Dissonance: Ascent



There’s always that one band.

There seems to be a common theme in music lovers, where in adolescence they loved everything that was blasted on the airwaves. Then one day, all of a sudden, it all changed.

If you were to ask them about that moment it would be like asking a romantic about their first kiss, or an alcoholic their first beer. It’s that band that changes their perspective from music, from that of a bystander to that of a participant. It’s the band that made them change their wardrobe, by new headphones, get a new hairdo, and change their lifestyle. In that moment when everything clicks, when you finally find a band that speaks to you, challenges you, and changes the lens through which you see the world–nothing can ever replace that feeling.

So when reviewing albums, there’s always that romantic notion of the underground. Currently finding great music in the mainstream is like trying to find an oasis in the desert. Yet to find buried treasure you have to go underground. So with great joy, I am pleased to review Dissonance’s Ascent, a musical tour de force with the capability of being that band to someone out there.

The first song, Break Myself is a great introduction to the album. The first thing to notice is how great Dissonance is at blending genres. Musicians have this terrible habit of stampeding to one kind of sound, one kind of style, and then when it’s beat to death, nobody wants anything to do with it. So all the innovation within that genre dies because nobody wants to be associated with it.

For example in this song you can hear traces of EDM, House, Techno etc. In fact you could probably pinpoint the decade, or even the year, in which each sound was popular in electronic music circles. Yet what Dissonance does is incredibly amazing in that each genre is blended together, synthesized, and restructured in a way that makes this album sound so incredibly unique.

Listening to this track, or any other part of this album–you understand the artist’s taste. They stuck their chin up, and embraced electronic music. Whereas other people try to runaway from a certain type of sound. Dissonance is able to evolve that sound in an incredibly unique way. That coupled with the variety of subgenres within each track–creates this electronic music fan’s wet dream of an album.

So that’s just with the electronic aspect of the track, then there’s that late 90’s guitar, beautiful vocal harmonies, and larger than life drums. It’s one thing to embrace all of electronic music, it’s another when you improve electronic music.

What do I mean by improving electronic music? One of my main gripes with a lot of EDM tracks is with the beat. People harp on how important the beat is. There are entire youtube tutorials on how to make the perfect kick, how to program 808’s, the best way to make hi hat triplets, etc. Yet it all sounds so similar, and it’s similar in a way that lends itself to mediocrity.

This isn’t the case with this track. The drums have that stadium rock kind of feel. When I first heard the drums I wasn’t thinking EDM, I was thinking Led Zeppelin. It’s details like this that push the genre forward. It would be like if there was no distorted guitars in Heavy Metal. The music could sound dark, it could sound menacing, but as soon as you introduce some distortion to the sound everything changes. Having these heavy real drum kits pound away is as important to EDM as distortion is to Heavy Metal. It’s one thing to create a beat to dance to, it’s another to create an emotion with a beat (primarily that of aggression). That’s one of the reasons why people don’t like electronic music, because it doesn’t sound human, aka has no emotion. And that’s what separates Dissonance from the kid making tracks on soundcloud.

Then we get to the next song Poison Kiss which continues this musical exploration. This track borders on being pop. In fact I could see this being some kind of mutated pop music. Where Lady Gaga was bathed in radioactive waste and blasted with gamma rays. Instead of getting cancer, she would have superhuman abilities to create really great original music. (Also it should be noted that I actually like Lady Gaga, especially her song Alejandro.)

So what do I mean by this mutated pop? This song has the structure of a pop song. It has the feel of a pop song. Yet there is this musicianship that prevents it from being full on pop. There’s this layer upon layer of synths, subtle guitar tones, and chord progression that’s far more complex than what’s on the radio.

Now this isn’t to detract from the music, or to critique it. The best comparison to make is that it would be like eating a gourmet burger at a restaurant. Everybody knows what a McDonald’s burger tastes like. Yet when you’re at a gourmet restaurant and they offer up a burger. It’s immediately going to pique your interest. Because you want to know: what does a gourmet burger taste like? The same principle applies here, you want to know, given the musicianship of the previous track, what a pop song would sound like through the creative lens of Dissonance. Which is an incredibly rewarding experience to listen to.

Next up we have Murder of Love, which has such a creative intro. It’s the type of intro that as a musician you kick yourself for not thinking of it yourself. Then the rest of this song has this sensual kind of groove. Then the lyrics which paints this kind of doomed romance that most adults find themselves in. That passionate kind of love, which is in equal parts love and hate. You want to get out of the drama, but at the same time the drama reels you back in. These lyrics are so incredibly precise and anybody who has ever been in those kind of relationships, it will immediately resonate with you.

I-I’ve been a victim of your love, like many before
So many before
You- You strangled me with all your charms
I yearn for more

It doesn’t get it any realer than that.

Then when we get to the chorus and this is where another one of Dissonance’s talents shine through. Listening to all of the tracks that preceded it, you get a glimpse of how incredibly talented Dissonance is at vocal harmonies. But it’s in this track that you really understand how well it’s done.

The best comparison I would make is that the vocal harmonies are like George Harrison’s guitar playing. George Harrison is famous for his incredibly precise, and melodic lead guitar. And while he wasn’t the most technical, or the most blues inspired guitarist, his guitar always served the song. It always made the song better. So for vocal harmonies to take on the technicality of a musical instrument, and still retain that simple melodic structure is an incredible feat. If you don’t believe me play a piano chord. Then when you’re done, try to layer your vocals to that piano chord and see how difficult it is.

Next up we have Taste. This song in particular, calls back to a Nine Inch Nails influence. Which isn’t a bad thing. If you don’t like Nine Inch Nails then you are a mouth breathing troglodyte. Yet as great artists, Dissonance manages to make their own unique take on it. Which can be attributed to a more modern sound. Dissonance as I’ve said before isn’t afraid to take pieces and parts of modern electronic music and making it their own.

One example of this would be panning the synths all around your ears, and having this 3 dimensional kind of sound. So while it does have a throwback to a band that was incredibly popular in the 90’s (and is still pretty popular but for the sake of argument, we’re going to be looking at 90’s Nine Inch Nails) it still manages to make it incredibly fresh. By being so progressive and using modern production techniques.

Then we get to Drive which also begins with this crazy creative intro. And it’s also interesting because it starts off so atonal, and so abrasive. It’s one thing to have an abrasive sound, it’s another to warp and bend that abrasiveness into a melody. We as listeners know and trust that Dissonance will resolve this in their music, but the mystery is how they are going to do it.

They accomplish this by anchoring this abrasive sounding synth to the vocal melody and beat. And when they do this, no longer are we talking about abrasiveness, we’re talking about an atmosphere. The sultry vocals and the instrumentation, combined with the abrasive synths create this cool vibe. The abrasiveness creates a sense of danger, while the sultry vocals ooze a degree of coolness. But nothing is cooler than flirting with danger.

I touched on briefly on the vocals, but the vocals throughout the album are incredibly well done. But it’s in this track where the just fit in so perfectly. It’s like when you see an actor in a certain movie role. Like Al Pacino in The Godfather or Bryan Cranston in Breaking Bad. If you were to replace either actor in the movie/tv show that they were in, it would completely change the entire movie for the worst. Likewise you cannot have this song with any vocals, except for the vocals in this track.

Finally we end on Starstuff a track that is so incredibly fun to listen to. Usually artists do one or two things when ending an album. They either make the last song the most depressing song ever, as sort of a statement on society/their emotional state/political views etc. Or they end it on a high note, a celebration of all that has come before it.

Dissonance chooses the latter and decides to end on a celebratory tone. Which is absolutely perfect for this album. Because this whole entire album is really a love letter to electronic music. It’s a celebration of everything that has come before it, during it, and improves on areas where it is weak. Which takes a certain love and devotion to electronic music to understand it’s flaws and improve upon them. While at the same time embracing what made electronic music resonate with them so much.

The whole entire album can be a “Best of” selection electronic music. But it’s not the synths that sell the album. Though expertly done, it’s the vocals, the beat, the guitar, all of the other elements that are usually in electronic music. That are usually neglected, but here are fully fleshed out, and because they are fleshed make this album such a joy to listen to.

A bad musician always defines themselves to a genre, a mediocre musician defines themselves to what they aren’t, and a great musician defines themselves by who they are. Dissonance understands that they are an electronic music band. Yet they know enough about their own particular strengths to allow them to shine through. Those moments of individuality that really sets the album apart from the rest of the music scene.

And as I have said before great individuals make great art, and it’s when a band makes great art that they become that band. When I said that this group had a potential to be that band. I sincerely meant it. There is enough innovation, and individualism for even the most hardened music cynic to take another look. So I implore anybody who makes music to check these guys out.

And with that, I undeniably give this band my full recc.

boycalledcrow: Emerald


CD: https://wormholeworld.bandcamp.com/album/emerald

One of the great thing about being a 90’s babies is that we grew up in a golden era. We didn’t recognize it as such, but there’s a reason why there is so much nostalgia for that period. Everything seemed tailor made for us. Then when as we got older, things got more bland. We couldn’t put our finger on it. But we knew something was missing.

Fast forward to today and we consume media to the point we’ve become morbidly obese. And like somebody who is morbidly obese, we consume these empty vacuous pieces of media, not because we enjoy it, but because we are starving. Starving for something more meaningful, starving for something with more soul, starving for something original–you get the idea. So if we wanna figure out how we can be fulfilled–we gotta work for it. Luckily you have me, and luckily there are artists like boycalledcrow.

Now there’s a reason why I bring up “media” in this album review. First off look at the cover art. Then listen to Clouds and Flurt. So what form of media do you recall? Movies? Literature? Plays? Video Games…?

It’s video games.

Now video game music is an incredibly bizarre phenomena. Since the art form is so new, it’s an accident that most of the music that we liked was even likeable in the first place. Plays always had music, ever since the Greeks, there was always some type of music being played. And since movies were originally an extension of theatre, it wasn’t frowned down upon to be a film composer. Even the silent film era, music was an integral part of the medium.

Video game music was basically a cop out. It was for artists who never fulfilled their dreams. Yet our generation lapped it up. Even today look up game soundtracks of the 80’s, 90’s or early 00’s. Look at the amount of views there are. On paper this should not be happening. How could the music of people who couldn’t make it in the music industry be popular? How did they make music that resonated with people with the lack of hardware, instruments, and studio polish of most major label bands?

