene as being dominated by Pimp C. Sadly his demise in 2007 left a vacuum of notable artists hailing from that area of the US. Now we're fortunate to see a few new talents on the horizon including today's subject: Lo Trillinger and his new track "U Remind Me (of my Slab). I was lucky enough to get an advance copy of the track and there are more than a few things to say about it. 

First off, the beat - I'm really glad that the funk/soul aspects that were the sound of a generation (especially in the West Coast varieties) are still alive and well. The squealing synthesizer in the ether with thick laid-back chords gives for an ultimately sexy vibe. Lo Trillinger's voice is gruff and powerful, his lyrical chops on full display with rapid lyrics and passion permeating every bar of this track. It's more than worth a listen. I'm not sure if this track is out just yes - but luckily there is a thriving YouTube page here. 

Doug Cash "Child Alone"

I'm going to make the least controversial statement I've ever made in this blog: that a healthy society prioritizes the well-being of its children. Therefore it's hard to think that our society is doing well when our young people are facing so many problems - now, I don't want to get political in this post. Still, it is worth having a conversation about why the litany of things affecting youth are happening. Luckily, art has a great knack for getting such conversations happening. This is why I want to talk about Doug Cash's new track "Child Alone."

Lyrically, it's a tough subject matter rolled up in a simple message "leave that little child alone," in effect, saying "let kids be kids." The sentiment, however, is fleshed out through blues-refrains and stunning vocals. One thing that grabs the listener instantly is the instrumental track with laid-back distortion tones and a beautiful flat II chord. Bass and drums accentuate between the vocal parts to hammer home the song's message. It's the kind of song that takes years of work, to make it seem so effortless and Doug Cash has definitely put his time in. I'll be curious to see if he continues in this vein of social criticism, I for one, think the music world could use a few more songs like this. 

The Undecideds "Broken Trophy" (Chloe Solo)

There are a few acts that I keep coming back to, and the more I think about why, the biggest reason, I think, it saves me from being too much of a curmudgeonly old man. I've made no secret that I believe the music artform is in crisis; however, the young people who keep me inspired to write these articles give me hope that the future of our discipline is in good hands. That's what I'm writing about today - of course, I really enjoy the band "The Undecideds," and for this one, the sister-half of that duo (Chloe) gifts us with a song "Broken Trophy." 

There's a spontaneous quality to this number, and I believe (from the video's title) that our young songstress showed it for the first time in the recording above. It's such a simple, sweetly-sung, moving, melodic, and balanced work, but that's not necessarily where the magic resides. I don't know where the "secret sauce" is that makes some performances utterly captivating - other than to say that the whole is greater than the sum of its parts. The religious person in me says that humanity's creative spirit is evidence of the divine (I'm getting off track). I guess the overall point is, I listen to songs like this and I feel good that beautiful art can be made in spite of the world around us. I really hope these folks continue to put out original music.

August is Falling "The Simple Plan EP"

I was sitting in my hot tub the other night while listening to an old mix CD of Train, Red Hot Chili Peppers, Three Doors Down, and Kid Rock (you could say it was one of those days). And it dawned on me that I hadn't looked through any of my more obscure bands from my (remote) youth. I remember hearing August is Falling a long time ago and just loving the sound - how authentic it was, like, even though these guys obviously have a sense of humor, it wasn't like the band was some kind of joke. The problem is, as far as I know, AIF had never really released anything commercially.

That is until just this past week - yes, for all of you AIF fans, it's finally here. The Simple Plan EP features five kickass tracks. I wouldn't have known about it, had I not been watching Rick Beato rave on Instagram about how awesome the song "B.T.G.G" was. He was speaking eloquently about how brilliant the suspended plagal cadence following the 2nd inversion of the quartal harmony leading to canonic interpretations of what was obviously a "Dies Irea" a la Berlioz was.  If you have a chance, "The Simple Plan" EP is more than worth your time. 

