Track Review: "Reprieve"

Artist: Jules Vincent

Release Date: January 25, 2013

Label: Independent

Note: This review is part of a series of single reviews by Ryan coming out this week leading up to a show on Friday June 21 at the Lilypad in Cambridge, MA, which will feature performances by all the bands reviewed.

Jules Vincent is a young band from Beverly, MA consisting of - full disclosure - good friends of mine and fellow staff writers of Found Sound. That being said, “Reprieve” is an ambitious cut. The live version clocks in at 9 minutes and includes several distinct sections. Realistically, it could be three different songs. The band keeps the track from growing stale by introducing new musical themes throughout, as well as exploring an enormous emotive range, full of peaks and valleys.

Though the instrumentation may be the most palpable element of the song, the lyrics also deserve some attention; it’s as if the band wrote the whole work around the poetry. Mortality seems to be the preoccupation here, with the song exuding fearful sentiments of dying alone. This would be hard to gather, however, without actually studying the words. On a side note, the studio version includes samples of chirping birds that build over the song and peak as they match up with appropriately ornithological metaphors in the lyrics. This isn’t present in the live version, which is a shame. The pastoral effects adds a certain aesthetic to the piece that give the music a more profound impact.

The biggest pitfall with this song is a level of sloppiness commensurate for a band this young tackling such a complex idea. There are a few rough transitions, along with mismatched rhythms and isolated tuning issues, but most of these are lost in the length. Ultimately, the track is interesting, diverse, and demonstrates an incredible level of musicianship, particularly for a group with such burgeoning talent.

- Ryan Noss

Track Review: "Lifesaver"

Artist: Burglary Years
Release Date: November 20, 2012
Label: Independent

Note: This review is part of a series of single reviews by Ryan coming out this week leading up to a show on Friday June 21 at the Lilypad in Cambridge, MA, which will feature performances by all the bands reviewed.

Burglary Years is a dream pop/shoegaze band from Boston. Their song “Lifesaver” is among their higher energy tracks, employing an infectious sound. The song is repetitive, which is characteristic of the genre, but uses subtle changes to keep it captivating. The lyrics deal with a breakup, or a similar situation, but the writer approaches it from a thoughtful, mature perspective. While not whiny, it is somewhat depressing. The sound itself is that of big guitar and consistent drumming, maintaining a high energy wall of sound throughout the piece. It doesn’t really go anywhere until the outro, which is beautifully done by a single guitarist using a multitude of effects. On their “about” page on Facebook they list several bands as influences, including My Bloody Valentine and The Smiths. This influence is wonderfully apparent and the band succeeds in combining different styles to create dynamic music in a genre that is often criticized for being stale. If anything, I’d like the singer to bring out a more tortured tone; he sings in a sad style but I feel like he could do more with it. The bassist could have more input as well, but it is normal for the low end to get buried under guitar in this style of music. Burglary Years undoubtedly succeeds in producing dynamic, interesting music.

- Ryan Noss

Track Review: "Icicle"

Artist: Kevin King (of Maura)

Release Date: February 13, 2012

Label: Independent

Note: This review is part of a series of single reviews by Ryan coming out this week leading up to a show on Friday June 21 at the Lilypad in Cambridge, MA, which will feature performances by all the bands reviewed. 

Kevin King, frontman of the band Maura based out of Somerville, is doing an acoustic solo set at the Lilypad. When I contacted him, he advised me to review the song “Icicle,” as it is the best representation of the sound his performance is going to have. The song has the familiar sound of a folky singer-songwriter that conjures imagery of relaxing in a coffee shop on a rainy day. The guitar chords, repetitive as they may be, reach beyond the normal scope of this style into the region of jazz tonalities, giving the song a warm feel. The lyrics, poetic and thoughtful, seem to take the forefront, as the same melodies and chords are repeated for the majority of the song. While this works in many cases, the energy of the song is largely stagnant, with the exception of an additional voice, a beautiful soprano, late in the song. I would love to hear King put more emotion in his performance, which could be achieved by simply exploring a broader dynamic range or exaggerating the shape in his lines. Overall, the song is warm and comforting, while maintaining a certain thoughtfulness.