So now we get to boycalledcrow’s album Emerald. An album that has refined the music of misfits into an art form.

There are 10 tracks on this album, and boycalledcrow somehow figured out 10 different ways to create a feeling of comfiness. Now unless you wake up on a bed of nails, drink bleach to wake you up, and shower in acid–you, like anybody–should love feeling comfy.

To begin the review let’s start at the beginning, Clouds. The first thing you hear and what is a defining part of this album is the ambience. How does boycalledcrow accomplish this? Mainly through his ability to craft these swirling pieces of background ambience. They always have this really melodic structure even though at first listen they don’t appear to be melodic at all. Rather they swirl around a melody, touching it ever so gently, and then dispersing. Which in all actuality, sounds like what vaporwave should sound like, since it’s sound is so ethereal.

Then there’s this pitch perfect kick drum that introduces the next crucial piece of this album. Which are the synths, which as mentioned before has this video game type of aesthetic. While every track carries this aesthetic, it’s hinted at with Clouds and compounded on with Flurt. While yes, the 8-bit synths in Flurt can at times be distorted and morphs into something atonal–it never really loses it comfiness. Mainly as part of the generation who grew up on video games, the synths carry a sense of nostalgia.

Now I don’t believe I’ve ever made any claims on being objective, but personally anything with that 8-bit video game kind of sound has immediately garnered my attention. I say that it carries with it a degree of nostalgia. As it does for the rest of my generation. Yet not for the reasons that you think. You see, even though people born in the 90’s always talk about how great the 90’s were, it’s almost always never what the 90’s were like. Rather it’s what we wished the 90’s was like.

Growing up you’re never fully conscious of the things around you. Everything floats around you, you never really are apart of the experience. Then the things you do experience, become apart of you to so much a degree that you don’t recognize that it’s apart of you. If you sat anybody down and asked them what their favorite games growing up would be, people would rattle off games like Legend of Zelda Ocarina of Time, Metal Gear Solid, Final Fantasy 7, etc. None of those games have that characteristic 8-bit sound. Yet ask any “90’s Baby” what they loved about video game music, and you get the same answer the 8-bit synths.

So with just two songs, boycalledcrow has done something really remarkable. He’s created the musical ambience of time traveling back to the 90’s. That time we briefly remember as kids, and the things that emotionally resonated with us. He’s created a sense of familiarity, a sense of coming home. It would be the equivalent of showing our grandparents old adventure serials of the 40’s. Even if they didn’t grow up on them, it still emotionally resonates with them.

Yet as I said before, even though we all say that we grew up on that 8-bit style of synth, it’s almost always never the case. So now we get to the next song on the album Ghost. This is the more authentic version of what “90’s babies” actually grew up listening to. The ambient tape loops, fuzzy bass, crystal clear percussion, and zombie like moans (which sounds like something out of an N64 game) is more or less what we actually grew up with.

The 90’s and 00’s were a transition period where everything became either incredibly sincere, or either incredibly corporate. You had artists like Kurt Cobain who wrote songs about being sad, and showed how sincere he was by shooting himself. Then you had Biggie and Tupac who wrote songs about being gang bangers, and show how sincere they were by getting shot. I know I’m simplifying things for effect but the fact of the matter is we were not apart of that.

I grew up when Brittany Spears and Boy Bands were getting popular, and if you liked them it meant you were a mouth breathing troglodyte. So by complete accident I, and other people of my generation got funneled into video game music. I mean what other options were there? Listen to music that you had to follow with 100% sincerity, and either be thought of as a wrist cutter or gang banger. Or listen to music that everyone thought was shallow and if you enjoyed it you were an idiot for liking it. Either way we had no say in the conversation, but we did have one piece of media we could like. Without any judgement from our peers. Video games.

Since video game soundtracks had a lot of moods to capture. Think of any video game of that period, and think of the different genres they had to pull off whether it’s the creepiness of a Resident Evil, the since of wonderment of The Legend of Zelda, or the melancholy piano of Silent Hill. When I say boycalledcrow sounds a lot like video game soundtracks. It’s not a pejorative. It’s the highest praise you can receive.

Because if we return to Ghost it is musically an incredibly avant garde piece of music on paper. From the repeating tape loops, to the shifting rhythm, and the zombie like moans–if you were to take this to someone who didn’t grow up on video games–it would be incredibly experimental. Yet for millennials it’s impossible not to feel a sense of familiarity, and therefore comfort in the sound. And it’s all due to video games. From the people who couldn’t make it in the music industry, still trying to create good music. So since they were still trying to create good music, they were going to use the tools of the experimental, underground, classical composition, etc. To create the music we grew to love. And why I believe it’s so easy for boycalledcrow to make such emotionally resonate music.

To illustrate this point let’s look at the next song, Distant. With it’s spacious luscious keys, that has this incredible sense of intimacy to it. Which is a pretty difficult task to accomplish. Capturing a sense of warmth and a sense of distance. Before you listen to it, postulate on how you would try to accomplish it. What type of scenario would cause you to feel distance, and yet feel a since of intimacy? Now that you have the scenario–and here’s the tricky part–what would it sound like?

So I’ll give you my take, and then I’ll offer an explanation of how it’s accomplished. It’s like after an incredible first date, when you have dinner and both of you have this incredible chemistry. Then after dinner, you drive her home, work up the courage to kiss her, and on the car ride back you feel this intense sense of intimacy. The person just left and you drive farther and farther away. Yet the connection you had just grows more and more inside you. How boycalledcrow accomplishes this feat is mainly the instrument choice which provides a sense of distance, and then the music structure which has an incredible sense of warmth. Combine these elements together and BAM! You get a song like Distant.

Next up we have Birds. Now Birds is the song I would show anybody to illustrate how great boycalledcrow is at creating melodic synths. The snyths have this heavenly kind of melody to it. From the spacious keys and textures that reverb throughout the background. To the melodic piano and synth arpeggios.

I always praise artists who understand synthesizers. That they’re not like an electric guitar that you can bend, hammer, or spontaneously interject your own flair to. Yes it can be done on synthesizers, but when you’re dealing with electronic music you need to understand music in and of itself. You need to have a bit of an ear for composition, structure, and general music theory. You’re not a rockstar, rather you become a composer. Replace any of the synths on this track with classical instruments and it would still hold it’s own. Yet it’s boycalledcrow’s ability to use the synths at his disposal, and utilize them in a way that creates this wonderful soundscape.

Now we get to Africa, and no it’s not a remake. This track with it’s 8-bit bass, exotic percussion, swirling pads, twinkling mallets, and synth arpeggios doubles down on the nostalgia. As mentioned previously that 8-bit sound always carries emotional weight since it’s always associated with video games. As a millennial video games were the default medium. But then boycalledcrow does something interesting.

He adds these exotic sounding percussion, and twinkling mallets. Which really adds to the child-like sense of wonderment. So what do I mean by that? Well, the percussion like any the percussion in any great song adds a sense of energy to the track. That, and the fact it’s so exotic, or rather has such a unique rhythmic structure which makes it exotic. Then there are the mallets which even further compounds on this since of child-like wonder. It could be because this sound is so often associated with childhood whether it’s from a music box, or a mobile (the thing above a baby’s crib) it all has that same texture.

Then combine that with a name like Africa. Now as an adult when you think of Africa you think of politics, humanitarian issues, social issues, or whatever. But ask a kid what they think of Africa, and 9 times out of 10 it’s going to be about Lions, Giraffes, Zebras, etc. It’s that child like sense of wonderment that what makes this track great. And showcases how boycalledcrow and create 10 different tracks of 10 different kinds of comfy.

Next up we have Butterfly and Vapor. Both are tracks that start off aggressive. Whether it’s the distorted synth arpeggios of Butterfly, or the sharp snare and growling synth of Vapor. Yet as I said before every track on this album is comfy how can something be aggressive yet at the same time be comfy? Well as mentioned before boycalledcrow has an incredible ability to create great pieces of ambience.

This ambience is able to seamlessly morph, fluctuate, and shift. This fluidity is what’s able to temper even the most aggressive of sounds. Yet it’s the juxtaposition of these two sounds which causes a different kind of comfy. It’s the kind of comfiness you get after working long hours, going on an exhaustive vacation, or being in a social setting for a long period of time. While physically taxing, these tasks are nonetheless relaxing. As the case with this song, the music might aggressive, yet at the same time you can still feel an incredible sense of comfort.

Finally we get two the last two songs of the album, Amber and Grid. Amber can serve as the best representation of this album. All of boycalledcrow’s strengths, of creating beautiful melodic pieces, while maintaining this incredible atmosphere are all in splendor glory here. Yet it’s Grid that’s the real show stopper. With it’s more dramatic intro as the kick introduces these spacious keys, hi hats that create this incredible sense of rhythm, and then an orchestral synth that overwhelms you. This song in particular has a larger than life appeal to it, and is the perfect ending to an already great album.

It’s the kind of ending you’d imagine that audiences would cheer for. As the band is about to pack up their things, the audiences demanding an encore, and then the band plays their most epic song. The band plays to an audience wide eyed, and jaw dropped. Then when they’re done, the audience doesn’t demand an encore anymore. Not because they weren’t satisfied, but because they are speechless.

Every millennial looks back in time and we look at how great the media we used to enjoy was. But the fact of the matter is, is that it was great because WE made it great. I highly doubt any CEO would have predicted that a Japanese Cartoon about an alien fighting other aliens over dragon balls that could grant wishes would be a smash hit. But WE made it into a smash hit. Music industry moguls would have never have guessed that video game music would be as enjoyed as much as it is today, yet here we are. And it is only possible because WE made it possible.

boycalledcrow did something amazing with this album. He showed us all the power that we truly had. That WE have the ability to create an oasis out of a desert. We can make great art that captures the things that we held so near and dear to us. So with that ability to create greatness, and a greatness that is unique to our generation, I give this album my full recc.

Cyber Shaman: Shaman’s Dark Electro vol. IV

There’s a loading screen in Fallout 2 that has always bothered me. It’s a man dressed in tribal clothes–tattoos, face paint, a skull necklace–wearing a Brotherhood of Steel helmet. The game takes place years after a nuclear holocaust. When man is on the brink of extinction. In the first game you encounter the Brotherhood of Steel, after voyaging out in this dark apocalyptic world, they are a breath of fresh air. They seem to be making scientific progress pushing humanity forward, and yet you have this lingering notion that they’re not going to survive. And they don’t.

