Category: Reviews

Review: Ben Lukas Boysen – Alta Ripa

Ben Lukas Boysen decided to change things up a bit on his new album, Alta Ripa. He wanted to reconnect with the countryside of his youth, but also embrace Berlin-inspired dance music. So, he combined ambient electro with EDM as well as jazz and classical sounds his father often played for him as a kid. He took those elements and grew an album more than he designed it.

“Ours” starts with soft synths that evoke images of birds gliding over meadows and then landing atop the Tyrell Corporation’s replicant factory as the electro-beats drop. The choppy synths of “Mass” remind me of a string quartet playing fast, low-end notes, and then the bass drop adds an interesting sense of danger to the whole thing.

“Quasar” builds to what you think is going to be a good-sized bass drop, but instead takes the mellow approach and keeps the song soothing. The title track is even more hypnotic and will be a great addition to your mediation playlist.

The bumping bass of “Nox” makes you want to put on dark sunglasses and matching trenchcoat and then find the nearest goth dance club. “Vineta” is synthwave bliss suitable for floating in a zero-gravity pool of saltwater. “Fama” pulses and snaps like a grumpy robot doing a spin bike workout. The album ends with “Mere” – which floats you along a slow river while android birds sing to you and warm winds drift through ancient ruins.

This album will take you to another place, possibly one you’ve been craving for a while.

Keep your mind open.

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[Thanks to George at Terrorbird Media.]

Review: Kiasmos – II

Minimalist techno plus orchestral sounds to create atmospheric dance tracks? Yeah. That sounds good to me, and is what you get on Kiasmos‘ II.

“Grown” immediately levitates you from the floor and puts you in a better mood with its electro-percussion and happy krautrock beats. “Burst” bumps and thumps with little string quartet touches that are outstanding. “Sailed” percolates with energy but doesn’t boil over thanks to the subtle synths in it.

“Laced” sounds like something fellow Icelander Björk wished she had on her last album (happy synths and strings, little jazzy electric piano touches), and now I want a collaboration between her and Kiasmos. “Laced” nicely drifts into “Bound,” which has thicker bass and even more beats.

The mellow jazz piano on “Sworn” matches well with the swaying string quartet sounds that almost take it into New Age stylings. “Spun” keeps up the strings and bumps up the BPM. “Flown” drifts into “Told,” which keeps you moving and will be great for the second leg of your morning run. The lapping water sounds and soft synths on “Dazed” might leave you as such.

The album winds down with “Squared.” It lets the string quartet shine for almost the first minute before the synths build behind them to a slick beat that lasts the rest of the track and reminds you to keep dancing and / or meditating after it’s finished.

It’s a cool instrumental synthwave record that you’ll end up recommending to many.

Keep your mind open.

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Review: Leathers – Ultraviolet

Good heavens, this is gorgeous.

Leathers, otherwise known as Canadian synth / dark wave artist Shannon Hemmett, has delivered Ultraviolet — another lush, excellent record that you’ll want on repeat for every late night drive or goth party you’re throwing.

The title track is full of beautiful synths and Leathers’ sexy / spooky vocals. “Highrise” would fit right in on the soundtrack to every late night sexy Cinemax thriller starring Shannon Tweed as Leathers sings “Isn’t it nice in your high rise? Like the page from a magazine that’s come to life…”

“Punish me for wanting more. I’m the one you can’t ignore,” Leathers sings on “Crash.” She’s right. You can’t ignore her, the thumping synth-bass, or the New Romantic-style guitar solo. “Fascination” isn’t a cover of the Human League tune (although that would be amazing), but it is a sultry song about being immediately intrigued with someone you see perhaps at a dark club or in a futuristic airport lounge. “Day for Night” is a lovely ballad and a nice mid-point to the album.

The breathy, sexy “Divine” follows it. It’s a bumping track that doesn’t go too heavy, but does get you in the mood (“I’ll give you a taste of the divine.”). “Phantom Heart” will get you both in the mood and to the dance floor. “Daydream Trash” could be a rediscovered New Wave track from 1986. Leathers nails the sound and feel of that era on it and on “Runaway,” which opens with her saying, “Let’s run away.” and you looking for airfare to Vancouver and tickets for two beyond that.

The album ends with the haunting “Mary,” which seems to be a song about a friend (?) of Leathers (“Mary was a girl I knew.”) who finds love despite not wanting it, and then running from it for fear it will hurt her again (“I got what I wanted. Now I’m running out.”).

