Sunday, November 1, 2015

RECORD REVIEWS - October 2015

Casio, drum machine, soulful vocals… not much more. Even if I loved the vocals (they are ok), this is a recipe for me to hit the snooze button. The songs were light pop, quite unfulfilling. There were moments, but the premise is just something I should probably avoid as I find it more light intellectual than emotional. And since I have so little to say, I will go into a rant. This is a one-man band and sound likes it. This is becoming a trend, long running and large. And if it is just you writing and recording, why don’t you just use your name, real or stage, and don’t hide behind what sounds like a full band. This is you, your music, so own it, right from the name on the front of the album. But hey, at least he got half the band name right.

This album succeeds in taking comfortable sounds, styles, and singing and combines them into some of the more exciting and daring arrangements possible, while still maintaining a general accessibility. Balint is a Hungarian violinist and singer who has spent the eleven years between solo albums working with Michael Gira, John Lurie, and Marc Ribot. She has also appeared in a Jim Jarmusch film as well as television, and stage. So if her music is diverse and exciting, it is not too terribly surprising with this resume. This is simply a great album for any rock fan who likes that perfect mix of art and rock excitement. This is one not to simply nod your head and say nice, but to go out and find and listen to all the way through. I will be surprised if you are not hooked well before the record ends.

Songs to start with first:

The Mother - Sultry singing and some quiet yet jarring moments in the arrangements make this opener special.

Let’s Tonight It - Just as I thought I had their style down, they add a hefty rock hook with the super cool singing.

Departure Song - OK, this is the third song. It is great, too, with a spooky feeling and a banjo. Just listen to the whole album.

Pop music with a touch of shoegaze? There are some psyche moves here as well as this somewhat delicate band likes to push outward enough to keep it interesting. This DC band has been around a couple years so they still are pretty fresh, but with a good time together as well. I think elements of both show up here with a savvy experience that still has enough youthful energy to push hard on the boundaries of songwriting and sonic expectations. This is quite a nice effort here and it has a level of passion and professionalism that should appeal to the DC scene. Now to see what they can do live.

Songs to start with first:

I Don’t Need Your Love - The opener has some heft and if you are still on the fence by song’s end, you may want to explore elsewhere.

Neighborhood - The choppy meter of the vocals still sounded smooth somehow.

Our Love - Loud/Quiet and a nice song as well.

Breezy pop rock stylings here will either be welcome or an over-sweetened turn-off. It is best to cut the flavors with something tart or in this case, psychedelic. I was worried about this album at first, but it kept getting more and more interesting throughout, even sounding like some forgoten prog-psyche and slightly folk album from 1970 that was collecting dust in the corner of my record collection. Other times, it goes in a pop direction that may work with some more than others. When they are really spritely and challenging, they work quite well for me and there is just enough of that to recommend a listen.

Songs to start with first:

Sunset of Our Troubles - A quirky prog folk feeling works around this band’s core style. Interesting.

Happy Living Things - An old fashioned spaciness is deep in the mix… could use more prominence, but still intriguing.

Out - This is quite psychedelic and interesting from start to finish.

I keep thinking maybe the Dawn Drapes are just too mannered a pop band for me. But as I keep listening, I gain respect for their keeping the pace down and the hooks warm and friendly. There is a bit of folk in here and just enough rock to hint at a good live show (I have confirmed that in the past, but it has been a couple years). The good thing about getting so many albums in (or so many live shows to choose from) is that you get reminded of the qualities of such a varied number of bands in the world. The Dawn Drapes occupy a tiny space in the world, as do almost all of us, but have plenty to offer these ears.

Songs to start with first:

With Time - The opener establishes the breezy pop style with some startling backing vocals that made for a nice counterbalance.

Brooklyn - Normally, I am not much for breezy pop and jazz moves, but somehow they get this to work well here.

Hiareth - Oh, I don’t know. I just like this one.