We live in a time of technological comfort. Where everything is a keyboard stroke of coming true. Yet there is an existential angst that comes with that. What happens if it’s all lost? What happens if we lose it all? Are we all just brute beasts; doped up to forget our base nature?

We can see this conflict play out on Cyber Shaman’s Shaman’s Dark Electro vol. IV. In fact the very first song hints at this dichotomy and the conflict it brings. I mean, with a name like Guerro des son (War of sounds), and even the name “Cyber Shaman” brings about images of two complete opposites. Yet it’s in this dichotomy, that of the organic and that of the synthetic, which we hear throughout the album.

First off, Cyber Shaman is an amazing electronic music producer. I’ve mentioned earlier that musicians tend to lose their identity the more gear they have. Mainly because it causes them to become a jack of all trades and master of none. As a result their music sounds incredibly basic and bland. But not Cyber Shaman. Like a classical music composer Cyber Shaman is able to craft these individual synth textures, each one feeling fresh and unique. It hearkens back to when electronic music was first being made. When musicians threw away the manual to the synthesizer they were using because it was more fun to experiment and create new sounds, rather than use blatantly fake sounding strings. Or better yet, let me show you a clip of David Bowie, because who doesn’t like David Bowie?

Yet I said this album had a dichotomous nature, and I’ve only addressed the electronic side of things. Now let’s get into the organic. Throughout the album there is this amazing percussion, the first track Guerro des son does a great job of preparing the listener for the musical journey that they are going to make. With the bizarro percussion that is put through effects, and yet sounds like a junkyard drum kit. Or better yet, what a drum kit in an apocalyptic nuclear wasteland would sound like. Yes it’s put through a lot of effects, yet you can but hear the hint of tribal-like drumming throughout the album. The later songs compound on this idea, but this track is your first glimpse of what is yet to come.

The next track Renouveau (renewal) captures another aspect of the album that is quite unique to Cyber Shaman. Mainly it’s his ability to warp, and mutate each song. There’s a general sense of fluidity in his sound. Rather than being binary (Chorus, verse, Chorus) each track starts off with a motif only to mutate into something entirely different. And when I say motif, I don’t mean a series of notes that repeat themselves. Rather the motifs in this album are the individual synths and instruments used on each track.

The beginning of Renouveau sounds like you’re going on an underwater exploration. Only for the drums to harshly interrupt that tranquility. Then the track dissolves into this rhythmic electronic kind of seance. With the synths giving out this electronic howls. You can still hear–faintly–the underwater meditative kind of track in the beginning. Yet this track devolves from tranquility to that of anxiety. As though you while exploring deep underwater you encountered a cybernetic Cthulhu.

Now I’ve touched a lot on the percussion of Cyber Shaman, and yes it deserves all the praise it gets. But as I can’t make an argument on something being organic when I only provide one example. So for the next example we go to Attendre si peu (“wait so little” which is what google translate told me, so I’ll stick to it). Immediately it starts of with this guitar strumming, that so clean and then the distorted synths begin to disrupt this period of brief tranquility. The synths no longer sound like synths, they sound like the guttural noises a cybernetic monster would make.

Then as the electronic synths begin to fade away–as though they are low on power–you hear it. This lone trumpet. Which is so soulful, and so perfect for this track.

As I mentioned before there is a certain fear that comes along with technological process. A fear of losing it all. Where our overuse of technology can unleash a nuclear Armageddon, and we revert back to our primal nature. Yet, this is quite an abstract concept for music. After all how can this apply for an electronic music album? Well we can look to Myspace for that. One of the greatest tragedies in all of music is that almost all of it, we’ll never get to hear. Because it wasn’t written down. If you look at the historical epics, and tales of great music being heard, we have no idea what it sounds like. What was Alexander the Great’s favorite song? We’ll never know. What about Jesus, Buddha, Caesar, Cleopatra? What kind of music did they enjoy? We won’t ever know.

Likewise modern musicians find themselves in a similar predicament. We upload our music to streaming sites, hoping that it would be permanent. That maybe one day, somebody will hear it and really enjoy it. Yet as the Myspace fiasco showed us, nothing is permanent.

And nothing captures that kind of existential angst better than Attendre si peu. Where amidst the electronic digital behemoth a lone trumpet plays it’s beautiful siren call. The fact the whole album has this electronic orchestral feel to it, where everything sounds almost foreboding, and tribalistic–and to hear that lone trumpet. It’s an album worth listening to in order. Rather than cherry picking songs, because Cyber Shaman understands how to create music narratives. How to create a sense of consistency, lull the listener into complacency, and then only to surprise them with something so radically different that it becomes incredibly rewarding to find out.

So now that we’ve covered the existential fear of the digital era, now we go on to a different kind of fear. Do Androids Dream of Electric Sheep? Now it could be the I’m a nerd, and I like attributing science fiction to album reviews. Yet I cannot but help to bring the comparison to science fiction. Since this album is so electronically layered, and the medium, as they say, is the message.

Immediately the track begins with this electronic rhythmic wailing. As though you are observing an electronic black mass, done by machines. After all spiritualism/religion is a purely human phenomena. I don’t think Koko the Gorilla is really concerned about Gorilla Jesus. Yet there’s some existential angst that comes with the realization that there’s something out there that could become spiritual. For example there’s a certain kind of existential dread about meeting extraterrestrials, but then there’s the existential dread that they know something that we don’t. And their knowledge is so far removed from our grips of comprehension, that we become infinitely small in the universe. Where all religions turn to dust, and everything we believed for thousands of years, disappears within the blink of an eye.

Yet what if a machine becomes spiritual? What does that say about us? Was all of our spirituality merely the firing of neurons between synapses? Nothing more than electrical impulse? And the machines we create can have the exact same experience?

This song in particular hits that existential dread right on the head. As the black mass wails continue, a synth arpeggios along, and we faintly hear a sample. But we can’t make out what exactly it’s saying. Yet it is saying something. To us, it’s mere gibberish. But to the machines in the seance it could be a religious mantra, a black magic spell–anything. For in the time post-human–where all the skyscrapers become archaeological sites–we’ll never know what we’ll be remembered for. And that is a scary thought.

So with that kind of existential dread lingering throughout the album, Cyber Shaman, like any great artist knows when to alleviate that. The next 3 tracks build in an upbeat tone, Ridicule, L’Ordre, and finally to Métal Sucré (Sweet Metal) which is orgasmic to the ears.

Whether it’s the pads in the beginning that swirl around your ears, which is an oh so picturesque of a beginning. It almost begins like a robotic ballroom dance. With the synthetic violin playing this tender, vulnerable melody. It’s the kind of vulnerability you get when falling in love with someone. Where you strip down all the bravado, false assumptions, and get emotionally naked. And then you get actually naked for some baby makin’. Which let’s admit if you’re able to make a tender melody on an electronic instrument, is an impressive feat. Then there’s the actual context of the rest of the album, bordering on this cybernetic nihilism. Hearing this is such a catharsis. But it doesn’t end there.

Then you’re transported to some distant foreign country. The kind that you’d see in Indiana Jones. You know, something like Nepal–where even the people of Nepal think the Nepal of that movie is incredibly foreign to them. This is all propelled by middle eastern instruments, a brilliant percussion that gives the track momentum, synths that bubble in the background, and these beautiful female vocals. It’s the allusion to these cultural motifs, that’s ingrained in our collective unconscious that provides this track with so much momentum. That sense of exploring the unknown, that sense of adventure, the sense of action–which provides this track with so much of a catharsis.

Which is fitting after listening to an album that is so heavily electronic and has such an intense existential kind of atmosphere. I mean, why do we invent new technology? We do it because deep in our hearts, we are all explorers, and we want to know the mysteries of the universe. And we will keep pressing forward, regardless of the hazards, because the rewards are so much greater.

So finally we end with La Toune de la fin. Which begins with this focused synth melody. And when I say focused I mean a warrior’s kind of focus. A steel willed determination, which stands in contrast to the electronic distorted growl in the distance. Yes it’s an incredibly sinister sound, and one that does not provide a resolution. After all does our constant need to push technological limits account for the human condition? No. Yet here these two elements battle out, with amazing drums in the background, and the occasional melancholy piano keys. This is not such a clear cut answer, and I don’t believe Cyber Shaman wants to be resolved on this album.

Overall this album is a must listen for any music fan, or sci-fi nerd. Personally it was inspiring to see the limits of electronic music being pushed into new uncharted territory. And seeing creativity like that on display only drives me to be a better artist. Because these synths, and collage of sounds are something for any music listener to stop, and take a listen to.

So with his ability to create any amazing an electronic orchestra, I give this album my full recc. Please check it out.

w i n t e r q u i l t 愛が止ま: Haunted House Vol I: Texas Boneyard


So before I dive into this review, I have to ask a few questions: why do campy horror movies exist? What is their appeal? Why does the horror genre lend itself so well to campy-ness?

Sonia Sontag explained camp as, “[The] love of the unnatural: of artifice and exaggeration.” Love of the unnatural if there was ever a better statement to summarize this album, I’d probably be writing for Pitchfork (lol). But seriously from it’s creepy samples, haunting textures, and creepy atmosphere; w i n t e r q u i l t 愛が止ま’s Haunted House Vol I: Texas Boneyard does an incredible job at capturing a horror movie kind of feel. Yet it never gets too creepy.

What do I mean by creepiness? Well for this review, I’ll define creepiness as a feeling of fear or unease. Usually when musicians want to create a creepy atmosphere they’ll use atonal chords, odd time signatures (or no rhythm at all), a lack of resolution, unorthodox instruments, etc. Better yet, let me provide you a sample.

Now Tobe Hooper was the guy who not only made the movie, but also provided the soundtrack. Which at the time was radically different to anything that preceded it. Yes, there were classical composers who were trying to make “experimental” music like this. But it’s in the horror film genre that this atonal soundscape was able to really take off. It’s also why when reviewing an ambient album it’s easier to make allusions to film, rather than music.

So now I’ve laid the ground work for what constitutes as “creepy” music, I will now describe how w i n t e r q u i l t 愛が止ま’s Haunted House Vol I: Texas Boneyard, deviates and embraces aspects of creepiness to create their own unique sound.