- Ryan Noss

Track Review: "It's Not So Bad"

Artist: Closer Than We Appear

Release Date: May 30, 2013

Label: Independent

Note: This review is part of a series of single reviews by Ryan coming out this week leading up to a show on Friday June 21 at the Lilypad in Cambridge, MA, which will feature performances by all the bands reviewed.

Closer Than We Appear are a younger  band out of Scituate, MA. Recently, they dropped two tracks on their bandcamp, including a song called “It’s Not So Bad.” The song’s sound falls somewhere on the spectrum between Death Cab for Cutie and The Dismemberment Plan, employing both a solid range of dynamics and a few different moods, all presented through a lens of tortured optimism. The title serves as the focal point of the chorus, which is repeated incessantly as if the singer is trying to convince himself of the fact. The lead guitar tone employed is gorgeous and well placed in the mix. Subtle changes presented by the guitarist keep a long song fresh, switching to a more distorted sound at the end to increase intensity. My biggest complaint is the lack of a strong bass. Its clear the bassist is a good player, and a more intricate line given a larger role in the mix could take a song like this to another level. It could probably be shorter, but the intoxicating sound lends itself to a longer form, so it’s a hard criticism to make. Overall, it’s a great track, and I definitely look forward to hearing more Closer Than We Appear in the future.

- Ryan Noss

Hurricane Poor Things

Artist: Poor Things

Release Date: June 10, 2013

Label: Independent



Poor Things' new EP, Hurricane Poor Things, was just released on June 10. A self-described bubblegum rock band, their sugar-coated riffs and delicately sweet vocals certainly match the label. From the opening track, "Beachcomber," they had me singing along. Their carefree aesthetic and solar-inspired riffage is highlighted from the start. Lead singer Craig Angus has a charming vocal delivery; between youthful and nasally is the only way to describe it. For however charming his vocals are, they can drift in and out of tune quite easily, which can sound ugly from time to time.

"Morgan," the second track on the EP, is easily my next summer jam. The sing-a-long vocals and forward momentum throughout the track keep the listener engaged. The wordless hook is delightful, easy to learn, and irresistible to sing with by the song's end. The back half of the track is a bit darker with some thick crunchy guitar biting through the mix. With "Morgan" being the high point of the EP, the remaining 3 tracks don't disappoint but are nothing special. Songs like "Summer Clutch" are catchy at first, but are too similar to the other, more inspired songs that with repeated listens it turns bland. Another track which falls in too close with the others is "Ice Cream." The one new idea in "Ice Cream" is a nice, toned down moment around 2:37. Granted, it only lasted only 10 seconds, but it was a dynamic that severely lacking on the other tracks.

During the EP, it always felt like there was something missing. Some extra melodic idea, some missing timbre, there needed to be something else. As a trio, it can be hard to make yourself sound big on recording and a lot of louder live acts suffer from this. Poor Things sound on record like they would be an amazing act to see live, but don't translate well on record. Messy, sunny, and sugary sweet garage rock with flairs of catchy perfection is a good way to describe Hurricane Poor Things, but then again I just couldn't have been listening loud enough.

-Owen Bolas

Make Me Stay / No More

Artist: Sander Mölder
Release Date: April 29, 2013
Label: Independent


Sander Mölder's newest single Make Me Stay / No More contains two (soul dance?) tracks featured clearly in the title.. On both tracks, Mölder displays his excellent craftsmanship and creativity when it comes to the use of vocal samples in his music. "No More" is easily the better of the two tracks, being both club-ready and having the most progression. Overall, it's the more interesting of the two tracks. Jittery percussion and choice synth tones create an instant soul-infused banger. DJs will eat this track up. Stylistically, it fluidly and successfully channels "Satin Panthers" era Hudson Mohawke. The main feature of "No More" is what sounds like some pitched up dirty talk, moaning "I need more" over and over. Most of the vocals on this track come from this one sample, but are chopped creatively (see 1:26).