God Analog "Annihilation"

One crazy thing about the rock genre is that, since its inception, it has been thought of as "music of the young." It's an interesting notion considering rock is passing 80 years. And yet, it's nice to know that innovation and novelty is still occurring through artists and bands today. One such band: God Analog, has released a new track titled "Annihilation."

After the initial breath sounds that introduce the track, we're introduced to the real character of the track. Annihilation is a thick song instrumentally, there is a large orchestral quality to the texture which supports the chant-like vocals of the lead singer. The hook is crazy catchy - I was singing it for a gull day after my first listen. So, there's a lot to love here, a little bit of electronics, some glam, wailing lead guitars, an awesome drum track, and stylish lyrics. I'll be interested to hear their next release. 

Destroy the Planet “Episode 1: Hungry for the Science”

I'm just going to come right out and say it, as a music teacher, and as a music fan, I've come to cherish hard-work and musicianship in the artists to whom I listen. I'm a little tired of lazy musicians getting massive amounts of attention for everything EXCEPT their music (that was the most "grandpa" I've ever gotten on this blog - sorry about that).  So I was really happy, nay, extstatic when I came across the band Destroy the Planet, and their new album "Episode 1: Hungry for the Science." 

With the first song "Twisted," we get a fantastic rock intro with screeching guitar and smashing drums. I like that it dispenses with the wailing high tenor voices of other gritty rock bands which seem to be a mainstay since the '80s. One of the first things I notice is the unbelievable tightness of these guys and it would be interesting to see if anyone is this tight rhythmically live, especially in the drum tracks. 

Track number two is "Control" which is much more glam with guitar chugs and attitude-y vocals. This track still has a polish of refinement even though (and through) the punk-rock aspects. Exotic scales in the instrumental parts are super catchy. The growl of the vocals is a real treat. For fans of Marilyn Manson's "Mechanical Animals," this song will really land. 

The next song is "I Think I Should Know," a much more ballad-song than the other two so far. The meandering vocal melody makes me think that it's somewhere between a folk tune and a chant; and to be honest, in a world full of three-note "bangers" topping the carts on Spotify and YouTube, hearing something that demands our attention is quite the relief. Overall, it's a lovely tune, and I'd be curious to hear an acoustic version if the guys ever get around to it. 

The fourth song is "Reach" I would be curious to find out how many songwriters this band has - there is a signature syle to their sound, but every so often it goes in a direction that I wasn't expecting sonic-wise. With "Reach" we're back to a punk-rockey/glam sound, it almost reminds me of a party track, like a movie is playing and we're at the club scene while sexy girls walk around in revealing outfits, all the while the main characters make their way through the seedy underground with flashing blue and red lights obscuring the audience's eyes from nefarious goings-on. 

Track number five is "Maggots," charming title aside, the guitar part is really catchy. I have to say the balance and cohesiveness of the rhythm section defy belief. While I stand by my comment of not being the biggest fan of "wailing tenors," it is really nice to hear the upper register of the singer on this track. The guitar solo in this one is wild, it's the perfect blend of pedal fx and virtuosic clarity. The chorus did a really good job of sticking in my head. 

Next up is "The Worst," we're back to more of a ballad sound with this one. Once again, there is such a strong sense of melody in these slower tracks that I'm really enjoying. It's like Destroy the Planet is aware that the audience is capable of digesting complexity. Instead of condescension, we get comradery, and I really wish that more "mainstream" artists would pick up on this. 

Then onto "Crawl," one thing I haven't really discussed in this review is the several music videos Destroy the Planet has on YouTube. For "Crawl, there is a rather compelling narrative of a runaway girl coping with a bug-infested hotel room (seemingly a subtle metaphor for drugs). It's kind of crazy that the actress had to lay there while insects were (undoubtedly) placed on her arm/face, but if that isn't a commitment to your craft, I don't know what is. The song also has a somewhat symphonic arc to the energy, which again, is something woefully absent from a lot of other music out there. 

Song number eight is "Time." We're back to high-energy rock here. This is a nice break after "Crawl" which was fairly demanding on the ears to have a catchy riff-driven tune. Towards the end of the track, we have one of the coolest drum breaks I've heard since Nine Inch Nail's "Piggy." Kind of like in "Reach" I see this song in a film, maybe these guys should start submitting tracks to Spider-King, who knows it might work out well. 

