I have always liked a hard-driver of a song and this one is a great example of just that kind of energy. It comes in with some crisp, heavy drums and gets right to the point. Much of the track maintains that initial drive but I really liked the bridge at the one-minute mark. It provides a nice contrast to the rest of the song while still maintaining the sonic feeling of the music. The production quality is also well done with the vocals clearly out front while maintaining a good instrument mix in the very near background. The lyrics are fun but also a little creepy (“she locks the cellar door behind her”) and the energy is…well, like everything else that Avenues does so well.
Side note there that their video for “Lights Out” is a cool Halloween-type production and worth a look.
Well, Happy New Year…and if you know me you are not surprised to see me writing a review for a cover of this epic Pogues song. There are of course some songs that should just be left alone in their original version but I have never considered this to be one of them. Even though Shane and his mates original from 1987 has been imbedded in the soundtrack of my life for many years, I consider the song free game for a redux. Not to say all covers of it have been good…but everyone is welcome to try.
This version by Chamberlain stacks up well and I really enjoyed playing it over the recent holidays. They kept the pacing about the same and also utilized the vocal talents of Gabrielle Sterbenz for the female vocal. Her voice is well-suited for this song and also pairs well with David Moore as they take us through the classic story told in the tune. If you get a chance you should check out her music also (link below).
Well played all around by some talented musicians although sadly no tin whistle….but that is a rare talent to find these days. And the shaker that puts the rhythm down in the background is a unique sound.
I have always and I am sure always will…love a tune with a slow, slightly jangly blues riff …just like this song. I suppose that leaves me as biased listener but I just cannot help it and this selection really delivers on what I love about those kinds of songs. The guitar and drum here provide such a solid foundation and allow the tune to unwind slowly. Nichols also has a slightly smoky voice which adds a little bit of Memphis night club atmosphere when he sings and it all comes together well. A really good song from what I consider to be a breakout album from this Wisconsin-based musician – highly recommended 🙂
Well, I meant to post this as a “hot release” right when Rid of Me released this debut album on Bandcamp (12.03.2021)…however, I am late 😦 So, with apologies….
This song delivers exactly what Rid of Me have in their tagline “heavy, melodic punk” and in this case that is a good thing. I am sure we have all heard the bad version of this genre and it does not go well. This is the other kind. The overlay of sound is so entrancing that I did not mind having to hunt around a little to pick up the underlying lyrics. And those words are quite interesting all to themselves. I spent several long minutes figuring them out and what they mean to me and you also might find it a useful exercise. It will get your imagination working for sure. Being mostly unfamiliar with this band, I did a quick search and found a slightly disturbing but riveting video for the song “Dealing” which is also off of this record. You can check that at punknews.org and I am sure in the other usual places. This is a solid release and the rest of Traveling measures up well and gets my recommendation. I have to get out and see this gang live somewhere for sure:)
Yes, I know that I am going back in time for this one. I was listening to the more recent release from Wildlife called “Year of the Snake” and even though that is a good record, my own mind said, “They had one I liked more…sometime in the past…when was that..?” At which point I dug through a lot of old music info and realized it was “Out on Your Block.” And no, I do not have any criticism of “Year of the Snake” to offer…but my personal opinion is that this 2017 release is just better….and the cover art is quite interesting.
If you are not familiar with Wyldlife I think they are best described as a punk / rock and roll cross with an edgy 80’s sound and style. They play very well and put together solid songs that sometimes seem simple on your first listen but usually have a good bit of complexity running around in the background.
This album kicks off with “Desperate Times” and this one has a nice, driving guitar that carries it along very well. I think my only complaint is that the vocals are a little bit too “screamy” at some points but it still sounds good. That is followed up by “Teenage Heart” that has a definite 80’s beat and feel to it…and I mean that in a good way. The lyrics even reflect that era as does the call-out chorus line. I really like the bass work on this song also as it provides a great foundation for the music and peeks through at the just the right moments.
The next song “Keepsakes” is one of my two favorites, both because it tells a simple but good story and also for its punchy delivery of the music. The lyrics, such as “you were misery that I couldn’t figure out,” are compelling and stark. That is followed up by “Deadbeat” which has really good guitar sound and even though this is a typical “youth / angst” type song, it is put together and played well.
Track five is “Bandida” which is a guitar and drum driven bopper that will get you jumping along with it if you are so inclined. It provides a good lead in to “Contraband” which I would call an explosive song. Building right up from a great drum intro this song has great nervous energy running though it accompanied by wailing and screeching guitar. The taunting vocal delivery and the drop-out ending seal the deal – a great song.
“Suburban” is the “meh” song for me on this album as it is a bit too squeaky and whiny for me. It is followed by “120 Minutes” which is most notable for the guitar work at the 2:30 mark and “Cuffed” which has some very interesting lyrics, good bass lines and some atypical musical moments.