This isn't to say that the first track isn't any good; but it is not something that will make it to a DJ's set, something that appears to be Mölder's end-goal. His vocal manipulation is again spot on with "Make Me Stay," it is comparable to Burial at points. The main turn off of "Make Me Stay" is that it relies on the hook too much. The song doesn't end up going anywhere, but only back to where it started. Combined with the cheesy 80s brass sounds, it can get a bit tiresome. Despite it's flaws, Make Me Stay / No More is a single worth remembering, plus, look at that album art.

-Owen Bolas

Feather Weight Soul Tape

Artist: Robin Mitchell
Release Date: April 28, 2013
Label: Independent


Summer time is near and feel-good music is beginning to fill the air. You may want to lean towards the upcoming, feel-good release if you find yourself pleased with innovative genre blending. Feather Weight Soul Tape takes aspects of indie music and branches from that to dream-pop and moderately psychedelic territory. Over all of this though, the album is coated with acoustic guitar, electronic sounds similar to that of , and very on point vocals. The album sticks to a airy pop influenced style yet throws in some spice here and there, keeping it fresh and funky.

Consisting of 6 tracks, Feather Weight Soul Tape is a rather quick listen, clocking in at 19 minutes, 16 seconds. Mitchell, who recorded all the songs on this album in his basement, kicks off the album with an extremely catchy instrumental called "Purple Tide (intro)." Although under two minutes long, this opening track displays some of the most creativity on the album. From the extra-terrestrial sounding synths to the foundation that is the tight knit bass line, "Purple Tide" plays not only as an excellent starting point, but and excellent lead into the second track "Wide of the Mark." This track sees the albums first exposure of words, and they are pretty powerful ones at that (see: "and I wonder, do my good parts outweigh my faults?"). Electric guitar too can be heard for the first time on the album, complementing the main melody. If you're looking for some grooving time, this has the most to give off the entire genre-hopping album.

"Summertime," the third track on the album shows a fun side of beach pop. This track sounds a lot like something that would come out of a combination of Dion and the Belmonts and "Twistin' by the Pool" era Dire Straits. "Summertime" displays arguably the most indie sounds off the entire work, which would work a whole lot better if the lyrics didn't seem to be a jumbled up narrative with excellent harmonization. A recurring theme for this album the third track displays is the rip-chord endings when the songs just seems to fall off to an abrupt finish.

Return of the extra-terrestrial synths in the beautiful duet "Nothing Personal," the fourth track on the album in which Mitchell brings in Chloe Newnham. The wobbly lick that is used as the songs staple almost seems to have been torn from the Nintendo game Animal Crossing, it has a deliciously unique sound that you hardly ever hear. One of the strongest parts of Feather Weight Soul Tape is the recurrence of certain sounds placed in different environments. Sounds that Mitchell used as a hook in "Nothing Personal" are seen frequently on the album and strongly in the album opening track.

Following suit of the second song on the album, "Trapped in its Teeth" is a moderately upbeat ballad with heartfelt lyrics and a twangy guitar rhythm that would sit well on a Ukulele. The song tells a story of a man who is feelings stuck within where he currently is and is not satisfied with the lack of seclusion. Along with this is him trying to show his love-interest he "exists."

Continuing this tale is the album closing track "Homecoming." This song is written almost like three separate letters. Starting with Mitchell seemingly returning to his hometown after a long absence. Followed by him telling the city he loves it wasn't replaced by another, and he still loves it intently. Feather Weight Soul Tape's final track concludes with a letter of his leaving even though he still feels for the location, and he says he will return. It's a power ballad with the same looping organ pattern over again that drags on and on. For the impact that the lyrics put off, the instrumentation on the track is rather lackluster, and leads to a disappointing dead stop to the album.