By Kyle Schmitt
The Digs set a brisk pace on “Ready Set” and “Manic”, the opening songs on the Boston trio’s album Manic. Their punk backgrounds are evident on “1564” and “Origins”, which sounds strikingly like Green Day. The band discovers a new gear, however, when it adds a touch of western badass through the protagonists of “Gunslinger” and “Red Ryder”. The Digs can definitely turn a phrase, claiming that “I’m Ishmael when I’m sober, and I’m Ahab when I’m drunk” on “Low Bar”. Even better is “Green Line”, a funny grievance about a balky transit system spoiling a big night out to the bar. The band’s ire eventually reflects off the tourists trying to find Fenway Park and back at the jerk wasting his breath to complain about the rail line.

Songs to Start With First:

Preach - A blowhard savior casts down tough salvation on the sinners below, reasoning that “if we make them feel like shit, perhaps we might just save their soul.”

Gunslinger - A weary rambler laments his past mistakes, finding himself “right back here again, drawing circles in the sand.”

Green Line - Channels the Supersuckers trying vainly to make the watering hole in an urban labyrinth.

Instantly, Mr. Dogg (Actually Mr. Stephen Murray) makes his intent known in following in the large footsteps of Billy Bragg or Robin Hitchcock. There is punk rock in this folk (ala Bragg) and sleek musicality as a third element (ala Hitchcock). And of course, this all makes perfect sense as Murray was a member of Joe Strummer’s last band, the Mescaleros. Dogg plays violin as well as guitar and piano, so he offers a wide away of sounds in support of his interesting vocal lines. The lyrics are interesting and the musicality is fresh with an invigorating spirit that makes this album a pleasure to spend time with. This is an excellent record that will easily resonate with Europe, but has loads of quality that I hope will translate for American audiences.

Songs to start with first:

Conscience Money - The opener offers quirkiness, pointed politics, and oddly shaped energy—wake up and listen.

Pound of Grain - Fun psychedelic moves make a killer counterpoint to his intense vocals.

Like I Used to Be - Light hearted in vocals with pounding crazed rhythmic closing. Wild contrasts.

This is a decent Americana folk album. It has all the requisite ingredients: guitars, banjos, and violins; earnest male vocals; strong female harmonies; and there is some piano. Yet they ‘go big’ at times with ethereal vocals and rising crescendos with strings such as at the end of ‘Veins’ which is quite nice, actually. There is a lot more here to recommend than not. The core sound is acceptable, if not like many other records I have heard in recent years, but the extra touches they have with careful quiet moments create an extra layer of interest.

Songs to start with first:

Veins - Their power song.

The Flood - A great use of quiet in this longer cut.

The Returning of the Doves - The female voice is particularly striking and it almost psyche-folk at times.

I suppose the glib way to describe the Flamin Groovies greatest hits is to say it is one song long with ‘Shake Some Action’. That song is easily one of the best power pop songs of all-time with its infectious groove, monster guitar hooks, and throbbing bassline. And of course this song leads the way of 24 songs in their arsenal along with a bonus 25th song, ‘End of the World’, which is quite good even if the chorus is reminiscent of their all-time classic. As for the rest, some are more distinct than others, but they all have a hard driving west coast edge psyche-rock that had enough heft to allow them to be rediscovered in the punk era, more than a decade after their origin. This plays really well and is going to get a lot of replaying in this household, guaranteed. Note—this album has been out a while, but I thought it due a mention in lieu of their upcoming live appearance.

And although they were victimized by some of the worst sound you will hear at the U Street Music Hall, I really want to give them another chance when they return to DC at the Rock’n’Roll Hotel on Monday, November 23rd,

Songs to start with and end with and play in between:

Shake Some Action - One of the greatest songs of all-time.

My initial excitement turned to trepidation when I heard that 2/3 of Caverns, perhaps my favorite all-time DC band of this century, was back in a new band called Flavor Waster. Caverns did amazing things with piano, guitar and drums in a sort of post metal, classically influenced frenzy. They have added more electronics, which worried me some, but also have added vocals, a drummer and another instrumentalist to round out their new and fascinating sound. The good news is that it is still heavy and innovative. There are not quite the clean dynamics of the previous band, as it is replaced with a bit more airy sounds. It is a bit more psychedelic and the vocals give a unique character to the band that will stay with you long after your first listen. I am excited to have some of the Caverns guys back, and even if I did not have a list of band members, I would still be putting Flavor Waster on my short list of ‘must see’ DC bands.