Let’s begin with the first song, Deadman Flesh. Immediately it starts off with this lo-fi distorted guitar. And as you know, I love novel guitar tones. This guitar in particular because of how it’s produced has this 80’s hardcore punk kind of aesthetic to it. This is back when punk was still in the underground, there wasn’t any studio polish, and as a result the lack of production created a unique kind of aesthetic. And as anybody who loves music, and has explored punk rock will immediately appreciate. Since punk rock is one of those genres where purity spirals are quite commonplace, and the more underground it is, the better.

Yet this guitar is not alone, it’s accompanied by another instrument. This instrument is as well a staple of a music genre, though not one you’d expect. The kick drum, which is a staple of EDM. In fact you’d be hard pressed to find any EDM music producer who doesn’t place a certain amount of emphasis on the kick drum. Which illustrates how important and integral it is for that particular genre of music.

We’re only in the beginning of the first song of this album, and already we can see this dichotomy between that of the underground, and that of the popular. So when the kick drum begins to ramp up, you’re already excited to see where it’s going to lead to. The floodgates are open with possibilities. Anybody who is willing to experiment with two diametrically opposed sounds sets up a large amount of expectation on behalf of the listener. And boy does w i n t e r q u i l t 愛が止ま deliver.

Now this is where Deadman Flesh reveals it’s hand, and sets the tone for the rest of the album. After the distorted punk guitar, and EDM kickdrum we’re now introduced to the atonal horror samples, mixed in with a pulsating EDM bass, trap hi hats, and distorted guitar. Creepiness in music works best when it doesn’t have structure. Yet this music has structure. So when the traditionally creepy moans, guttural voices, and buzzsaw samples are in this song–they don’t create an atmosphere but rather they create an aesthetic. While Tobe Hooper used his music to create A Texas Chainsaw Massacre, w i n t e r q u i l t 愛が止ま creates an punk rock EDM monster mash. And what’s not to like about that?

The next song Texas Boneyard. Delivers in the same way that Deadman Flesh did. Yet by conveying a different kind of emotion. The intro guitar, and tape loops create a kind of more melancholy experience. And yes it’s still danceable, but it’s not quite as danceable as before. This isn’t due to a lack of skill, nearly every aspect of this song is incredibly well done. From the distorted wailing samples, the rhythmically shifting hi hats, and melancholy guitar; it’s all excellent. Yet there is a lack of energy. And I don’t mean that negatively, as though there should be more energy in this track, that would be quite idiotic. The songs provides an emotional counterpoint to the one before it. Where Deadman Flesh was an emotional crescendo, Texas Boneyard is the emotion decrescendo.

What w i n t e r q u i l t 愛が止ま accomplishes is that he uses the horror aesthetic to capture a variety of different emotions. Emotions that you usually wouldn’t find in creepy music. That’s because the emotion in creepy music is creepiness. There’s not much more you can add to it. You feel an emotion, it’s accomplished it’s job. By using a creepy aesthetic w i n t e r q u i l t 愛が止ま is able to convey more emotions than just fear. And as Sonia Sontag said about camp, “[The] love of the unnatural: of artifice and exaggeration.”

So this no longer is a creepy kind of album anymore, it’s an album about the love of the unnatural: of artifice and exaggeration. That combined with the EDM kind of music structure provides a more social environment. Since let’s be real, when you think of EDM you’re not thinking about some guy laying on bed, headphones on, contemplating Calvin Harris. You’re going to be visualizing a club. This album is equivalent of meeting those who are alienated like you. The ones who never fit in, and who always seemed to be outliers. Which is relatable since everyone is solipsistic we all imagine ourselves to be outsiders. So as we dive in deeper we’ll find more  layers of emotional nuance for the outsider in all of us. Which is created by w i n t e r q u i l t 愛が止ま’s ability to fuse together different genres.

The next song The Wretched And The Brutal starts off with this Sonic Youth type of guitar. Which let’s be real if we’re going to be going down memory lane of punk/alternative rock music, there isn’t a better place to start than Sonic Youth. This doubled with the frantic drumming, creepy samples, and pulsating bass creates this sense of momentum. Which reminds me a lot like Joy Division’s Disorder. Which is an entirely different kind of sound than the EDM kind of genre fusion that preceded it. Now we’re moving into territory that’s more introspective. Even if Joy Division or Sonic Youth wasn’t on w i n t e r q u i l t 愛が止ま’s mind when making this song. The cultural memory of this alternative dystopian disco sound, is going to provide a different set of emotions. Or in other words, we’re moving out of the club.

Now that we’re out of the club, we’ve left the group of misfits we belong to, and now we’re by ourselves. When we’re by ourselves it when we can be our true selves to it’s fullest potential. Slum is highly introspective. Why do I say that? Mainly it’s due to the unique soundscape that’s created. w i n t e r q u i l t 愛が止ま has an incredibly unique sound. This first half of this track is pure w i n t e r q u i l t 愛が止ま. There’s no other genre present for nearly half of the track. Kind of like when an introvert after a night of socializing needs to recharge their batteries. So they spend the next two days binge watching netflix in their pajamas.

For a creative person introspection is key. This is the time where the imagination can run wild. Which is embodied, in this track, by the aesthetically creepy samples, synth tones, ambience, and tape loops. So when the EDM influenced percussion comes back in, the sound is reinvigorated. For who can be you, but you? And who can be w i n t e r q u i l t 愛が止ま but w i n t e r q u i l t 愛が止ま?

Now we get Abattoir while most of has the genre fusions which produce unique kind of moods. This song in particular calls back to witch house. Though this isn’t a detriment to the album as a whole. w i n t e r q u i l t 愛が止ま’s unique sound can still be heard on this track. This uniqueness cannot be overstated. Rather than dirty distorted synths that is the staple of witch house, we instead are met with this almost middle eastern kind of synth. This exotic touch, and minimalist percussion in the beginning, already sets the track apart from most of witch house.

This track in particular makes me recall an anecdote about Beethoven. Where his song No 25, Op. in G Major was a response to the happy simple dance melodies that were popular in his time. Beethoven being an individual and known for his brooding piano pieces, couldn’t help but be an individual. And as a result it became one of the best in genre. Not because he sold out his integrity and did what was popular, but rather tried his unique approach to an already established genre. Now it maybe a stretch to compare w i n t e r q u i l t 愛が止ま to Beethoven, I can’t be that gracious of a reviewer. But the principle remains, even if an artist sticks to a genre and all of it’s tropes when they’re known not to, it doesn’t mean the song is bad. Quite the contrary, rather it’s an opportunity to express a genre through their own lens. And let’s be honest, behind every great piece of art there is usually a larger than life individual. Great art captures that individualism.

Finally we get to All Grey. An incredible track that distills all the ideas throughout the album into one song. It’s got the creepy samples, guitars, EDM precussion, and is the only song that features vocals. These vocals are a welcomed addition. As the deliver this punch to the gut emotional response. It’s impossible not to hear the passion in this song. Passion is the cornerstone to any individual. And with w i n t e r q u i l t 愛が止ま’s utilization of so many different genres, you know that they’re passionate about music. Yet it’s in this song, with these unique set of vocals that we finally get an articulation of this passion.

So I implore anybody who has their ear to music to check this album out. It’s an album of the underground for the underground. It’s the music of misfits, of individuals, and of passion of all forward thinking musicians. Listening to the album was an absolute joy. I am 100% certain that anybody who takes the time to check this out, will be sure to enjoy this album.

So as a fan of the underground, and as a member of the underground. I give Haunted House Vol I: Texas Boneyard my full recc.



Vinyl Dial: Intergalactic Almanac

I’m a nerd. I know it’s shocking. You’d think a guy making soundcloud music, and writing reviews on underground music would be the captain of the football team. I know everybody is a nerd nowadays. Comic Con is a gargantuan entity. Comic book movies dominate the Box Office. More people watch youtube videos than watch TV. You get the idea.

Yet there seems to be this memory hole of what nerdom once was. My parents–being Gen X’ers–had that, “Hey let’s hangout with everyone,” kind of mentality. And I remember distinctly their friends being super into Spawn, Star Trek, old PC western RPGs, or really adult anime like Berserk or Ghost in a Shell. It was this “adult” kind of nerdiness that kids weren’t allowed to be apart of. It wasn’t squeaky clean, polished, or dumbed down. Kids weren’t apart of it because it was either too graphic, too intelligent, or too mature. Which made it all the more alluring to me.

So when listening to this album, it’s the exact same kind of feeling of uncovering something deeper. Going into unknown places. Exploring something complex and novel. Basically, it was like being a nerd all over again. I mean how can you not like cover art like this?

Vinyl Dial is completely devoted to their concept on this concept album. Which is an incredibly difficult feat to accomplish. Sure David Bowie has done a really great job at making concept albums. So has Pink Floyd. Yet even they will have songs that will take a backseat to the concept, in order to just add a song they really like. Perhaps it’s due to the fact the album is only 4 tracks, and because it’s only 4 tracks there is no filler.

Yet with the artwork above, it’s impossible to say Vinyl Dial made 4 songs because that’s what they were only capable of. Far from it. Everything in this album has that deeper layer, whether it’s the lore of the album, the lyrics, the album art, the musical composition, the vocals–I could go on and on, but you get the point.

So let’s get to the music, because after all this is a music blog. The first track Space Dragon opens up with this amazing drumming. Then when you hear the instruments–each one incredibly complex while at the same time melodic. This is one of those albums where it rewards repeat listens. It’s kind of like those paintings, where depending on your perspective, you can either see a duck or a rabbit. So for one listen you’ll really love the drumming, then the next listen you love the all the different synth textures, then the next you’ll love the lyrics and vocals. Which yes, I know that all the individual elements are supposed to synthesize, and create one sound. These songs are a lot more spacious, and vast. Almost as if you were out in space…

The album reminds me of an anecdote about Einstein that I read on Reader’s Digest. Where a guy met Einstein at a party, and Einstein asked the guy if he listened to Bach. The man confessed that he didn’t have an ear for music, and just sounded like chaos to him. Then Einstein told him that music is like math. Pop music, is like addition and subtraction. Movie scores are like multiplication. Bach is like calculus. Einstein then showed the man different records, and the man finally developed an ear for music. The same thing can be said about this album. Every song is like an entire album, yet when you breakdown and compartmentalize each aspect of it–it becomes incredibly simple and melodic. Which is something that when prog rock gets right is incredibly rewarding.