All in all, Mitchell put out a pretty mellow album for us to begin to bring in summertime with. The album covers much ground in its just short of 20 minute run time without going too far astray for the message he is trying to convey. Vocalization on the album is beautiful and an extreme highlight of the piece all together. Don't go into this expecting the next big indie-pop sensation, but more so go into it for some easy listening, floaty feeling and dreamscape creating tunes.

- Woocci

Track Review: "Spirits"

Artist: The Nth Power
Release Date: April 20, 2013
Label: Independent
 
On 4/20, The Nth Power showed us what they got with their first release Basic Minimum Skills Test. The album is available for $6 (USD) on their Bandcamp page.

Basic Minimum Skills Test kicks off with "Spirits,” beginning with a extremely airy feeling section lead by locked in South American sounding percussion before a swampy guitar lick sweeps in and carries the track onward. "Spirits” brilliantly showcases what they say the album displays: funk, jazz and soul. Throughout the track, the vocal harmonies feel as if they pick up on a distinct reggae influence. The themes in the song are constantly revisited, yet it is not overkill the overall output. The instrumentation on the album is ridiculously tight; dynamics are an extremely important part of this kind of music, and The Nth Power takes this into strong consideration with the framework of not only this track, but the rest of the album. When writing, much like in literature, there is the important "grabbing line" at the very beginning that is supposed to perk the readers interest. "Spirits" is an excellent "grabbing track" for this album, making it easier to step into the rest. Though the vocals may be overwhelming at times, there are minimal risks taken in creating this song. Lack of intense risks makes for an easier listen, and that really helps with this ear pleasing tune.

- Woocci

Theatre By The Sea

Artist: Janek Gwizdala
Release Date: March 26, 2013
Label: Independent


Artist Janek Gwizdala is certainly no newcomer to quality music such as found on Theatre By The Sea. This English bassist (living in the US for over a decade) has been on the international music scene for years, as a sideman or group leader. He has worked with Randy Brecker, Mike Stern, Pat Metheny, Hiram Bullock, Wayne Krantz, Peter Erskine, Airto Moreira, John Mayer and many other professional musicians. Gwizdala's maturity is reflected in the taste and crispness in which he created this album. Beside himself, there were nine musicians who contributed, some appearing on all compositions while others appearing on only a few. This album is chock-full of vigorous unison lines and interplay which holds a cognizance and ardor matched by few other modern jazz groups.

The album starts of with "Erdnase" an exotic Latin song which demonstrates one of the core themes of the album: the repeated use of enticing unison lines accompanied by a tight, interlocking rhythm section. This track gets the album rolling and sets up nicely for the next track, "España" a spacey latin tune with some deep emotion. The saxophone cries and wails, shooting nicely over the rhythm section which lays down a groove which at times feels dejected and others spirited. Straight piano interludes and spacey sax, strings, and voice build in the second half and slowly come back down. All this is done very tastefully, just as the rest of the album is.

"Portugal" is the brightest and poppiest sounding of all the tracks on this album, rising out of the ominous end of "España" like a phoenix from the ashes. Even in the poppier chord progression, a distinct Latin/jazz sound is still retained with evident folk influence. The guitar solo continues over a build of layered vocals and lively comping from the rhythm section, giving way to a smooth jammy feel  in the last minute or so. "Randroid" continues with a funky jazz/hip-hop feel. The rhythm section does a great job on this track of supporting the soloists and keeping the repeated forms fresh with new palettes of various rhythms and influences, as well as building well with good timing in each section.