Songs to start with first:

The Comments - Yes, there is electronica, but also cool vocals, shred guitar and a gutsy song results right out of the gate.

The Perils of Revolutionary Piety - Great title and a cinematic story throughout the song.

Private Language - Epic closer, heavy as anything, but with vocals that soar even higher.

There is just under 40 minutes of instrumental music spread out in four songs. I had expected a dark ambient excursion based on the first song, but then this duo shifted into a spritely number with acoustic guitar. The third cut had a keen electric guitar workout that was much more song oriented than ambient, so these guys really gave character to each of their songs. The closer is the longest cut, which ties it all together in style. This is a style that I grade rather harshly at times, but these two get it right for me and certainly will for fans of this style. I would be happy to see them on the Sonic Circuits schedule, for they offer a lot of variety and skill.

This is the second ‘magic’ band in the last two months (Slow Magic, the other) that has failed to come any where near magic, or even the Magic Band for that matter. This version is also a pop band that has a cuteness more than an edge, although there are some bursts of electronica or guitar that toughen up a few of the sounds. At the end of the album, every time they broke away from their basic pop sound style, I enjoyed them. For me, this is a work in progress or at least mixed results, but there likely is a market for their core sound with their skill set.

Songs to start with first:

Falling - A good quick rhythm guitar drives this one home.

Candy Apple - The popsike harmonies work well here.

Ordinary Feeling - A more acoustic song with a heartfelt vocal. This is what I would like to see a lot more of.

This album is on the short side, but stretches out each of its eight songs into a full blooded mood piece, mostly dream pop, but with strong melodic instrumentation. This has a tough and crisp backing, so you really won’t be dreaming away comfortably while the songs flow by. Shelly really is from Athens, although this is Greek duo likely does not stay in Athens all of the time. They should certainly find fans of this music both within the established community of electronic goth pop lovers and folks like me, who are willing to meet them half way if they hit enough of my buttons on melody and vibrant rock moves. This duo does all of that and this was quite enjoyable all the way through.

Songs to start with first:

Now I’m Ready - This has a Dream-pop meets Tangerine Dream type rhythm. Effective and interesting.

Hollow Man - Brisk rhythms, gutsy melody with vocals that manage to carve space deeply within.

Hunter - The closer is the longest and the way they channel Dead Can Dance will be a lasting memory.

With ‘The Beekeeper’ part of the name now dropped, Lady Lamb is keeping her name simple, while her music has some sneaky complexities worked in. She has a firm grasp on pop hooks and the right amount of spirit to push the energy levels higher when needed and pull back into some quieter emotional moments. The lyrics will grab your attention quicker than most as well. So basically, there is a lot going on in this music, even as you can just sit back and smile or get up and dance to it all. There are twelve songs here and I am amazed at the varied songcraft within them. There is almost too much imagination for one album, but with an understanding of pop hooks, it never becomes confused or precocious. It is just an excellent album that deserves a vast audience. I have three songs listed below, but they are the first three as they all amazed me right off of the bat. But listen to all twelve, as this whole album is excellent.

And check out Lady Lamb live at the 9:30 club, this Monday, Nov 2nd.

Songs to start with first:

Vena Cava - the nice pop start is augmented with some powerhouse rock guitar. I love good contrasts.

Billions of Eyes - Big beat, loads of spirit and an interesting song to boot.

Violet Clementine - And now there is a brass passage? Crazy intelligent and crazy entertaining.

I really like the way this band writes songs, bold in melody, but mysterious in vocal lines (and delivery). They seem as smart as they are talented and have worked out a way with a basic alt rock/pop hybrid that could easily be very general and forgettable. Instead, they use pulsating piano chords surrounded by guitars that either create atmosphere are cut into the melodies with interesting counterpoints. The vocals are lovely and the drums steadily create a thoughtful walking pace. This was a real pleasure and calmed me down from my usual state of stress with deadlines and whatnot.