So when I say it’s nerdy, what I really mean to say, is that it this album requires a certain amount of devotion to music. Yet when you put this devotion towards it, and find all the idiosyncrasies of each track, it’s an incredible feeling. When Vinyl Dial takes you on a journey throughout the vastness of space, lyrically, they accomplish the same feat musically.

So the next song Polyhedral Cathedral, opens up with a spacious pad, amazing bass, rain samples, and the same incredible drum beat. Which reminds of Dark Souls–or anything from Soulsbourne series–where after learning about the mechanics of the individual songs, you immediately are rewarding with this beautiful environment. Everything in this track sounds beautiful, yet there is one instrument that is the rockstar of the whole song.

Which if I’m talking about rockstar, you know it’s going to be the guitar. The guitar is mixed so well into the track, that at first it just seems like part of the ambience, which it is. Yet as the track progresses the guitar starts to take center stage, and boy does it take center stage. I play guitar (badly). So when I hear someone shred I can tell the difference between someone relying on tricks and gimmicks, and someone legitimate talented. This guitar solo is Guitar God worthy. In fact if there was a youtube channel devoted to just the guitarist randomly shredding, it would instantly be a hit. Even if you don’t have the best ear for music, you gotta give props to the solo. Yes this guitar solo is extremely technical, but even the most casual music listener loves hearing a guitar shred.

Next up is Ad Astera Per Aspera, which has this electronic psychedelia in the beginning with a trudging along guitar. Then the track mutates, and warps into something that would be played during a final boss battle for an early 00’s sci-fi game. Which is fitting since this is a concept album, and as a concept album there is a story. A story that is incredibly fun, tongue and cheek, while at the same time being almost Lovecraftian. I’m not going to post any of the Bandcamp, or the lyrics up here. Because it’s so rewarding to see an album that has it’s own lore. Which is truly bizarre, creative, and so forward thinking.

I made the comparison to Dark Souls awhile back, and there is a reason for that. Dark Souls is a game that you don’t really need to understand the plot to enjoy the game–yet if you start figuring out the plot–you instantly want to replay the game. It’s the same way with this album. As soon as you read the write up, or see the lyrics you want to re-listen to the album instantly. To understand what I mean think of the kind of “mood” playlists there are. There are playlists to workout, to study, to get meditate, to get pumped up, etc. But for creative people, or people who just appreciate art, how many playlists have “imagination” playlists? Where the music serves the purpose of using your imagination. There are none.

Every kind of medium has co-opted nerd culture in some way. Whether it’s providing audiences Easter Eggs, room for speculation, ambiguity, etc. Music hasn’t really done that as well as other mediums have. I mean yeah, we have genius, but it’s used for the stupidest humanely possible songs. The bandcamp write up, cover art, and music all just add to this layer of depth. Where if this album ever were to make it really big (which I hope it does) people would be really engaged in it. I would love to see people’s artistic representation of the events that happen in this album, and I’d love to see a community come out of this album. It’s deserving of a devoted audience, not just for it’s music but for it’s presentation as well.

Finally we get to Bad Trip (First King’s ‘Bad Lullaby’ remix). This track is the sonic equivalent of a what machines dream of. It has that organic synth sound. Which is a contradiction, I know, but what I mean by that is that none of the synths feel like they’re the factory presets. Each one feels individualized and hand crafted. Which is applicable to every single aspect of this album. I know I talked about how great the guitar, and drums were in each track. Yet the same would be applicable to nearly every instrument from the samples, the vocals, the bass (which has an incredible groove), and especially the synths. This is the only track without vocals, which is a perfect way to end an album like this. You need time to breathe in the environment and reflect on the soundscape Vinyl Dial has created.

There’s no song in Intergalactic Almanac that feels half assed. Every song is firing on all cylinders, they are giving it their all, and you feel it. Almost any song you listen to, you can hear a bit of creative strain. Where the artist focuses so much on one detail that they forget to look at the bigger picture. This album is like one of those masterpiece paintings, where the more you zoom in the more intricate and complex it becomes, and yet each of those intricate little pieces could be a painting in and of themselves.

I would recommend this album to anybody who wants to truly “lose themselves” in music. The phrase is tossed out a lot, yet this is an album to truly explore. As I mentioned early the appeal of nerd culture was it’s complexity. Anybody who is a creative has the innate desire within them to explore. Yet we often find ourselves stagnant, and self absorbed. It takes albums like this (and pieces of art like this in general) to remind us of why we create. That is to explore, and create. And when an album creates something so worth exploring, then God Damn it explore it!

So I am undeniably going to give this album my recc. You cannot miss it. Vinyl Dial is so forward looking that if you don’t take some ideas away from them, then you’re going to be missing out.

Also as an added bonus here is some additional artwork for the CD release, courtesy of Vinyl Dial.

Bandy: The Challengers


Let’s begin this album review with a trip into the past. Back when all you had to do to find alternative music was go “Left of the Dial.” That period in time, that millenials only heard about, but Gen X’ers absolutely revere (from what I’ve gathered). Back when Nirvana hadn’t exploded onto the scene, and college radios played eclectic music. Well, actually they could still be playing eclectic music–but who listens to radio anyway?

Music history up to that point had kind of been like a dialogue between genres. Where Rock music said, “Fuck disco, it’s got no substance.” And Disco was like, “What?” And then Punk said, “Fuck Rock music. You guys are literally singing about the Hobbit, and playing Bach.” That’s the TL;DR version of how punk was started.

Now Punk was four chords of teenage angst. Then what happens to the punk rocker–who shredded on those four chords–when he goes to college? Gets laid? Learns to play his instrument? Well that’s when Alternative Rock comes into the picture, and that’s where we get to the “Left of the Dial.”

Which is the best way to introduce Bandy’s The Challengers. An album that has the fun and exuberance of a frat house, but with the intelligence of a graduate.

So what’s a better song to introduce this album, than Bring the Boys to the Basement? When that opening opening guitar hits your eardrums, it’s pure heaven. Then when aggressive strumming stops, it pauses for a moment, and then you hear it. That melodic plucking. Which in that brief moment in time, is all you need to really get this album. It’s aggressive while melodic, raw but sincere, lo-fi yet expertly produced. This dichotomous relationship is the force between every song. Every track sounds like the sonic equivalent of “Saturdays is for the Boys.” Yet as anybody who has been to a party knows, one moment you’re shotgunning a beer, the next you’re telling a heartrending story about a girl you used to date. It’s that added layer of humanity that makes music like this really work.

The track ebbs and flows, yet retains this sense of youthfulness. Then you hear the vocals. The vocals have that masculine grit. Which makes it, oh so charismatic. Like the guy who walks into the party and everybody knows his name. They all know he’s a party animal, you expect a crazy wild night, and you get it. But then when it’s all quiet, people are asleep, and you two go out for a smoke. It’s just you two, and you just know him as the crazy wild party animal, but then he does something that surprises you. A random act of kindness, an emotional story, some endearing character flaw, something that brings him down to earth–to your level. It’s then you realize that it’s not because of his shenanigans that’s what makes him popular, it’s his humanity.

So while Need for Reefer doesn’t really sell my case for the vocals. After all it’s just a guy singing about needing some weed. Yet we’re still having a good time, and we haven’t gotten to the after hours. So Need for Reefer is one of those songs that you can’t help but smile at. Whether it’s the Little Richard guitar playing, the ole fashioned rock n’ roll vocals, or just the subject matter. Anybody who doesn’t crack a smile on this track has had some serious tragedy happen in their lives. Because unless Reefer has burnt your crops, raided your village, and kidnapped your daughter; there is no possible way you cannot smile at this song.

It’s not irony, since being ironic is a social clutch to avoid being made fun of for being sincere. No it’s pure fun. It’s the type of song you write with your friends, laughing to yourselves on how you’re getting away with it. An attitude the underground scene desperately needs. Where people are either these tortured tormented souls, or are so ironic that nothing really matters. Everybody needs to take a breather and not take things so seriously. And if you want that in music form, then this is the track for you.

Now I touched on it briefly, there’s no denying the 50’s rock feel of this track. While I said that punk was a response to Rock–I was half right. Rock music had grown indulgent, and punk wanted to strip that indulgence down to it’s bare essentials. Now how they did this, was to combine the grittiness of say The Stooges, and the 4 chord song structure of popular 50’s music. The Ramones, in particular, were influenced just as much by Phil Spector and 50’s pop music, as they were in The Stooges. So punk has always had this unconscious or accidental throwback to a 50’s rock n’ roll. And no track better exemplifies this than Need for Reefer.

Next in Tale o’ Whoa we get that homage of punk music, with it’s bizarro lyrics, energy, and short brief guitar solos. Yet one thing that has got to be mentioned is the drumming. Now while Trying to Reach You is a better illustration of the drumming prowess that’s displayed throughout the album. This is the first glimpses you get into Bandy’s drumming prowess. The drums are not just expansive, THEY’RE HUGE. They say that Keith Moon was an excellent drummer not solely because of his talent, but for his ability to use every single drum on his drum set. This whole entire album is a perfect representation of how a drummer should play drums. Yeah, brevity is the soul of wit and whatever. But if you’re going to buy a drumset you better use the whole damn drumset.

Now remember when I mentioned earlier how the vocals are incredibly charismatic? Not just because they have that rowdy kind of edge, but because they have a degree of humanity? Well Passing the Rhyme is the track to show how tender the vocals can be. As tender a charismatic singer of a “Good time rock n’ roll band” can be. The beginning guitar has this sort of nostalgic wistful kind of feel, while the vocals croon, growl, and howl. Even the piano flourishes and guitar solos, have this tinge of sadness.

Though it’s not a sadness that drenches you in melancholy. Rather it’s that kind of sadness that comes from a bad breakup. Yeah, it sucks that you’re going through a breakup, but God damn if you aren’t relieved it’s over. When the singer sings “La la la” and you hear that chorus–it doesn’t matter if you haven’t gone through a break up–because you’re already feelin’ it.