The longest track of the album, "Once I Knew" is very different from the others, starting with a delicate, ambient guitar intro giving way to a ballad feel. This downtempo setting stays for the rest of the song, at some points dragging on and giving a bit of a wandering feeling. Nonetheless, the rhythm section keeps it interesting and retains their distinctive style of exchange below and with the other members of the group. "Fooling Houdini" holds an interesting ambient fusion feel, which sounds as busy and locomotive as it does stagnant. There are some moments in this song that sound much like Radiohead-esque jazz. The title track "Theatre By The Sea" sounds as if I had synesthesia in a contemporary art museum, what with all the different genres that are touched upon so frequently and in such a short amount of time.

"The Goshman" holds some of the best examples of the use of unison lines and tight, interlocking background provided by the rhythm section. This track stands out the most when it comes to improvisation, for both comping and soloing. This inexorable funk/jazz song really gets your body moving all the way through to the end, where it just kinda falls off a cliff. The closing song, "Chicago Opener" pedals onward with a progressive feeling, between the unison lines lead by the drummer and piano that looms overhead like a storm. These clouds brew and accrue with added horn lines and a soaring guitar solo which all build into a wall of sound, giving way to a tight groove that rides out to the end.

This album did not have many flaws, and those that it did have were dwarfed by the sheer professionalism that radiates off of these songs. Gwizdala takes songs that are (for the most part) simple and transforms them by using different combinations of instruments to expand and decline. In addition to the great composition work, this album hosts a myriad of talented musicians, especially the drummer, who played an integral part in the progression of different sections and their levels of energy. Each player holds a distinctive voice on this album, and the way in which they spoke to each other left for some truly provocative conversation. I would have loved to hear more vocals on this album, as they provided a key addition to the first three tracks on the album that I missed in some of the later tracks. Nonetheless, this album is a breathtaking look into the mind of Janek Gwizdala and has caught a firm hold of my attention for him.

-Alex Walsh

Deertree

Artist: Deertree
Release Date: April 1, 2013
Label: Independent


Deertree is the folk solo project of Thom Koehly, and his eponymous debut is charming; a quaint folk album that doesn't push too hard in any one direction, but rather sets a gentle and nurturing mood. Deertree tells a bleak but beautiful tale of a lost traveler and ensuing loneliness conveyed through a variety of colorful vocal harmonies and warm guitar tones. With tracks flowing from one to the next perfectly, this album feels less like a collection of individual works but rather chapters of the same novel. Along with similar lyricism, most of these songs share very similar chord progressions. Not to call the songs uninspired, but they all sound quite similar to one another (especially “Walkin I,” “Everything or Nothing,” “Jeneher: Trying to Reach the Sea,” “Barefoot Pilgrim,” and “Walkin II.”) It unifies the songs in a way that can get tiresome with repeated listens, but keeps the album feeling like one larger story..

Droning guitar playing is another factor in the similarity of these songs. Often times progressions move slow and timidly, but nonetheless precisely move from chord to chord. There a good few songs that break the mold; tracks like "The Little Boy Lost" or "Jeneher: Trying To Reach The Sea" have much more interesting features. "The Little Boy Lost," the opener, sounds straight off of Bon Iver’s For Emma, Forever Ago. This isn't to say that it’s not interesting or creative, just that it sounds extremely similar on account of the guitar playing and strong falsetto vocals. Koehly uses a large range of vocal styles on Deertree, ranging from low raspy tones on "The Morning Lights" to the enchanting harmonies in falsetto on "The Little Boy Lost” which, unfortunately, is the only track where Koehly shows off his impressively tender upper range.

Koehly's elusive lyricism brings forward themes of loneliness, loss of purpose, and hopelessness. Fantastic moments appear abruptly throughout this album. For instance, as "Everything or Nothing" bursts into a 3/4 explosion at 4:09, Koehly sings "everything was still nothing." Coming from the previous sections of the song, this is quite impactful. Another example is "The Morning Lights" where 3 or 4 part harmonies come in belting "I'm not dying! I'm not dying! The lazy day is over. I can." For all the moments where there are meaningful lyrics, there are many moments where his singing can't be understood or is just inaudible. It's either his singing or the mixing that gets in the way of hearing his lyrics, which are vital for this album's enjoyment.