Last up is “Get Loud” and this one is well worth the wait and another favorite of mine. The best part of this song, and something that really adds to its overall quality, is that it does not come in super loud like you might expect. It starts subtly with some swinging drums and guitar, the vocals creeping along and everything slowly building up to crash over briefly at 1:20. It then holds before slowing down again. This song is the longest at 4:07 and needs all of that room to develop fully and really shine. There are a few lyrical gems in here also such as, “beneath the streetlights I wonder why I’m always chasing abuse.”
Overall, a great album and enjoyable to listen to both for fun and for more serious musical appreciation.
We are going with some world sounds for this review and I am really pleased that I found this album when I was checking out the releases from the Names You Can Trust label out of Brooklyn, New York. It may be outside of even the wide-ranging path I follow when listening but that is exactly what I love about exploring music. There is so much out there, so many great rhythms, melodies, different textures, influences and cultures to experience. I also often have my Joe Strummer moments and I can definitely see Joe sitting around listening to this record and enjoying some of the sounds.
This starts off with “Los Mariguano Boys” and I really like the drum rhythms that lead off in this track. It has a nice, pulsing beat to it that gives it some fun and flair. That leads into the next song, “Guaracha Campesina Proletaria,” which is just as nice of a rapid tempo dance number as the name implies. There is a really nice melody line in here, which I believe is delivered on guitar. There are some subtle changes in tone that also lend some depth. Right about the 1:30 mark some great horns kick in and catch your attention. There has always been something about that combination that has peaked my interest and this selection is a great example of the reason for that feeling.
“La Macumba” is the third selection and I believe the title references a folk religion although I admit I did not have time to look into it further before writing this post. There is some nice vocal work at the beginning accompanied by the cowbell and then the horns come in to layer in a little mystery. I really like the trumpets that you can find in the 1:30 to 1:55 range of this track. The final song is “Encuentro” and I am still trying to work out the sound that lies underneath the horns at the beginning. The slower tempo of this arrangement gives you a real sense of anticipation. The military style drum beat leads some structure that plays off the horns in an odd but alluring way. My only complaint here is that I feel this one runs just a little too long.
Overall I really enjoyed this album and the music is just right for a late evening get together or a mid-afternoon at the pool and beach. There is also some nice artwork on the album cover.
As I stated above, I picked this up via Names You Can Trust and you can check out their other releases at https://nyctrust.bandcamp.com.
As always, if you have the opportunity, please get out and support your local music and artists – community is powerful !
Album Review – Willie Waldman Project “Total Improv”
When I saw this pop up as a new release on Bandcamp about a month ago I was happy for two reasons: one being that I have heard Willie and his assorted musicians in the past and loved it, and also…improv is a great way to experience music. I have been listening to it for about a month now and offer my thoughts here:)
First off, I like the cover art – there is something whimsical about, simple even but it still really portrays the idea of improv in an abstract way…if you ask me anyway!
The album kicks off with “Exodus” and hits you early on with some great guitar work and a simple but complimentary back beat. It is an enjoyable song to listen to although it has an underlying nervous energy. Right near the mid-point the music plays around with soaring toward the great heights of openness and then crashing back into a valley of horns and guitar. Also some parts of it sound to me like a very loud, obnoxious train departing for some far-off land… and I mean that in a good way!
A great counter-point follows, with “Misty Night” coming across much more softly and lending you some cool down time after the charging sounds of “Exodus”. There is some really great trumpet playing here also along with a catchy drum sound that I always think of as a “club beat.” Listening to it evokes a scene of walking along a river in some urban setting, maybe a few water taxis rolling by as the bars close up around 3 am…the night is winding down and it’s been good one. Even though “Exodus” is a close second-place, this song is my favorite on this album.
Arriving next is “Carnival”, for me the only so-so song on this release. It feels more all-over-the-place than it needs to (even for improv) and also is the longest song. That may be a contributing factor in my opinion because some parts of it I really liked, such as the guitar that comes in around 2:40, but overall it just went on too long for me.
The next song, “Lightspeed” has some extremely effective clarinet at the beginning that lends a throaty vibe to the music. You can really pick out the separate instruments on this selection and I particularly liked the Tabula peeking through the background of the sound. It is a chill tune, good for pondering or exploring the universe. Even when it picks up the pace in some sections (starting around the two minute mark) it still maintains an underlying calmness from the bass guitar notes. Groovy party music for the lounge after the warp drive is engaged 🙂
Speaking of the Tabula, welcome it warmly at the opening of “Firestorm” as it lends a distinct Middle Eastern vibe that carries through the entire first half of this song. About midway through the tone changes to something more experimental although the Tabula remains in place. And then, with about two minute remaining, along comes a great collection of sounds and notes colliding to provide a dramatic, if somewhat unsettling section prior to a smooth exit on the trumpet.
The final two pieces on this record are “The Loon,” and “Wood”. While the first of these is light and airy, the final song is a very classic jam and a fitting end-piece to this fine release. Every time I listen to “Wood” I can picture myself sitting around in a comfortable, familiar place with friends and collaborating in the way that these musicians do. We might not hit is as well as these talented people…but it would be great fun!