Now let’s jump into I Dream of Trash and Skin Diving in the Sea of Trash. This is the point in time that if you don’t “get” the album, these are the songs to listen to. It’s also why you should listen to albums in their entirety rather than cherry picking songs, but that’s a whole other issue. These tracks are the anthem of punk rock. If you wanted to distill punk to it’s purest element, away from all the microgenres, and bullshit–this is it. It’s that child like song lyrics that calls back from songs like “I just wanna sniff some glue.” It’s that unbridled creativity that makes you stop and think, “I can write songs about diving into trash?” It’s the track that shows you that everything is possible, and just when you get hooked on the lyrics–Bandy pulls the rug from under your feet.

How do they do that? Well they slow down the track, or just play slower and sing lower. The distorted guitar sputters out of control in the background. And it sounds like everything is falling apart. Then when it sounds like the track is about to fall into chaos. BAM. Skin Diving in the Sea of Trash starts banging away, and everything falls into place. It’s that controlled anarchy, that is what made punk great. And when I say controlled, I mean there was anarchy while music was blasting through the speakers. That kind of spirit in punk, has been dying for awhile, yet listening to this track gives me hope.

Finally we get to The Truth is a Lonely Place, the victory lap in an already great album. A song that swells up in punk energy, to then slow down and deliver some soul. Yet when Bandy says the “Truth is a Lonely Place” I think they mean that being a good old rock band is a lonely place. After all there wouldn’t be an army of 12 year olds born in the wrong generation if this wasn’t the case.

When starting this blog I was wanted to capture that “Left of the Dial” kind of experience that people had back when “alternative” music was still in it’s underground phase. This is why I started this blog. This album has energy, creativity, and just the right amount of charm–it’s something you can’t find anyway else. It’s why when I write reviews on albums, I’m almost always blown away as to why they aren’t getting enough attention. And why it’s always so exciting to hear.

So obviously, without a doubt, if you want an album that reminds you of why you like music. Or why you make music. Then this is the album for you. With that I’ve give this album my full recc.


There seems to be this line drawn in the sand between what is professional, amateur, and experimental. The amateur attempts to be professional, and when that fails they attempt to be experimental. That’s why there’s a stereotype of the “Film school” Director. That aspiring filmmaker who just can’t make the cut into professionalism, so they instead set their sights low to the experimental side of things.

Then there are the “Professionals” the people who set the standard. And because they set the standard; in their wake they leave behind a trail of imitators. That’s when things get boring. It’s how we get Zack Snyder, Generic Popstar A, B, and C–it’s how we get stasis. In that stasis we forget why we even love the art form that used to be so near and dear to us. If everything is the same, how can it speak to me?

Yet what happens when a professional turns to the experimental? Now that’s an interesting combination. That’s where we get our Kubrick’s, our Picasso’s, our Beatles’ and even our Kanye West. When listening to Jack Goldstein, it is impossible to believe that this person is an amateur. No, this is a professional. Not only is he a professional, but he is a professional in the avant garde.

Now that maybe a strange way to start a review, but I’ve just begun. The first track on this album, LOVE, THE ANSWER TO THE PROBLEM OF HUMAN EXISTENCE, is an abnormal introduction. To begin with it doesn’t start off with the album’s strengths, which are mainly the vocals, until a good 30 seconds into the song. Instead we hear this pulsating ambient noise. This ambience is something strange foreboding, something so foreign and alien, and yet there’s no other way to start this song with a title like LOVE, THE ANSWER TO THE PROBLEM OF HUMAN EXISTENCE. After all if you have an answer, you need a problem. This kind of answer/solution type of sound pops up throughout the album. In this track in particular it works incredibly well.

Why? You might ask. Well the ambient sound is unnatural, or maybe it is natural. It’s hard to tell. Whether it’s some ambient tape loop, some sample slowed down and reverbed out, or maybe just some synth put through some bizarre effects. Either way the droning nature of the noise creates this sort of unease. This introspective kind of feeling that what you’re listening to is unnatural, that it’s not quite the state we should find ourselves in. Yet, we still find ourselves in it. It’s a state of being unable to love. Whether it’s the job that you’re stuck in–all the while dreaming of a career up on the stage. The relationship you’ve settled for–seeing more and more flaws as the days progress. The mundane life you live–all while believing that there just has to be something more. All of these feelings wash over you, and then it happens. The vocal harmonies.

Suddenly you find yourself immersed in these heavenly vocals, while this soothing keyboard lulls your anxieties away. When Jack Goldstein presents a problem, such as the existential angst of modern existence, he’ll provide a solution. All in the span of little over a minute. And we’re just getting started.

WE’RE STARTING OUT is a not only a great song, but a nice segway to review the rest of this album. I mentioned this before that Jack Goldstein isn’t an amateur. There’s an orchestral beginning to this track, with an almost atonal string section. Yet it’s atonality isn’t chaos, rather it sits on the edge of harmony and chaos. Then comes the drums. The drums are so layered, so complex, and so creative; that it almost becomes this jungle kind of sound. The drums and bass of this track forms a foundation for Jack Goldstein to really experiment. There are flourishes of vocal harmonies, samples, keyboard flourishes, it’s got the whole nine yards. These sounds often ebb and flow within the track, providing emotional ups and downs as the track progresses. It’s in this ability to experiment and provide emotional clarity that Jack Goldstein shows off his craftsmanship; and what separates him from the “professionals” and the “amateurs.”

Next we have CINQUE PORTS. I already touched on how talented Jack Goldstein is at creating vocal harmonies, drum beats, samples, etc. But on this track he introduces another layer to his sound. The guitar. Now like I’ve said before, I am a sucker for somebody who knows how to use guitar tones. I’m the type of person who likes to watch people purchase, say, a telecaster and a gibson and watch them jam out. Mainly for entertainment, because I’ve got no life. But the other reason is because almost everybody plays guitar. Throw a stone in a crowd, and you’ll probably hit at least one guitarist. Yet what separates somebody who plays guitar, and somebody who plays guitar (besides the italics) is their ability to know how to craft a certain sound, and thus create a certain feel.

In the beginning you have this trebbly, thin, distant, sounding guitar, which then gets overtaken by this fat sounding trudge of a guitar. Each of these compliment each other, as the sound puts layers upon layers of different guitar sounds. Yet it’s not like listening to Bach, where (and please don’t hurt me) it’s so complex it feels like listening to a math problem. No this is something that you can hum along to.

Even the little glitchiness, cascade of guitar effects, and electronic bleeps and blurps provide little nuances. Kind of like when you’re watching an actor pull off an emotional scene, and the veins on their forehead protrudes, or snot comes out of their nose while they’re crying. While those are actors who are so into the role that they feel the emotion they’re conveying. This kind of emotional flourishes comes not from spontaneity but rather careful planning. After all this was recorded with modern equipment, trying to capture that live kind of sound with all of it’s human elements is incredibly difficult. Yet Jack Goldstein somehow manages to pull it off.

So the next song DUNGENESS does something that is incredible. How do you make a song lighthearted, fun, comfy, all the while being experimental? After all experimental music isn’t known for being upbeat. In fact it’s nearly impossible to find a song that’s experimental and that’s not abrasive. Yet here is DUNGENESS which is probably one of the most upbeat songs I’ve ever heard. How does he do it? Well with a banjo of course!

Now if you’re like me and you hear a banjo two things come to mind: Deliverance and Banjo Kazooie. Which I’m sure a lot of psychologists would have a field day with since one is about male on male sexual assault, and the other is an N64 children’s game featuring a bear and bird. Now this isn’t an instrument one would expect to find in a British avant garde album, yet here we are.

Now why do I bring up this instrument since there are a plethora of other instruments that are probably more important and more prominent in the track? Well as musicians we often find ourselves limited in due to genre, convention, what sells, image, etc. Yet we never really utilize everything that’s within our arsenal. Better yet, imagine being a painter and for some reason you never use the color orange. You paint picture after picture, and then one day you see somebody paint this beautiful painting using orange. It’s that sense of freedom knowing that if one thing is possible, then everything is possible. Which is why even though if you were to take out most of the obscure instruments of the track, and even Jack Goldstein’s father’s monologue, and replace it all with something more conventional–the track wouldn’t be as fun to listen to.

Then we get to BECKON CALL most of the music has been pretty optimistic, or I’d just say fun to listen to. BECKON CALL is when it gets real. It’s the kind of track that I’d imagine being played out in some moody detective movie in the 80’s that never has existed, because no movie during that time has been that good to deserve a song like this. It’s mainly due to the spaghetti western guitar strumming, the moody  synths, and gritty trumpet playing. Something that would be playing while the detective is on the third act of his story arc–pours himself a whiskey without the ice–and has ran out of leads. We all know how the story plays out, yet it’s good artists who know just how, when, and why to subvert our expectations to then deliver a twist that everyone will remember. And Jack Goldstein knows when to deliver a good twist.

The sound then devolves into this cacophony of what sounds like Modern Jazz and then gets overwhelmed by this electronic swarm and then…You’re cruising. The sound develops into this moody kind of groove. That kind of groove you get when you’re in the zone, when you get over your two left feet, and dance in harmony with that beautiful girl in the club. And this isn’t some bump and grind kind of dancing–this is that soulful, baby making, take this girl home to mom but don’t tell her where you met her, kind of dancing.

Then the last piece of the song is a triumphant rock track. Something you could imagine Led Zeppelin playing sold out arenas towards. Which judging from the previous descriptions of this track you probably weren’t expecting. And I wasn’t expecting either, this track has more twists, and turns than a soap opera. Yet narratively speaking it all works. Kind of like when you watch a really good movie and they play a rock track, because the people who made the movie know it’s good, and know there’s reason to celebrate.

Which brings us to the last song, GHOST SIGN. THIS is how you end an album. The instrumentation feels like a college football team’s anthem, and it’s that sense of victory that this track ends with. Because after all listening to this album, you can’t help but feel that Jack Goldstein has accomplished something special here. Not since Pet Sounds or Sgt. Pepper has an album sounded so experimental and yet at the same time accessible. This isn’t an album to listen to, it’s an album to lose yourself to, to immerse yourself in the experience, and understand what pop music is capable of.

I said when reviewing this album that I haven’t heard any British music that’s been submitted to me that’s sounded bad. But GOD DAMN I didn’t expect it to sound this good either. This album comes out May 12th, and I URGE YOU TO BUY IT. I’m not getting paid for this, and there’s no benefit for me to shill this album. Yet I can’t help but want to show this to as many people as possible.