The instrumentation and aesthetic, unfortunately, don't hold up amazingly after repeated listens. Koehly depends too much on mood and feeling at times, causing some tracks to get rather bland after a few listens. Instead of finding new things interesting, it becomes easier to find mistakes or unfavorable moments. The chord progression used on many tracks can become tired and the toy piano (which, granted, is used infrequently) loses it's charm after a few listens. That being said, the album is still a good listen but it doesn't hold up well under a magnifying glass.

Deertree is the story of a lost traveler unsure of where he's going or what he's doing. Everybody questions themselves during their life as to what they're doing or where they want to be. At some point in their lives, everybody misses their family, can get homesick, or gets lost altogether. Deertree relates to the scary pictures of uncertainty drawn on life's canvas. This album is going to go over well with a lot of people, I'm sure; Koehly's voice is beautiful, and his guitar playing is moody as anything. If you've ever liked anything in the new era folk-pop genre (Arcade Fire, Bon Iver, Sufjan Stevens) I recommend this album. If you don't, I wouldn't stay away but don't expect anything that'll crack your top 10 for the year.

-Owen Bolas

Ŝanĝi

Artist: Foussion
Release Date: March 10, 2013
Label: Independent

Foussion's sophomore effort on bandcamp, Ŝanĝi, is an eclectic eight track album that is sprawling in its themes. This four piece fusion band from Madrid brings a lot to the table; with all instrumental songs showcasing drum, bass, piano, guitar, and saxophone. One can hear the obvious Latin and Spanish influences on this album over a fusion and jam base. This gives it a sound similar to that of Carlos Santana and other prominent Latin-rock musicians of the late 20th century.

What is notable about this work is the group's ever present sense of concurrence and interconnection, and how the band accomplishes this while its individual members flourish in flashes of creativity. The drummer really shines on the opening track, "Umami," which leads the group through abrasive,  jarring (yet adamant) themes as well as softer, more delicate ones. This is an occurrence which pops up again throughout the album. The second track, "Outro," lasts only about a minute, but uses an interesting effects-laid palette of textures. The guitarist accomplishes a compelling comping effect through the sublime use of delay as dreamy piano and saxophone fade in front and behind. "Stuck In The River" shows a bit more of Ŝanĝi's latin and rock influence. Here and in other moments, the group shows their skill in setting out-of-the-ordinary grooves, but could do much better in building things up or bringing them back down from theme to theme. Perhaps they could accomplish this by doing more with fine tuning and listening in to one another for specific nuances.

"In-Decision" is a beautiful solo acoustic song that is delicately busy. The guitarist takes folk and flamenco influence to a pristine place in under a minute. "Journey" opens by continuing this approach with each member contributing to a delicate feel in a synchronicity that is both disjointed and congenial. It quickly explodes into a theme that sounds almost like a ballad, but the group persists in building and jamming through it. When it comes to exploring different themes together yet still holding a great sense of individuality and improvisation among the specific members, this is the album’s best example. All this while tastefully building and bringing things down. From soft fusion rock, to a walking bass groove, and back to soft piano solo, it seems as if this band's quietest moments are the ones with the highest energy and that is something that is extremely hard for even the most professional groups to accomplish.

"Intro" fades in creepily with organ, drum, and bass. This short track has the band exploring a new and very dark realm that is found only again in "Manhattan". It almost sounds as if "Outro" were injected with a much more sinister element. The album's single, "Sometimes," opens delicately which, after listening up to this point, seems to be this pianist's forte. It moves slowly at first in the sax solo, but then the group fluidly supports what the saxophone has to say. The musicians do a great job in the second half; all contributing to the sound equally and sound as if they are on the same page completely. The closing track, "Manhattan," holds an ominous and sinister sound like in "Outro," but does so with an enormous amount of energy. The first half starts with Latin and Fusion overtones and quickly starts delving into a trance-like second half laden with effects.