This is the kind of record that will make you wonder why more people haven’t heard it, but it’s also nice to think of it as a sexy secret you have with some special people.

Keep your mind open.

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Rewind Review: Windhand – Soma (2013)

I don’t know how I missed Windhand‘s Soma album until now. Shame on me because it’s another heavy, stunning part of their catalogue.

Garrett Morris‘ guitars on the first track, “Orchard,” sound like something is crawling out of the dirt while Dorthia Cottrell‘s vocals sound like they’re coming from a deep hole found under the floorboards of the cabin on the album cover as she contemplates death by gunshot – either hers or someone else’s.

Parker Chandler‘s bass crushes on “Woodbine,” a song about calling out to the devil out of desperation and the danger that comes with such a summoning. Morris’ guitar on “Feral Bones” is the sound of Rodan waking up from deep slumber inside a volcano. The song is about how time catches all of us sooner or later.

The acoustic “Evergreen” is a stunning showcase of Cottrell’s voice in a song about wishing a loved one could stay young, and alive, forever, but knowing that’s impossible. The massive “Cossack,” at over thirteen minutes long, has few lyrics, but no shortage of crushing riffs and spooky, heavy drumming from Ryan Wolfe. Morris’ guitar solo on it will stop you in your tracks.

Is that not enough doom for you? Well, the final track, “Boleskine,” is over a half-hour long. It stars with creepy wind sounds and simple acoustic guitar strumming, and then proceeds to come at you like the Blob or a Creeping Doom spell. You see and feel it coming, but you can’t stop it for about twelve minutes, when it drifts back into howling winds and lonely acoustic riffs. That’s just a fake-out, though, almost like a jump scare out of the shadows, because the massive riffs re-emerge from their sarcophagi and swarm you. It’s the kind of doom song that will overtake you.

The whole album will overtake you, but, as a doom fan, that’s what you wanted, right?

Keep your mind open.

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Review: NORMANS (self-titled)

I’m not sure that NORMANS‘ self-titled album can be described by one genre. Post-punk? Yes. Noise rock? Sure. Gothic? At times. Intriguing? Definitely.

Lead singer (and bassist) Matthew Reid comes out swinging, and screaming, on “John Hockey,” while drummer Michael Rudes hits his kit so hard that it sounds like he was pissed about being stuck in traffic for an hour on the way to the studio. The guitars, from Kyle Souza and Collin Fish are all over the place, causing absolute chaos the whole time. In other words, they picked a perfect track to open the record.

“Shut Up I’m Shopping” is a great, angry slap at consumerism and the rat race. “Murder Rich” changes gears and drops you into dance-punk while Reid claims, “You’re a secondhand son of a bitch. You’re a car going over a cliff.” to let you know he’s not impressed with your wealth and knows your pursuit of it will only end in misery.

The drums and bass on “Anti-Crusoe” switch it up again, now taking us into Wall of Voodoo-like desert rock as Reid sings about forever being a wanderer (“I’m a beast without no home. I hate everything…So go on and touch me.”). “Firepower” is, interestingly, a bit low key compared to other tracks, although still loud and wild, preferring to subtly work in the back of your brain for most of it.

“Dead Snakes” gets a bit trippy with added vocal effects (mostly echoes) and the guitars sounding like they were recorded in an empty swimming pool on a space station. “Healing an Eyesore” is downright frightening, with Reid’s vocals sounding the most frantic on the whole album.

“Schloss Loss” adds a little krautrock to the mix, thumping with deep synth bass to nudge / shove you to the dance floor. “Bending the Branch” is great dance-punk with its strange guitar riffs, relentless bass, and frenzied drumming. Closing with “Fury on the Island,” NORMANS just go nuts for the finish. Souza and Fish sound like they’re using claw hammers on their guitars, Reid’s bass stomps around like an angry sumo wrestler, and you can practically feel Rudes’ sweat hitting your face as he wails on his kit.

It’s a wild record that will almost leave you breathless. Keep your eyes on these guys. They’re dangerous.

Keep your mind open.

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Rewind Review: Lightnin’ Hopkins – Lightnin’ in New York (2022 reissue)

It’s no secret that Lightnin’ Hopkins is my favorite bluesman of all time. He’s the only one I have emblazoned on a T-shirt I bought in Nashville years ago. So, I practically jumped at the Chicago wrecka stow rack when I saw this 2022 issue of his 1960 album, Lightnin’ in New York, for sale at a stunningly cheap price.