With track nine "Follow," we have a lovely departure from the rest of the album - like it's not just a ballad, but it's a ballad that's almost Broadway in its dramatic nature. Think "Rocky Horror" meets "Pippin" meets "Spring Awakening" but played by Destroy the Planet. "Follow" has a stunning evolution as a song, not quite the operatic quality of  "Crawl," but very satisfying in its own right. 

Next to last is "Enemy," the vocal attitude is definitely right for the title of this song - he sounds pretty ready to fight. It doesn't have the riff-in-your-face quality of "Time," but there's plenty for your ear to grab onto. The instrumental section of the track in and of itself deserves respect for navigating the space between noise and music expertise. There is more than a bit of IDAF style in here. 

And last up is "Headlights." This is more or less what I was hoping for - I like albums to have a "journey" quality to them (meaning the story not the '70s'70s band). And with this track, I feel like the credits are rolling like we're headed off into the sunset. It's a medium-tempo tune that leaves us just wanting enough for "Episode 2." 

As this was my first exposure to Destroy the Planet, I don't have much to compare it to. My sense is that these guys have been at it quite a while as evidenced by their musicianship. If you're a fan of rock, there is more than enough to enjoy in "Episode 1," in fact, I can't think of a single negative thing to say - I really enjoyed listening to this music on a Thursday afternoon while driving through the back roads of the town in which I live. 

Listen on Spotify Here

Listen on YouTube Here

Chris Sunfield "ANTON"

One of my earliest ambitions was to be a great composer of orchestral music. I remember staying up late into the early morning as a teenager trying to write something that would move people the way I was moved when hearing my favorite pieces, and like most people obsessed, I shunned a great deal of the world around me in pursuit of my passions.

So, when I came across Chris Sunfield's song "Anton," which I hear was penned during a migraine-induced haze (and can only assume is about Dvorak) - I felt a certain kinship with the title character in the track. The tune itself is a lovely folk-ballad building to beautiful orchestral swells and a heartwarming story told through poetic lyrics. Better yet, the song comes with an engaging and sweet music video (which I hope you've already watched). This is the first track I've heard from Chris Sunfield, but I'm hoping it won't be the last. 

Carole Sylvan "Something Goin' On"

Carole Sylvan's voice is like a warm ray of sunshine on a chilly day - or like her tone is something tangible you could wrap yourself up in and feel cozy. Her new song "Something Goin' On" has a little bit of black-gospel flavor with its Hammond organ sounds, backup echos, and a big lead voice with gravitas. More than anything, this is a joyful track that would be just as comfortable blaring out of car speakers on a road trip as it would in a jazz club at 10pm on a Friday night. Ms. Sylvan's music is something that deserves to be heard, so do yourself a favor and head over to her Spotify page. 

Hoodie Rob "No Stress"

Hoodie Rob reminds us what it feels like to be lonely in a time when everyone seems more and more interconnected. His lyrical expertise shines in his newest single "No Stress," it's melodic and rapid-fire poetry. Complete with a killer beat that at times echoes the G-Funk of the mid '90s with its high squealing synthesizer, but also subdued ambient pads which give a rather sentimental vibe. It's clear that this gent has come out with another track sure to make waves among his Spotify followers and if I'm making predictions, I'm sure it will garner him many more fans as this song spreads. 

G9 "Say Da"

Here's another ensemble from the Black Tears Media group (seriously, if you haven't checked out the Black Tears folks, do that soon, they have arts, documentaries, and lifestyle in addition to music); admittedly this video is a little old (2019) but it's still a great listen. We have "Say Da" from the Moscow group G9.

An upbeat and fun dance number that ought to be heating up clubs this summer, plus a can't-miss super sexy lead singer makes for an ear-wormy track that is as much fun to listen to as it is to watch. With awesome trap snares and an upscale backdrop, I can imagine Vegas or Miami might be the best tour spots for G9. Luckily they do have quite a bit of new stuff out available on their YouTube channel. 