This album is worth a listen because of all the varying musical genres it visits. There is something for any fan of rock, jazz, latin, experimental, or jam music on this album. What is great about it is the crispness in which the band accomplishes this fusion. Many of the album's songs are only a few minutes long but, touch upon many different genres in that time. My only misgivings of this album were of moments where the group seemed to hold back as if waiting for something to happen. In some of the longer songs, there were themes that were not necessarily dragged out for too long, but definitely could have used some more variety and individual contribution from the members (notably the keyboard player). Other than that, this album goes to so many different places that it deserves every single minute of its listening time and is available on Bandcamp or the band's website for 5 Euros.

-Alex Walsh

Now We Are All Sons of Bitches

Artist: Patron Saint of Bridge Burners
Release Date: March 23, 2013
Label: Independent


The newest release from Patron Saint of Bridge Burners is a heavy one. Not in terms of sonic power or distortion, but on an emotional level. The whole album is based around the detrimental effects of war and violence on not just the victims, but the civilians on the "winning" side. The album's title comes from a quote by Kenneth Bainbridge, the physicist that helped the atomic bomb come to fruition. Seconds after the first test Bainbridge turned to J Robert Oppenheimer and said, "Now we are all sons of bitches." Thematically, Now We Are All Sons of Bitches follows this quote in each song. The whole experience laments violence and war, but also considers the role we play in its encouragement and rejection. As the title track says, "We are as the soldier with their guns, we're to blame for the slaughter of our daughters and sons."

"Martyred" is about burning a photo of a deceased soldier. It brings up the point that not every warrior is a hero and that we should not celebrate someone just because they carried a gun. The song has accompanying strings and lush guitars that contrast the rest of the album where sparse guitar and syncopated drums take the forefront. "Untitled (The Sound + The Fury)" is less poignant lyrically but has several great metaphors based around waves and lightening eroding a landscape. The song burns out on slowing drums and then a violin and cello duet. "Need Somebody" oddly features a blast beat and overwhelming guitar clatter that nearly drowns out lyrics about stormy seas and submissive people. "Heaven's Gate Away Team (Do the Hale Bopp)" is about the ritual suicides encourage by Marshall Applewhite based on the belief that a space-ship was tailing the Hale-Bopp comet. The title comes from the patches the dead wore reading "Heaven's Gate Away Team." "Symphorophilia" is a contemplation on death and grieving. The author states he wants to die instantly after notice because he worries that he will die a mentally violent death. This track features a slide whistle wildly chirping along out of tune in the background. "Turbulence" begins with a light ambient drone which fades out to be replaced with a poorly lead drum and guitar combo that continues to play for a minute despite failing to line up in any logical way. "Knife Wound" is a song about the disappointment created by the end of a war in which a combatant feels he hasn't been fighting for a worthy cause because he feels more relief in coming home than making his country proud. It is a logical pairing with "God Damn Us, Every One" as it deals with similar themes and issues. "The Spirit of Oklahoma!" is a description of the destruction and loss created by the atomic bombs dropped in WWII. The singer describes the violence caused by the explosion. The song then shifts to "landmark" crimes that have been committed in America. It then compares the human race to an atomic bomb, as a machine created to "rip flesh and bone." "I'll Take You With Me" is a spoken word description of a un-manned drone attacking, described with the metaphor of a vulture to whining flutes and an angelic chorus. The narrator describes how the "bird" takes the kills back to its nest to feed its "young."

Now We are All Sons of Bitches is one of the most sobering listens of 2013 and is highly recommended. 

-Justin Healy

It Could Happen to You!