Songs to start with first:

Cicadas - The opener creates a lovely atmosphere. Also, I spent one year in DC in 1987 before returning in 2004, hitting the seventeen year cicada cycle right on the dot.

Home - Man, is this chorus catchy and thick with warm surround sound… even in basic stereo.

Sinks - Haunting song with a powerful dramatic musical incline.

This has that bluesy deep feel of folk rock that tries to balance a couple styles that are close but have key differences. The vocals are the closest to blues or roots music, while the band and the guitars, both acoustic and electric, flow in a folk rock manner and keep things upbeat. This is all agreeable music, but it did not move me as much as I hoped. The lyrics stood out for the usual wrong reasons—phrasing and obvious thoughts. There is talent here and if the formula is reworked with a bit more variance and surprise, it may work better for me.

Songs to start with first:

Flying - Good breezy folk rock with hearty vocals.

Nonetheless - A little more grit and drive in this cut.

Mrs. Write - The easy going rock style is highly effective. The album needs more of this.

There are fifteen songs here that all comfortably work together to form a portrait of a family sitting on the porch singing along to a banjo, violin, and acoustic guitar. This is Appalachian folk style with lots of songs like ‘Green Icy Mountain’, ‘East Virginia’, and ‘Cold Frosty Morning Kitchen Gal’ that gives you a feeling of their music before note one. Of course this porch music has three excellent female vocal harmonies recorded with top notch equipment, so the imagination needs to be stretched a little. This is all simple enough and you have heard it before somewhere somehow, but if you like the style, these harmonies will pull you hard toward listening more to this band.

This has a British rock feel with a little bit of American west coast jangle, remind me most of Echo and the Bunnymen. Yet the Mantles shoot for more pop moves. I think they succeed quite well. There is a mix of moderately intense cuts to some brisk strong rockers. They have the hooks and the ability and it will be interesting to see if they can bring the energy even higher in the clubs, as that is where this music will really click.

Songs to start with first:

Island - The opener balances nicely paced rock music with a pop sensibility allowing them to move in either direction thereafter.

Police My Love - This baby rocks with gutsy guitar, strong vocals and a crisp pounding rhythm section.

This seven song effort (long EP, short LP) is by Matthew Friedberger, known more as one of the sibling songwriters from the Fiery Furnaces. I saw the Furnaces a number of times and they had the ability to shift themes along with subtle style differences from album to album, with Matthew changing from keyboard focus to guitar based songs. I did not expect anything this daring here. This is wild, epic oddness that stays within a comfortable musical form in the manner of Tea & Symphony or the British Nirvana. It has that quirky musical humor that the British bands did better than the US and the rest of Europe for that matter. This is crazy fun and really catchy. The vocals are twisted in extreme directions and guitars and keyboards battle for prominence above the pounding rhythms. There are quiet/loud contrasts as well, just too much to explain or do it justice. Adventurous listeners, here is your main dish tonight.

I always expect a bit more psychedelic sound from this band, but once I settle in to their electronic pop groove (still with dashes of psychedelia), I enjoy what they produce. It varies from psyche-infused rock to electro pop with a couple of levels in between. The vocals tie it all together and it is a pleasant listen. I would only ask for just a bit more brazen sonic attack or a touch more psychedelia that they prove they can employ well. When they do, it really clicks well and even when they play it safer, they have a lot to offer. They tour hard and should warrant a visit when they are in town as they have a sound that would get you mentally, if not physically moving.

In fact go see them tonight at the 9:30 Club!

Songs to start with first:

Roswell - A fine balance between psychedelic rock and electronic pop is mapped out in Roswell (a town far less mysterious than its reputation).

Come Back - A strong melody sounds smart and catchy.

Apocalypse - A stirring rocker with gutsy guitar, solid vocals, and an overwhelming drive.