So undeniably this album gets my recc, and BUY THE ALBUM. This album NEEDS to be on your radar, because if it’s not you’re missing out, and there’s nothing worse than missing out.

kate can wait: howl youth


Romance is a fickle thing. You never knew exactly when you were in love, or when they were in love with you. Yet you could probably–with pinpoint accuracy–find the moment in time when they weren’t in love with you. It’s not a bug, it’s a feature in the human condition. Where in the moment we don’t really recognize romance, or the times that were romantic, as being romantic. If we were all honest with ourselves, we would see that those moments were always a mixed bag of emotions. One moment we’re annoyed that they can’t figure out what to order, then after the breakup we see it as an endearing character flaw.

Really great artists are able to sort out the mixed bag of emotions of our daily lives, and provide it with a narrative. The narrative is often the medium of which they chose to express it with. For example, if you choose to represent a romance on a video game you have a whole set of problems and barriers; than say if you were to represent a romance on a movie screen. So when reviewing howl youth, a bilingual folk album, released on Valentine’s Day; the question we gotta ask ourselves is–does this album capture those fleeting moments of romance? The answer is a resounding yes.

To begin with when do we find out when something is romantic? Is it at the moment? Or does it happen far after the fact? Most of the time, we can only look to romance as something that happened in the past, and that past often refers to a breakup. What kate can wait does that is special though is that she is able to separate the mixed bag of emotions we often feel at the end of a relationship. Each song paints a vivid soundscape to a point in time of any relationship, the initial love, passion, being together, falling out of love, and finally the breakup.

Alright, so let’s begin this review. So the first thing you should notice when listening to howl youth is how amazing the vocals are. And when I say amazing, I mean that it’s the kind of voice that when you hear it, you immediately want to start singing just like that. This song also introduces the fact that there are going to be only two instruments throughout this whole album; vocals and guitar. Yet this album has more textures, conveys more emotion, and has a richer than most electronic music with 50,000 plugins, presets, settings, and synths. Also because this album only features vocals and a guitar can do something that most of electronic music can’t do; sound vulnerable.

This vulnerability is the most immediate thing that strikes you as you listen to it, with the melancholy guitar plucking away, and sad vocals; you can’t help but feel the emotion pouring out of this track. Then when you look into the lyrics, another wave of emotion will hit you. The bitter lovers quarrel, before you were a lover. The relationship you were apart of, before you were in a relationship. It’s your parents.

Now everybody can remember their parents arguing. If your parents didn’t argue, then they probably were divorced or separated way before you could form any memories. Yet this relationship is as intimate of a relationship as any that you would later be in. You are a child, and as a child you are the center of the universe. A lover’s quarrel between your parents isn’t seen as a lover’s quarrel, it’s seen as a quarrel between you and them. So what kate can wait does here is set up the innocence of childhood.

Chasing feathers one at a time
problems in the house
were settled with wine

A carnival spirit
in love with the light
The moon only takes from the soul
in the night

The line “Chasing feathers one at a time” recalls a point in time of innocence where even a mundane object like a feather was met with wonderment. Yet the line, “problems in the house were settle with wine” hints at a more ominous scenario, as though the brief period of childhood is being interrupted by something more adult. Which is further compounded on by the lyrics, “A carnival spirit in love with the light. The moon only takes from the soul in the night.”

Then when we get to the end we see the formation of that child’s core beliefs–as people say in rehab–that is the building blocks at which they approach the world in adulthood.

A lover’s quarrel turned into hate
but lovers don’t squander a turning of fate

The boy in his bedroom grew to despise
the dark weathered world
the rising tide

With this introductory song, not only do we get a fantastical brooding soundscape, but we get exposition of what the rest of the lyrical content will be. Like a great filmmaker kate can wait, starts us off with the exposition that not only to understand the formation of everyone’s concept of a relationship, but heightens the drama that will unfold as we go on this lyrical journey into a breakup. Where when the highs are high, we understand how important it is due to the opening track, and how much more tragic it is when it all falls apart. Now mind you this is only the first song. There’s a whole entire album filled with just as much emotion, lyrical content, and beautiful sounds.

The next track summer vibez has a much more upbeat tone than the previous track. Although that happiness is deceiving as mentioned previously. The exposition of the prior track taints the rest of the album with this sort of melancholy. And even though tracks like this may seem all sunshine and roses, they will eventually morph into this melancholy nostalgic recall. So how does kate can wait accomplish this?

Mainly she does this by double tracking the first set of vocals–as though they are in a duet. After all this song is a romantic one, and it takes two to tango. This vocal harmonizing does two things, one it beefs up the happiness of the chorus, and two it kind of adds a layer of protection for the listener. We hear double tracked vocals all the time, or just vocals that are put through post production. When that gets removed it’s often so startling for modern ears, that it’s like watching a play and then all of a sudden the actors get naked. It’s that shocking sense of vulnerability coupled with the themes of the song that adds to this sense of loss, that plays throughout the album.

Then we’re left with this amorphous ethereal vocal harmony, that shifts around this soundscape like a ghost who–all though is in the present–can’t escape the past, and stays in this purgatory between two worlds. That of the present and that of the past.

So when we get to déjame, as you can guess is in Spanish. Now this may turn some people off to listening to the album. Due to the fact that for some reason only English is the only language for pop music. Which is of course nonsense. Spanish is a Romantic language, which lends itself well to music. If you don’t believe me, try singing Twinkle Twinkle Little Star in Spanish, I’ll wait… Alright now that you’ve done that, do you see how much easier it is to sing? Or how much better it sounds? That’s because Romantic languages lend themselves well to music.

So when we get to songs like, déjame, licantropía, vesti2, or faros; kate can wait’s vocals are really able to soar. That’s because English is an incredibly nasally sounding language. When an artist is bilingual, and not only bilingual, but bilingual in a Romantic language; you better believe that the songs that are sung in Spanish are going to have some amazing vocals. Yet, being that they’re in Spanish, and it’s not my native tongue. I can’t really comment on the lyrical content, because let’s face it Google translate really sucks. Plus it would be disrespectful to the artist to do that. Yet I encourage you to listen to those songs, and see how much smoother the vocals sound, than they do in English.

Now that’s out of the way let’s get to puppy love which starts out with this almost 50’s rock feel to it. Which is surprising, yet not unexpected. As mentioned before, this album is incredibly well made. Not just from a production standpoint, but from a composition standpoint as well. Listening to this album, you can’t help but feel that kate can wait, not only is an accomplished indie folk musician but one who is an adept student of music itself. It’s said that “Good Artists copy, great artists steal.” A quote from Steve Jobs, from a quote he made up that Pablo Picasso said. Which isn’t true at all, good artists STUDY ART. That should be the immediate takeaway from that guitar.

Secondly is that the guitar has  so much energy and exuberance, that it feels like puppy love. The kind of young love that makes you want to go out and have adventures. The lyrics are exuberant to a point. That point is up until the breakup, then the melody changes from exuberance to that of mourning. You can pin point the changes from lyrics that say, “when we were young I called it puppy love, but now I call it spending my life with you.” To “The winters are painful ever since you left.” The soundscape changes with each revelation, as mentioned before this song isn’t about romance in the moment, but a romance that is long gone.

lady hydrangea is really a showstopper. If there was any song I’d show anybody to understand why this album is so good, it would be this one. Everything is tumultuous. It’s that kind of whirlwind of emotion you get when you call back your exe hoping you get back together. The whole moment you are just overwhelmed with sadness, yet there’s that slight glimmer of hope. That hope that maybe if you just say the right words–that it will be like magic–and you’ll be back together. Although that never happens, so we’re left pleading with them forever until you finally give up and succumb to loneliness.

How kate can wait does this is by layering the guitars. Each one conveying a different set of nuanced emotions, that are as rich and deep, as they are simple and straightforward. The best comparison I could think of, is of the Smiths and how Johnny Mar’s guitar playing was so melodic and simple. Yet when layered together creates this harmony of noise that creates the perfect backdrop for Morrissey’s melancholy guitar. Whereas the Smiths had 4 people, kate can wait has one guy. Which makes it all the more impressive how she managed to create such a rich sonic soundscape.

Finally we get to chinese takeout with it’s ambient noise, whistling, and quirky name it doesn’t seem like the track that would be the end to such a tragic album as this. The lyrics tell a different story. “The innocence I’ve found. I held you tight in fear that you too would go. A memory we saved.
Laughter into sadness over Chinese takeout.”

Lyrics don’t get much more poignant than that. It’s one thing to be an artist, it’s another to splay your soul wide open for the world to see. Although the lyrics seem incredibly personal, they are also incredibly universal. We all remember those little moments in relationships that at the moment seem mundane, yet when it’s all over it becomes gargantuan in our psyche. While for kate can wait, it’s Chinese takeout. For someone else, it could be a “Dear John” letter in the trenches, an argument over a movie, the smell of women’s perfume on your clothes, etc.

This entire album with it’s beautiful production, amazing songwriting, and incredible guitar playing is an incredible piece of art that I would encourage anybody to listen to. It’s the best representation of a breakup that music could hope to achieve, and since everybody has gone through a similar situation. Although I skimped out on a few songs, this album has enough content to write a novel on.

With it’s moving soundtrack, poignant lyrics, and amazing guitar playing. I give this album my full hearted recc. Please check it out. I swear that you will be amazed.


Day Gold: Give me the Sun Forever


First let me preface this review by talking a little bit about Pensacola. I was stationed there for awhile, and it’s not one of those cities that you think about when you think of Florida. Usually people go to Orlando, Tampa, Miami, or Jacksonville. Yet this city is a jewel, and I met some of the most creative people in my life at that city.

It was all by accident. There was this chief I worked for, who was a ladies man, and was hooking up with girls left and right. Everybody who worked for him admired him, so we all tried to emulate him. He told us to dress nice, tell good jokes, get her number, and he left out other key important pieces of information–mainly don’t go to the strip club to try to get laid. Which is exactly what I did. I blew nearly $600 at Sammy’s, and when I found out that it wasn’t a magical place to get laid (“We’re strippers, not prostitutes,” a phrase I heard a lot), I decided to explore the city. That’s where I found the art scene and all the creative people of Pensacola. Every night began as a quest to get laid, only to be sidetracked by more interesting creative people.