Artist: The Candy Sharks
Release Date: March 25, 2013
Label: Independent


It's all happened before: a few independent high school kids decide that they like music, next these kids somehow become united through a love of all things rock and decide to start a band. The final step however, is not as straightforward. At this point the group either plays a couple dozen shows and slowly fizzles away, or they save up all of their (parents') money and record an album. Chicago, Illinois' The Candy Sharks are obviously the latter, and that definitely shows on the record. This is definitely a batch of songs made by kids; the clear purpose of the LP being to embody the teenage experience rather than make the next OK Computer. It Could Happen to You! has its fair share of mediocre moments, but nonetheless there are flashes of sloppy rock brilliance scattered throughout.

I'll start with the good. The Candy Sharks' debut begins with "Valhalla," an up-tempo number that bristles with an intensity that would have served the band well had it been kept up throughout the whole record. If not for vocalist Jack Hayden's energetic performance on the opener, there would be no reason to continue listening. The rest of the album's first half is forgettable, but it still retains a certain charm that few major acts can convey through their music. Later on the album comes "In the Greenhouse Garden", one of the most stylistically different tracks on the album. "Greenhouse" features celestial synthesized strings and an arpeggiated guitar line, topped off with a baritone croon from Hayden that gives the track an indie pop character as opposed to the sound of four kids hitting things in a garage that dominates the rest of the record. Album closer "Lightning Bug" is an innocent sounding track that would without a doubt have been an indie favorite had it been recorded by The Zombies in 1969. All of the classic musical staples being utilized in the track by way of clumsy falsetto vocals, squirming guitar lines, and gentle drumming make the album closer hard to forget. If there were a song on It Could Happen to You! for the Candy Sharks to re-record for a major label debut it would be "Lightning Bug."

While most of the Candy Sharks' debut is merely pleasant-enough garage mopping that wouldn't sound out of place on a Sub Pop compilation, there are undoubtably some promising moments. There is something to love for everyone on this record, from shoe-gaze to brit-pop ballads. Though it is not done on the professional level of other big acts, the endearing quality of an unknown group is hard to deny. In short: It Could Happen to You! is not only a catchy album title but features some catchy tunes, and considering the brevity of the record, it is definitely worth a listen.

-Matt Gill

The Sizlacks Demo

Artist: The Sizlacks
Release Date: March 16, 2013
Label: Independent


The Sizlacks, a psychedelic blues-rock band hailing from Perth, dropped their demo on March 16, comprised of songs that were released gradually throughout the year on their youtube profile, with the most recent being released last week. Their style is distinctive and while they maintain a level of diversity from song to song, they have an overarching sound that ties the demo together, characterized by big, reverby guitar effects. They draw heavily on influence from the 1970's, using the guitar tones of Cream and Jimi Hendrix, as well as the wide openness of Pink Floyd. The songs are jammy, and employ what seems to be a solid amount of improvisation. The band's single biggest strength is most likely their collective dynamic range, which comes across in almost every track, and keeps relatively simple hooks sounding fresh. The form of their songs seems to focus primarily on a theme, with variations. Small changes in drum textures and bass lines work under the guitar riffs to keep each tune fresh throughout and fight the monotony that is so common in up and coming bands of this style. Vocals are only present in the first two songs, "Insanity (Part I)" and "Insanity (Part II)", and due to a combination of the simple melodies and the singer's horrendous diction, seem to be more for textural purposes than anything else.

Overall the album is definitely enjoyable, and it comes across that the band had a ton of fun making it, which is always nice to see. The album is surprisingly varied, especially for the genre. Some songs consist primarily of a simple riff played in unison by guitar and bass over a fairly straightforward beat (Blues Berry Jam). Some songs have multi-tracked guitar creating a thick, rich sound (Demo 2). The most apparent weaknesses are the occasional awkward transition, especially in the drums, as well as the less than ideal recording quality, both of which are clearly due to the newness of the band. The album is undoubtedly fun, but it's important to keep in mind that the music is simple. While it may not stand up to a large amount of active listens, it is a fantastic album for throwing on with friends to chill out.

-Ryan Noss