TK x Amena NFT Project - YouTube Channel

Well, here's an interesting find. I've been rather curious about the whole NFT phenomenon. I suppose that finding a new way to monetize art is something worth considering - and to those artists who have accomplished doing this, may I just say "I'm impressed." Furthermore, I've been very interested in Japanese popular culture since my time in Tokyo during the late 90's - I remember long nights drinking with my college friends, and of course, Globe and Mr. Children were constantly playing in the background (yes, yes, I'm sure much has changed and that young people might not know what I'm referencing). So, it's always nice to see what's new coming from that island, especially when it comes from a veteran composer and minor hero of mine. 

So, when I stumbled across the TK X (Tetsuya Komuro, yes, THE Tetsuya Komuro)Youtube channel I was pleasantly surprised. Here are a number of songs, some in Japanese, others in English (rather poetic English, if you ask me), featuring a variety of singers in a variety of styles. Evidently, these are tracks built from Komuro's stems in order to create new and original works. 

One that really caught my eye was one of the newest tracks "Trust Me," featuring MattzD, who does a fabulous reggae vocal track for the song. It's a catchy tune with off-beat guitars, a pulsating bassline and some very pleasing key-changes. Equally cool, is the music video, showing lyrics and a wonderful animation which is rather stylish. 

Another standout song is "I'll be There," a catchy, lyrically enticing upbeat ballad navigating the space between heartbreak song and existential dread. Female vocals on this one, the singing is very pop-centered, but with an edge that cuts through the mix. 

I'll be curious to see what more comes from this YT channel, they seem to be doing rather well in the engagements and I imagine the model of cooperative music-making will become more and more mainstream in this ever-connected world. 

Pidgie "Just Breathe"

It is in our modern political climate that many people seeking justice, seem to be saying "please empathize with me for a moment." Indeed, I think a lack of empathy and self-reflection are the root cause to most of our problems as a society. Which is why I was happy to come across the new track from the artist Pidgie titled "Just Breathe." Pidgie is speaking (or rather, singing) softly but with a volume that demands attention, on issues facing people who don't always receive said, necessary, attention. 

The song is, in many ways, vignettes about individuals with various struggles - individuals who have to remind themselves to "Just Breathe." Instrumentally, you could think of it as an Indie-Rock ballad with some Country components. The innocent and straight-voiced quality of the vocals sound youthful in a way that comes across as wonderfully individual. I'm pleased to think that her work might cause some introspection in the people who listen to it. 

REBECCA DGD (DAWGGONE DAVIS) "RAY BANS IN THE RAIN"

I remember growing up in a post-punk era. I remember in the 90's there was a strange dichotomy in the "alternative music" scene between the more optimistic music of REM/Depeche Mode, and the more despondent Nirvana, NIN, and later Rage Against the Machine. For sure, punk rock and punk rock attitude has been far from "burn it all down" for a very long time now, which is why it's refreshing to see artists like Dawggone Davis, give her own spin with a straight IDGAF track "Raybans in the Rain." 

The Distorted vocals walk the line between spoken-word poetry and rap - occasionally breaking into the triplet figure made famous by so many trap artists in the late 2000s. The beat has a grungy backing to it, and the hook has some really nice/edgy male vocals (think "Down" by 311, and you kind of get the vibe). The track has got some serious attitude, which is nice to hear from the female creative sphere. 

"Snowblls" (Featuring Tahz) "Feel It"

The vision of Russia that most of us in the west have become accustomed to, is not one that we would associate with "tropical." Generally, we think of frigid winters, beautiful women walking around in fur and stunning architecture amid snowy backdrops. So imagine my surprise when I heard of the band "Snowblls" (a team of Russian natives) performing a tropical house single "Feel It." 