I also want to note that throughout this record there is some really great bass guitar work that lends a solid foundation to the tracks. It also takes a more prominent role on some songs (a fine example being “Wood”) and delivers great grooves. “Total Improv” is an overall solid listen that gave me (so far) a month of enjoyment with very regular listening. The compositions are expansive and I found myself discovering nuances each time I played it. I encourage you to check it out!
As I was casting about for new music this week I ended up looking toward Michigan and came upon the recent release by Detroit’s The Tellways which is titled Out To The Cosmos. I gave it a listen and came away impressed by the composition of the music and the nice way that they weave Motown and R&B influences in with island sounds. Soul and reggae music have always had a subtle equivalency to me and those parallels are evident within the music on this record.
The lead-off track is “Anxious” and it is a good listen with a slightly (and appropriately) nervous undertone, simple yet poignant message and some very nice horns 🙂
The next song is “Keepin’ Me Up” and you can definitely hear those Motown influences within the music. That call-back to soul and R&B was evident within the first minute and yet was still subtle enough to blend in well with the Caribbean rhythms.
“Believe Them The First Time” has a slow, soothing flow to it and delivers a direct and simple message. I really liked how the horns were woven in here also and the way they provided accents to the other instrumentation on this song. I have listened several times and this remains my favorite on this album.
That is followed by “I Don’t Need To Tell You” and “Cool And Luke” which flow nicely within the album although I did not think they were especially notable other than the beginning to “Cool Hand Luke.”
When I read the title of the next track, “Space Force,” I was not sure what direction it was going to take…and I am still not 100% sure of its underlying intent. Humor? Sarcasm? It remains a mystery to me but I did find the line, “we brought our own water,” to at least be quite funny.
“Tellway Stomp” is a feel good song celebrating the band’s sound and positive influence and is followed by “You’re Really Something (2020)”, another track where you can really hear the R&B vibes. The next three songs (“Closer – 2020”, “Let Me In -2020” and “Friendly -2020”) are solid inclusions, with the middle track of the three being the standout. It runs a close second-place for my favorite song on the album.
The album closes out with “Bow To Your Sensei (2020)” which is a very good (mostly) instrumental track with solid composition that includes horns, and some great guitar and bass. It feels a little heavy when listening but puts a nice finishing touch on “Out To The Cosmos” and sent me away feeling good 🙂
Overall I really like this band and what they bring instrumentally and with their direct lyrics. When you listen to this record is comes across mostly as a reggae / ska mix but you definitely find yourself with several pleasing, “Wait, what was that?,” type moments. And it will certainly get you feeling groovy and dancing!
The Arches just released a new album called “Abandoned” – I checked it out and here are my thoughts 🙂
First of all – that cover art is great and especially eye-catching to me as I am an “urban decay and abandoned industrial things” photographer myself. Check out their Bandcamp page for a higher resolution photo – It is quite a stark image. I also think there is a mysterious cat lurking in one of those upstairs portholes…or an extremely large rat…what you do think?
anyway…
The set starts out with “Just Killing Time” which has a slight haunting quality to it, especially as the lyrical refrain “I know you’re no good, I know you’re no good for me,” floats over the music. This is probably the most “pop” song on the album although I suspect The Arches may not be aiming for pop notoriety…it just struck me that way when I listened to it.
There are some good drum beats on the next track “Rise UP” which gives it an “anthem you can dance to” feeling. That song then bleeds over well into “Mikola.” It is one of those great transitions that I always try to put into playlists I make…they just fit next to each other. Now, I have no idea what that word means or what meaning it might have to the band…but do not look it up on Urban Dictionary if you are a PG-rated person!
The next track, “Baby Face Assassin,” is a music-only number that really caught my attention. It had me making up my own lyrics, albeit a simple “there’s a baby face assassin coming for me, and I think that it’s time to leave” as I closed my eyes and got a little lost in the composition.
The next two songs were the toughest part of the record for me. “Apocalypsing” really had me scratching my head a bit…although that usually means I missed the point so I suspect some of you out there will love it. The following track “Stuck in a Loop” has a kind of eerie discordance inside of it running alongside a very pleasant keyboard melody. It left me feeling just a little bit uneasy.
The album finishes up with “Time Will Tell’ (a dreamy atmospheric type song) and “Mikola Outro” which sends you on your way in a contemplative mood, possibly feeling slightly lost and thoughtful. It had that effect on me anyway.
Overall, this is an interesting record which delivers a variety of emotions as you listen to it. It clocks in at a tight and well-composed twenty-one minutes. On their Bandcamp site for this album The Arches comment that, “There is beauty in loss and abandonment, in everything.” These songs delivered a sense of that beauty while also leaving me just a little bit uneasy.
Yes, I know that I am late to the news on this one but I just had the opportunity to listen to the recent release “Thank you, Dancers!” from the Slim Dunlap Band. This epic was recorded April 27, 2002 at the Turf Club (and as you folks know…I do love the Turf Club 🙂 and really presents a good feeling of what it was like to see Slim and the band in concert. A nice, easy familiar feeling that makes you feel good. Go somewhere and listen to this music – it’s on Bandcamp and I am certain other places also. If you want a place to start check out Breeder’s Cannonball or Busted Up.
jack mesenbourg 