Hopkins was slowly getting into the concert scene around this time, mostly playing in house parties and honkytonks back in the Houston area. He had trouble connecting with young, white audiences at first, figuring (correctly so) that they hadn’t seen or experienced the things he and his friends and family had. How would and how could white people relate to the blues?

He landed in New York City in late 1960 and, after being shuffled around to some low-rent apartments, learned that there were indeed some white people in the Big Apple who could relate to the blues. Downtrodden and heartbroken people can be found everywhere.

Recorded on November 15th of that year, Hopkins sat in the studio with his trusty guitar and a piano, often switching back and forth on the same song. “Take It Easy,” the opener, is a great showcase of this talent. “Mighty Crazy” is a witty, fun track that skewers oppressive social and sexual attitudes (“Ain’t it crazy to keep on rubbing at that same old thing?”).

Hopkins is relaxed and enjoying himself on “Your Own Fault, to Treat Me the Way You Do.” His playful piano work is like a strutting cat on it. “I’ve Had My Fun If I Don’t Get Well No More” is a song about approaching death, but looking back and appreciating the ride. Hopkins wants his mother to know what’s happening (“Let her know the shape I’m in. Just tell her to pray for me, momma, forgive me for all my sins.”).

“The Trouble Blues” is a powerful song with Hopkins’ vocals aching with sad memories of his girl leaving him (“I’m leavin’ in the morning. Lightnin’, your crying won’t make me stay.”) and fatigue from rough mileage brought on by the world in general. “Lightnin’s Piano Boogie” is a fun instrumental showcase of his playing.

“Wonder Why” is another heartfelt performance of Hopkins losing love yet again. He can’t figure out why his girl is leaving him, and she’s not giving him any hints. The album closes with one of his classic storytelling songs, “Mister Charlie,” about a stuttering boy who has to tell a kind mill owner that his mill is on fire. The boy is losing his home, and the owner is losing his business, but the owner lets him know things will be fine despite the tragedy.

This is a great recording of a blues legend relaxed and playing what he wants. It’s a prime addition to anyone’s blues or Hopkins collection.

Keep your mind open.

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Review: Karkara – All Is Dust

Back in the spring, when you were trying to choose which bar to get drunk in during spring break, or finally cleaning out your damn garage, or planning a garden that, let’s face it, you knew you wouldn’t properly care for anyway, three lads from Toulouse known as Karkara (Maxime Marouani – drums and vocals, Hugo Olive – bass and synths, and Karim Rihani – guitar and vocals) were releasing an album about a man in search of an imagined utopian city somewhere in the desolate wasteland of what was modern-day civilization. That album’s title sums up the themes of the concept album, and your planned garden and the crap in your garage — All Is Dust.

The King Gizzard and the Lizard Wizard comparisons are valid, as the trio unleashes a lot of wild guitar work and beats in what sound like ever-changing time signatures and discuss heavy concepts of end times and spin wild sci-fi tales. Opening track “Monoliths” is a wallop as soon as the first chord. You’ll have no idea how three guys produce that much sound. They’d be a great double-bill with King Buffalo.

Olive’s bass on “The Chase” is outstanding and the song might cause you to drain your car’s gas tank from mashing the pedal to the floor and not letting up for the next seven minutes. Jérome Bievelot‘s guest saxophone solo on this is on par with Captain Beefheart psychedelic chaos.

“On Edge” hits with doom-heavy bass riffs and drum as the protagonist in Karkara’s story is almost to the point of madness in his quest to find paradise. Rihani’s guitar solo on it is the sound of a frantic mind trying to figure out what’s happening while also struggling to avoid a slip into paranoia. “Moonshiner” has nothing to do with racing across Kentucky hillsides with illegal hooch while revenue men are chasing you, but everything to do with mesmerizing guitar work and mind-altering sounds to help you drift to the moon if you wish.

“Anthropia” is the name of the mythical city our hero has sought, and now he’s finally catching sight of it on the horizon. The song becomes a passionate race to get there, avoiding dangers the whole time. When he does finally get there, however, he discovers the title track — a blaster of a track that summarizes the hero’s rage and then determination to build on what has been destroyed.

It’s a heavy record, both in concept and riffs, and one of the fiercest I’ve heard all year.

Keep your mind open.

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[Merci à Angéla à NRV Promotion.]

Review: Blushing – Sugarcoat

Need some great shoegaze that sounds like it was unearthed from a music studio that was shuttered in 1994? Look no further than Blushing‘s excellent new album, Sugarcoat.