From the first moment, the deep-belty voice cutting through the track "Your hard heartbeat, fill me with love." Following with electro-reggae rhythms and cascading synth pads makes the song a club-positive experience. I have to say that these guys know how to write a catchy hook - be warned if you listen to this track you will be humming it for at least the rest of the day. For his part, Tahz's contribution is a great feature, lending his expertise to the track. His island-style baritone is a beautiful contrast to the feminine, sexy vocals in the lead singer of Snowblls. 

These cats are a new group for me, they are managed under Black Tears Media which seems to be a one-stop-shop for all things commercial. From a brief documentary about China, to a host of musical acts, I'll be curious to see what the future has in store; it might even end up being a new NinjaTunes-like success story. 

EVindie "It's You"

A tempting square-wave bass and pulsating rhythmic glitch sounds are wonderfully employed in EVindie's newest track "It's You." The instrumentation is very akin to what you might hear in modern Hip Hop/Pop/RnB but what really ties everything together is EVindie's sensual-signature breathy voice, and sexy lyrics. There's a lot that admirable about "It's You," I like the call-back to 80's song structure (Think Eurythmics) with synthetic pops that carry the tune, I also like the character of Eve's voice keeping me on the edge of my seat. I think the thing I love most about this song is the cascading vocal-pads during the breaks, it's like we're awash in angels and you don't want to go back. But nothing that beautiful lasts forever, thank goodness there is the "repeat" button :-)

The Milgram Reverie "In-Formation Desert"

When I was a classroom teacher, I would often drift into old-man-moments where I rambled about the striking interconnectivity of our modern age. I would say "back in my day" (I know, I know, not a great way to talk to college kids) "if you wanted to communicate with an individual from another country, you needed a pen-pal; these days, how many of you have at least one friend from a non-English-speaking country on your FB friends' list?" Of course, they all did. 

And I think the same is true for musical styles and instrumentation as well. We have unprecedented access to the widest pallet of sound we've ever had as a people which is giving birth to new forms of orchestration. Couple that with the innovations made in electronic sound design and the limits are, actually, endless. 

One artist making full and skillful use of intricate sound-pallets and thoughtful musicianship is The Milgram Reverie. If I had to boil their music down and try to convey the style to someone who had never heard the music before, I would say that it's sophisticated instrumentation used in a primarily "metal" framework. They have an ambitious new album out titled "In-Formation Desert" which clocks in at 17 tracks total. Far too expansive to give a detailed reflection on each song, so I've made some choice selections for you. 

I believe that "In-Formation Desert" is on some level a concept album; I'm supported in this belief by the opening track "Nocebo" acting something like an overture. Of course, it's the first track I listened to when this music was passed to me. The first sounds we hear are near-eastern percussive strings supported by distorted guitars and eventually a wild (and beautiful) string part. The shift in textures and tones gives me a ballet-like impression as if the music demands some kind of dance. 

The near-eastern flavor continues with "Happiness Machne," where we have first-rate tenor vocals carrying the song. I'm very taken with the asymmetrical rhythm in the musical phrases. The Milgram Reverie has done an amazing job of keeping a forward motion. Again, as has been the case since the first paragraph of this review, the instrumentation is a delicious buffet of tones blended together in a unique and captivating way. 

With track number 4 "Wanderer" we are treated to a guitar part which reminds me a lot of the new guitar parts we hear from the modern gurus (think Tim Hensen or those chaps from Unprocessed). It's a ballad, but still very tough - once again, the vocals are amazing! Lyric-wise the words are rather confessional which gives a personal edge to this track; the mood is bolstered by the sparse (and by comparison to the rest of the album, simple) instrumentation.

One song that navigates the space between world-music and metal expertly is #6 "Change the Channel." It's fast-paced with clean vocals beautifully effected, but with rhythmic growling guitars. It almost makes me think of a more hardcore version of Sneaker Pimps - but that just might be because I'm enjoying the vocals so much. I imagine the drummer from this track has amazing biceps. 

A real stand-out track is "Receptor" (number 9). It is probably one of the most pop-sensible (which is meant as a compliment) songs on the album but twisted not unlike something you would hear in early Bjork (think "Army of Me"). The sound design is just beautiful - and the juxtaposition between smooth ethereal vocals and chugging guitars works on just about every level. 