Listening to this album for me, is just further clarification that the music scene in Pensacola, is as good as I remembered (as well as someone who was constantly drunk could remember). Let’s start with the opening track, Play in the Rain if there was any better opener to a great album, then I’ve probably never heard it. Let’s take the sample, a car passing by you on a rainy day. Immediately just by that little slice ambient noise, you already know you’re outside in the rain. It’s such a subtle little touch; kind of like when you’re reading a book, and the author provides a metaphor that you immediately understand. Then for Day Gold to incorporate that into a major part of his sound, is so creative, so intelligent, that it leaves you flabbergasted as to how someone can be so creative.

Every piece of this song (as well as this album) is so well constructed, every single element of this track from the vocals, the guitar, and even the samples are so well produced. There’s nothing that’s left up to chance, and that’s not taken into consideration. From the effects on the vocals, to the tone of the guitar–both when it strums chords, and plucks away sweet melodies. In any other song, say the production of the vocals would be the main driving point, since it’s so uniquely produced. But on this track, everything is well produced, and it’s not overwhelming or showing off. Rather everything is produced in a certain way to either convey: A. the rain, or B. that you hang on to your youthfulness and sense of wonder. Even the end guitar part, with the rain ambience in the background, on any other track it would be a real sad song. Yet with the energy and ambience of the rest of the track, it sounds less of a brooding melancholy that most songs with rain samples have. Rather it sounds like a night in with friends on a rainy day, and after a night drinking when everybody is all cuddled up someone picks up the guitar and plays a soulful tune.

This celebratory tone of this track carries through the rest of the album. By singing about the beach, being out in the sun, and living life to the fullest. But what separates Day Gold from, from say Jimmy Buffet, is how talented he is at creating a soundscape that reflects what he’s singing about. So when we take Life is an Ocean which immediately starts off with that softened reverbed out guitar, that strums ever so gently, playing this soothing melody–it’s pure relaxation. If you were to isolate that guitar, and ask someone where they’d picture themselves at, it would be impossible not to say the beach. Maybe it’s because of the wet reverb of surfer music, underwater video game music, or wherever–it’s in our collective unconscious. It’s kind of what we expect ocean music to sound like. Then when we go to the warm fuzzy guitar lead, rather than being abrasive, it’s more of a cool chilled out kind of feel. Kind of like when you’re 3 margaritas in, laying in a hotub, and you slowly start to feel the alcohol spread through your body. Then when we finally get to the vocals, which by themselves is incredibly good, yet with the production that Day Gold applies, it causes the vocals to sound more expansive. That expansiveness gives it this psychedelic edge to it, and as mentioned before, psychedelia works best as a sense of expanded sense of consciousness. So if we combine all the elements that the production provides: that you’re at the beach, you’re chilled out, and now you’re so relaxed that you’ve reached a point of enlightenment. I mean how much more can a track do for you?

Then when we get to Your Heart is a Clock the beginning guitar that swells up in volume, like when an alarm clock goes off, and when you wake up you finally realize it’s time for work. Although the guitar isn’t that abrasive, it has that forward sense of momentum that thrusts the rest of the song into action. Plus the lyrical content–that we’re all going to die, so we might as well enjoy life while we still can–needs that forward momentum for the track to work. To that effect it does. The drums and fuzzy guitar provides this nice groove, that gives credibility to the lyrics. Because if you’re going to sing a song about living life to it’s fullest, it better sound like you’re living life to your fullest. This is the kind of track, that if you were walking down the street and put on your earbuds, you’d immediately be walking with a swagger–even if you didn’t know what the song was about. It just has that kind of energy.

So next up is Rock Me to Sleep with it’s pitch perfect chord progression, and vocals that sound like a lullaby. It already lives up to it’s name. But it’s what happens next, that changes this from a well written song, to really good rock music. That is the lead guitar. Hearing the chord progression change to this unresolved melody, that’s desperate for a resolution, only for the drums to kick in, brings about this huge amount of anticipation. And like any good showman, Day Gold knows that the build up is just as good as the delivery. Then the lead guitar comes through like a whirlwind, and it’s not the heavy metal speed kind of shredding, that loses all emotion through it being so technical–no, this guitar has got soul. You feel this surge of emotion as this phased out guitar plays out this cool solo. And when I say cool, I mean the cool 90’s kind of guitar solos, back when people wore weird shit, and hung out in coffee houses. That kind of gen X coolness, that millennials associate as being grungy, when in fact it was people doing their own thing, and being sincere. Now I know it’s subjective to say a guitar solo is cool; but if there was anybody out there trying to quantify the coolness of guitar solos, this would be a good place to start.

Finally we end with Give Me the Sun Forever with this reverbed out drum beat that’s just as in your face as the fuzzy guitar tone we all love (because if you don’t like that guitar tone you are insane). With the guitar strumming in the background, and the overall carefree atmosphere this song produces, it’s the kind of track that would be played out when watching the sunset on a beach. You know when you’re at the beach with all your friends, got a bonfire started, and a cooler full of beer–and you sit there looking at the sunset, knowing that it doesn’t get much better than this.

Which is a great way to end the album review. Indie rock albums don’t get much better than this album, and for anybody who loves going to the beach (which is everybody, unless you’re all lying on your tinder profiles) then this is the album for you. For me, it’s a solidification that the artists, and musicians that I met in Pensacola were the real deal. If I were to tell anybody a story of my brief time stationed there, I’d tell them to listen to this album first, and then they’d understand why Pensacola is such a great place to live at.

With the positive vibes, and the great soundtrack for a day out in the sun, this album gets my full recc. Please if you are a human, and like listening to music, check this guy out–you are sure to be amazed.

Ryan Deranged: Deranged EP

There’s been this kind of desire in music for awhile now. It’s like when Kurt Cobain said, that he wanted his band to be vicious like Black Flag, heavy like Black Sabbath, while poppy and melodic like the Beatles. While other bands had done it–specifically Husker Du and the Pixies–it was that unconscious idea that was brought up to the mainstream that made them the overnight success that they were.

Now hip hop kind of has that same kind of unconscious desire: to sound heavy like metal, to have the viciousness of punk, the nostalgia of vaporwave, and the instrumentation of electronic music. That’s kind of why, regardless of what Kanye does, music lovers can never really fault him. I mean how often does a hip hop track sound Psychedelic?

So what do unconscious desires have to do with Ryan Deranged’s album, Deranged EP? Simple it fulfills the desires you never knew you had.

So let’s dive into the first track of Deranged EP, Hamartia. In Soundcloud rap, the Navi sample, “Hey” in Ocarina of Time is kind of a staple. I mean I even have the Skull Kid’s laugh in one of my songs. If there’s ever a debate on whether someone is an industry plant or not; if one of their early songs doesn’t feature an N64 Zelda reference, then they’re probably a plant. Yet also the reason I point out this sample, is because it gives the track a really needed levity. What I mean by that is that there are hip hop groups that are experimenting with heavier, darker sounds; bands like Death Grips, $uicideBoy$, or GHOSTMANE. Yet I wouldn’t say those groups are “fun” in the way that Ryan Deranged is fun.

The best analogy I can come up with is picture punk rock, all the earnest bands singing about Anarchy, getting fucked up, social upheaval, and political views delivered with a sneer and sarcastic lyrical delivery. Then imagine the Misfits, who wore makeup to look like Ghouls in their devil locked hair, singing about B-movie horror movies, and Jaqueline Kennedy giving blow jobs. While the punk groups seem like outsiders with outsider opinions, who are abrasive, edgy, and do controversial shit to do controversial shit. The Misfits seem more like the class clown, and let’s be honest a class clown is always more preferable than an edgelord.

So Ryan Deranged has an incredibly “fun” kind of approach to what other bands have doing. As mentioned before the Navi sample, combined with the dirty synths that aren’t abrasive, the sword slice samples, and the distorted laugh sample. All of these individual elements builds up a track that is just sounds fun.

Now that I’ve kind of set the stage, let’s dive into the rest of the album. Chaos, has some amazing bars. The flow is absolutely on point–in fact let’s say that the sound isn’t your cup of tea. Anybody can admire a virtuoso even if they have no idea what is going on. I know nothing about soccer. I just know that you gotta get the ball in the goal. Yet if you were to show me a compilation of the greatest soccer plays ever made, I would be impressed. The same I would say for Ryan Deranged, even though he goes out on a limb with a unique sound, he at least has some virtuosity that even a casual listener of hip hop can respect. So with the imagery, as I described in his track on Hamartia, this track really embraces the fun of this kind of hip hop. With violins that sound like something that would be played on an early N64 horror game, distorted heavy synths, HEAVY 808’s, and glitchiness of some aspects of the track; it’s so over the top that it becomes enjoyable.

The next track If you don’t know now you know, sounds more like a cheesy video game boss kind of music, and I mean that in the best way. With the looped distorted laughter, brevity of the track, and that same signature distortion. It’s over before you know it, and the same applies for Opus Dei. Which again calls back to punk, where the Ramones would play 20 songs in 30 minutes or 30 songs in 20 minutes. With this whole album being under 10 minutes it’s really a breeze to listen through. Not just because of it’s length, but also due to the fact that the sound always manages to surprise you, while still sticking within Ryan Deranged’s sound. It’s such a unique sound that every synth, every 808, and every sample seems novel. In having this fully fleshed out style, played out in such a short amount of time, that it’s incredibly rewarding to listen to. After all Shakespeare said, “Brevity is the soul of wit.” The songs by being shorter, keep all the bullshit out, and just focus on what matters–the music.

So with the last track, Babylon–which opens up with same amazing samples that call back some Sci-Fi Horror movie–it’s the best summary of what this whole album is. While most of soundcloud rap that’s experimental try to be abrasive, shocking, emo, and political; Ryan Deranged goes a different approach, and one that should be further explored in this genre of hip hop. Because if you try to be abrasive, shocking, emo, political, etc. all it needs is somebody to take the piss out of you, for everybody to see your music as schlocky. So when this album, that sounds like a video game Boss’ EP, embraces this campy sound–it adds something that is needed for this type of experimental Hip Hop to survive. Fun.

So I can’t give this album enough reccs. You gotta check it out for yourself. It’s the kind of album that everybody didn’t know they needed to hear, until they’ve heard it. With that I give this album my full recc.