It’s difficult to choose a favorite track on this album, as all of it hits all the right notes. “Tamagotchi” lays down surefire guitar riffs designed to hypnotize and impress. “Seafoam” has gorgeous vocals and deceptively heavy bass while guest guitarist Jeff Schroeder sheds on it. It’s over far too soon. The choppy guitars on “Slyce” become roaring beasts in the blink of an eye while the dual vocals of Christina Carmona and Michelle Soto spin around each other like dancing ghosts.

“Silver Teeth” pushes a message of hope (“You never lost the light at all.”) while the guitars and drums just crush you. The title track’s bass riff and smoky-sunbeam vocals are intoxicating. The drums on “Fizz” hit hard and seem designed to wake you up from whatever is distracting you.

“Say When” is a song about how time tends to get away from us, while “Pull You in Two” is a solid rocker with ballad touches that would fit right into your 1990s rock playlist. “Charms” ebbs and flows with soft dreampop riffs one moment and then hits you with a deluge of fuzz the next. The album ends with “Debt,” which sends us out feeling like something cool is around the next corner, no matter how blue the day has been.

Sugarcoat is sweet in the right spots, shiny in others, and seriously savage from time to time. Give it a spin.

Keep your mind open.

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[Thanks to Jaycee at Pitch Perfect PR.]

Review: Dion Lunadon – Memory Burn

If you need a blast of frenetic garage rock, look no further than Dion Lunadon‘s newest EP, Memory Burn. Lunadon specializes in this kind of wild, near-panicked rock and roll that’s designed to make you stomp your boots or shake you out of them.

“Goodtimes”(a song about how too much of a good time usually becomes a bad time) starts with growling bass, then kicks in hammering drums, sand-blaster guitars, and fuzzy freak-out vocals. “New York” could’ve been a New York Dolls song in a previous life, and Lunadon’s love of that glam-garage band is evident throughout the track.

“Out in My World” practically throttles you from the first note as Lunadon claims that he’s “livin’ in a scam” while the guitars around him either sound like they’re on fire or being played with hand mixer. Lunadon rails about communication, or the lack thereof, on “Get Back to You,” which has some of the rowdiest riffs on the whole record.

Whereas that track might be the rowdiest, “Hollywood Blues” is the grimiest with Lunadon claiming “I lost my halo.” The EP closes with “Zenith Forever,” a raucous burner that barely leaves anything left behind when it’s over.

The whole EP is about fifteen minutes in length and feels like a high intensity aerobic workout by the time it’s done. It will burn your memory and calories.

Keep your mind open.

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[Thanks to Dion Lunadon!]

Review: Aaron Frazer – Into the Blue

What do you do when you move across the country in search of something new and also ache for what you’re leaving? If you’re modern-day soul crooner Aaron Frazer, you play practically every instrument on a new record, Into the Blue, and sing about it. Frazer moved from Brooklyn to Los Angeles, and it’s difficult to determine by the album’s cover if he’s standing on an east coast beach and looking toward his future, or on a west coast beach and looking at his past.

“Thinking of You” starts the album, hinting that the cover image might be of the latter. “I’m still thinking of you,” he sings as lush string arrangements and (new for him) samples of R&B soul jams surround him. The spaghetti western guitar of the title track bounces around Frazer’s falsetto like a happy bee in a meadow.

The hip hop sampling and beats on “Fly Away” are another great, new touch for Frazer. “Payback” will get you on the dancefloor, and Frazer’s drumming on it is slick. “Dime” (“Tell Me”) with Cancamusa on guest Spanish vocals is super sexy. “Perfect Strangers” isn’t the theme to the TV show of the same name, but is a gospel-influenced love song.

“Time Will Tell” brings in disco elements as Frazer sings about possibly finding love in his new environment, and probably if he’s made the right choice to switch coasts. “I Don’t Wanna Stay” seems to indicate his choice was right, or at least the best option available at the time. The song is a great, slow soul jam with snappy drums and sultry backing vocals. “Play On” is another good soul tune, and “Easy to Love” is downright groovy.

“Sad boy, you loved and lost, but you keep trying,” Frazer sings on the closing track, “The Fool,” which incorporates jazz flute with its seduction-ready bass and cool lounge guitar into an ode to unrequited love and a song of hope. It’s a cool way to end the record, with encouragement to keep at it until love arrives.

Frazer has given us another soulful, slick, sexy record, and not many are doing music like this or as well as he is right night.

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]