Of course, we have to talk about the title track "In-formation Desert." Here we are treated to some female vocals (singer: Donata G) over an acoustic guitar strumming beautiful chords and a harsh rhythmic bass. The song develops orchestrally much like other songs from this album - quite the feat of composition if I do say so myself. I don't know who does the heavy lifting when it comes to the writing of these songs but whoever does it has an otherworldly sense of melody (I just found it in the liner notes, one C. Aubrey seems to be the mastermind behind "The Milgram Reverie"). The singer has a charming accent which (sorry, we're all thinking it) is rather sexy. 

Track 13 is "Innumerable Suns" - on first listen, mostly because of the title, I assumed this would be an instrumental track. Hey, it just shows after 10-15 years of maintaining this blog, I've developed some pretty good instincts. One thing I haven't mentioned much is the extraordinary feat of engineering this album is. I listened to "In-Formation Desert" on a number of devices and the consistency of sound over numerous instruments, voices, percussion elements, and sound design is really impressive. I would be very curious to know if all of this was recorded at a distance, or in one studio - from the consistency of the sound I would assume one studio, but technology these days might be tricking me. Anyway, "Innumerable Suns" is a gorgeous track filled with gorgeous sounds that have a cinematic flair all their own. 

Remember, that there are 17 tracks on this album, and it's easy to run out of ways to say that it's an impressive array of sounds, composition, and talent. Truth be told, I'm not sure if "In-Formation Desert" is really music you can have on in the background while conversations are happening at a party or gathering. This music, much like Debussy or Beethoven demands attention. I listened to it alone more than a few times and feel like I have a good grasp on it now, the only thing that would be better would be seeing/hearing these talented folks live, imagine what a feat that would be!

But hey, we can wish :-) Visit The Milgram Reverie's BandCamp page here. 

Mariachi Quinto Sol "Tennessee Whisky" and "TUYO"

Dear CMT readers, I think you're really going to appreciate this one: 

One thing I don't get to talk about too much on these blogs is my upbringing in the American SouthWest. I grew up in a border town in Arizona where you were more likely to hear Spanish than English and the major industry was agriculture. Looking back on it, culturally is was dramatically different than the Pacific Northwest where I live now, but back then it was simply home. 

During my years in that small border town, I was first exposed to Mariachi music. At first, it was just the music performed in the Mexican restaurants while my family and I ate fried ice cream as dessert from our enchiladas (green for me please, thank you) dinner. But later, as I got more and more devoted to music (and especially singing) I started listening more carefully to the numerous Mariachi bands at various cultural festivals and events in town.

These days I love Mariachi and everything about it. I love the deeply passionate singing, the unique instrumentation, the cultural mix of German horns, and Italian strings, blended with Spanish singing and love poetry. I love the romanticism of a dreamy scene: a picturesque Mariachi singer serenading a beautiful young woman.  Above all, the long history that all these things are drenched in. 

And with that long history, you wouldn't think there was anything new to be done in the "genre," and that's what I thought too, until I came across Mariachi Quinto Sol, a California-based young ensemble led by the commanding presence of Roberto Diaz; the band is happily traditional, but with a modern twist that is as much fun as it is innovative. If you have a look at their website/YouTube, you're just as likely to see songs like "Mi Historia Entre Tus Dedos" a gorgeous ballad filled with Latin Jazz chords as you will a video of a Mariachi version of the Pokemon theme (A+ for having a sense of humor folks, seriously). 

I listened to their new song "Tennesee Wisky" - a waltz-y ballad with a sly and brilliant trumpet part. Lyrics in English, with vocals that echo a bit of SouthWestern country plus a dash of blues. The subject matter makes the bends in the brass and strings sound almost drunken. The laid-back nature of the tune gives the listener a feeling of sympathy with the singer. An innovative violin solo halfway through the track really makes the song! (I wrote that line before I watched the video above - now I'm afraid I have the world's biggest crush on the violinists :-D )

Speaking of skill, can we talk about the singers? Both the gentleman and the ladies are first-rate vocalists. But I'm not that surprised, one thing I forgot to mention in my interest in Mariachi music is that it is a technically demanding style. You can't really fake your way through singing "Por Un Amor." First off, you'd never make it through the song, second, Mexican audiences wouldn't stand for someone who didn't know what they were doing. 

Another track available on the Mariachi Quinto Sol is a cover of the song "TUYO" from the Narcos soundtrack. It's much more an Argentine Tango, but again, this just shows the stylistic breadth of the band. Of course, as mentioned before, the vocals are awesome, with tight harmonies; distinct lines that blend beautifully. It's very much a candle-light song, it's sweet and feisty, I suppose like a tango ought to be. 

I suppose this band might give me another reason to visit Southern California - it would be awesome to catch one of their live shows as it seems they've made quite the rounds (the Whiskey, etc). With all doors hopefully open to them it will be interesting to see where their talents take these young people. In the meantime though, check out their website here, and their YouTube page here. 

Nonstop to Cairo "Million Dollar Space"

Whenever I'm given a new act to review, my mind always trapeses into the more abstract. One thing I love about new music in Western Culture is the access that artists have to previous movements in popular sound. What was once a tribalistic landscape of genre-factions is now a wildly inclusive shared space for sonic exploration and it seems all are welcome. 

This is especially evident in today's review, "Million Dollar Space" from Nonstop to Cairo. In this song we have elements of Classic Rock, Jazz, Funk, Hip-Hop, Blues, and of course their own "special sauce" as artists. It's an upbeat track with a solid backbeat. Horns and bold basslines keep things moving energetically. The vocals show a lot of versatility, especially in tone - all put together, creating a track that goes equally well on the dance floor as it does in the car. 

Readers can find Nonstop to Cairo's Spotify link here. 

ZUKO HARDY - Cold

There's a thick cloud of smoke in the club tonight, the air is cool, women wearing next to nothing, and the speakers are blaring sub-bass frequencies amid dancing beautiful people with drinks-in-hand. At least that's the vibe I get from Zuko Hardy's newest track (and stylish music video - see below). And since this blog is titled "Current Music Thoughts," I thought it was worth pointing out that this music is about as current as it gets. I love the EDM elements, especially in the drums. In fact, the beat itself is phenomenally catchy. ZUKO's voice, while heavily processed with FX/Autotune, is nonetheless pleasing and the whole thing is masterfully mixed. We'll definitely be looking for more from this gent.

 

Jeff Lake "Field of Grass"

One thing we have to acknowledge in the study of history is that art has always had a didactic quality. It not only reflects how we think but perhaps more interestingly, how we ought to think. These days, in looking around at our beautiful planet, and the harm being done to it through waste, neglect, and apathy, there are more than a few of us who are growing concerned about the legacy of this place. 

So I was very intrigued when I came across Jeff Lake's Earth-Day ballad titled "Field of Grass." On its surface, it's a lovely, almost ambient rock, track with one of the most brilliant soaring tenor voices you can hear. That and super-thick guitar chords in a somewhat folky-melancholy mood and I think I've painted an accurate picture. The song isn't bombastic at all, just a man singing about something he cares about, which we could always use. 

Andrea Pizzo and the Purple Mice "Potatoes on Mars"

Well, here's a fun find for all of you CMT readers. Singer and Songwriter Andrea Pizzo is teamed up with a talented group of musicians calling themselves "The Purple Mice" with an LP concept album "about the universe" as their website puts it. "Potatoes on Mars" features 11 songs of upbeat goodness primarily revolving around a rock n' roll attitude (which earns big plusses in my book). 

The first track is "Keep on Searching" in which we get to hear Pizzo's amazing high range - I mean, really, when was the last time heard glam-rock style wails? The rhythm section kills it in these minor verses and major choruses. The guitar is spacey and reverby which is a perfect sound for songs about "space." We're also treated to a shredding guitar solo towards the end of the track. 

Next up is "Song of Nothing." It begins with languid and meditative pads + guitar. The sound is very ballad, and again, we're treated to Andrea's voice, which is especially catchy in the chorus. I'm really enjoying the keyboard sounds (very reminiscent of early 90's Yamaha pads; I would be super curious to know what they used for this). I'm always impressed by rock acts that can do drumless tracks well, which "Song of Nothing" pulls off effortlessly. 

And if you were missing the drums from "Song of Nothing," don't worry, because track #3 "Among the Stars" blasts a percussive intro right in your ear-holes. There is a beautiful funky personality to this one that is super dancable. The bassline and wah guitar keep a groove that just won't quit. "Among the Stars" absolutely belongs in your party playlist. 

Track #4 is the title track of the album "Potatoes on Mars." The track is just as much fun as it sounds like. There's a hint of Bright Eyes "Bowl of Oranges" in the ingredients list here. Of course, I'm a fan of the Hammond Organ sounds and polka-like bassline. The vocals are a bit folk mixed with pop with really imaginative lyrics. 

Moving on from the title track we have "Jupiter and the Gallelian Moons." We are met with an epic orchestral sound with what sounds like Sci-fi film spoken samples. This song is a beast that comes in at just under 10 minutes in length. I quite like how it moves between moods, movements, and to a large degree, even genres. From the orchestral intro to the electronic/vocal beginning of the song, there's a lot to explore here. Probably the most interesting thing is that Pizzo's voice behaves much more like an instrument in the band as opposed to "lead singer." 

In case you haven't noticed yet, I'm really appreciating the titles of these songs. And the sixth up; "Go Fishing in the Ocean of Enceladus." It's quite a heartfelt piece (think The Cure meets Mr. Children). The contrasting section of this song is more upbeat and has a similar character to "Among the Stars." Before long though we're back to the heartfelt serenading of Andrea's voice (we even get to hear some of his lower registers in this one). 

"Pale Blue Dot" (I'm imagining a song about Earth) might very well be my favorite of the batch - there is a very folk-song structure going on over Brazilian hand percussion style beats - well, that is until it breaks into the chorus. In a lot of ways, it's art-rock - which is evidenced by yet another contrasting section with rapid-fire guitar rhythms and rapid-er lyrics. Mix in more samples and a killer synth lead and I can firmly say I've never heard anything like this before. 

Track #8 is "Goldilocks Zone," the area of a solar system where a life-bearing planet can live. We're back to a very folk sound - but tempered with melodic and bending bass. The addition of a flute (or flute synth, I can't quite tell) really makes the song. In this track Pizzo's voice almost has a musical theater quality (which again, earns high marks from me, as you all know I'm a huge Broadway nerd). 

Next up is "Masters of the Galaxy" (and here I was really hoping that this was going to have a He-Man reference since  it was my favorite cartoon growing up - but I'm getting sidetracked). Pulsating synths and pad sounds which are so beautiful - but as I listened, I wondered if it was just an intro or if this kind of mood was going to continue through the song. Much to my delight, the synth is featured throughout the whole song. Better yet, we don't have to give up the pulsating rock that has occupied the rest of the album. "Masters of the Galaxy" really shows the caliber of musicians that the Purple Mice really are. 

The penultimate track (#10) is Road to Universe, which brings us back to the glam sound I heard in #1. If I'm not mistaken I think I'm hearing some irregular meters here. Or, it could just be the syncopations in the rhythms. All I can really say is "the groove is infectious" and "Pizzo's voice is unbelievable."

The album ends with "Starship to Heaven" which features a string-quartet-like synth. the song has a sentimental major quality which is perfect for a concept album. It's proof that quality musicians know when to show off, and when to hold back. It's just like your band teacher always used to say "sometimes it's about the notes you don't play." But if it's virtuosity you desire, don't worry, there's another killer guitar solo before the final chorus. 

All in all, "Potatoes on Mars" was an ambitious project, and Pizzo and all his Purple Mice should be quite proud of themselves. There is a lot of meat on the bone that is this album and I'll be very curious to hear what's next from these folks.