If you are looking for ten quiet, pensive singer songwriter cuts, you may want to give this a try. It is not as dark or twisted as John Grant, nor does it fly as close to the sun as Nick Drake or Tim Buckley. But Daniel Martin Moore has a rich voice and nice piano accompaniment among other instruments.

Songs to start with first:

Golden Age - The title track establishes the style and shows a quiet strength in the voice.

How it Fades - I feel a little Nick Drake int the vocals and the piano and drum combination is effective with melody and punch.

On Our Way Home - Breezier cut, at least musically.

Hmmm… electronic pop… There are female vocals, not terribly chilly, but cool and composed. The music is punchy and melodic and it moves on and on. It is a fair listen if this is what you are after. ‘My Song 9’ was the one song I smiled to.

This brand of dance band sound seems quite decent. That is about as definitive as I can get, because I really do not care for the genre and when a band does a few things right for me, it may be wrong for some genre fans. There are some things I don’t care for in the pulsating beats and quasi-ska styling, so it is still not a record I want to dig too deeply into or go to very often. There is some nice sonic variety and surprise, so I would think a night in the clubs with a clever band like this would be great fun if you were young and you just had that need to move. So if that is you, I advise you to respect the neon indian.

The first three albums are all being reissued on vinyl. And the band hits the Jammin Java on Saturday, November 21st.

THE OCEAN BLUE - The debut album from 1989 certainly has that American Smiths vibe that the band would not argue against. This is full of great guitar lines and steady rock backing for dreamy pop oriented vocals. They manage to keep it rocking with plenty of pop hooks and enough lush atmosphere that showed what more would come.

CERULEAN - This is my personal favorite Ocean Blue album. It has some of the jangle rock steadiness of the first LP with stronger hooks and even more interesting songwriting that they continued on with. The songs from this 1991 album really stay with you long after. The complexity is still warm and close with near-REM like magic.

BENEATH THE RHYTHM and SOUND - This is the band’s third album. It shows a maturity in the compositions as they can add folk moves and differing intensities among the rock songs. There is a lot of jangle in the guitar and it definitely sounds like a quality indie rock effort of it’s time in 1993. This band’s way of being warm goes to cuddly warm, which works in their best of songs, but may be a bit too much for those that like a harder edge.

I remember my older cousin playing me a new album he just obtained by some unknown band called Heart. Obviously the Wilson sisters were the dreamboats on that album, but the lead guitarist by the name of Roger Fisher captured my attention. He certainly toughened up the sweetness of the sisters, although they ultimately proved over a long career that they could match the toughness as well. Fisher went off of my radar and I always wondered what happened until this landed in my inbox. It is a fascinating and eclectic live album from Roger and Michael Fisher and their band the Human Tribe. The known past is visited right off the bat with a ripping version of Barracuda that has female vocals and roaring guitars, but has a certain personality to it so you know it is a different band doing their strong interpretation of this classic. Then it is off to a jazzy blues take on ‘Fever’ and ‘Spell on You’ . After that it is mystical progressive music, featuring great guitar runs interlaced with violin solos and an undulating rhythm section. And why not just finish this off with a seventeen a half minute version of Led Zeppelin’s ‘Kashmir’ (with Heart’s Mistral Wind worked in)? I am not sure I have a bad version, but this one is great and it held me from end to end with its alluring vocals, violin work and snake charming sounds from all the players. This band is appropriately named as they are a rather organic tribe of individuals creating their own body on stage. So not only is Roger Fisher and his brother Mike alive and well, they are still playing with a nod to their past, but with a fresh energetic and creative spirit that is really fun to behold. I look forward to their new studio work as well.

This short LP/long EP has seven fresh songs that have a warm lounge feel, yet just enough edge to generate some sincere excitement. Ultimately a soulful mood is established with Sullivan’s thoughtful vocal interpretations. At times it is scat and energized, while other times there is just a slight tremble to her clean delivery. The music is good, full, but not intrusive with strings and even some interesting electronics used sparingly. Only a couple times did I lose interest, while most of these songs kept me engaged the whole time. This is not wildly different, but has a subtle personal space carved out that may worth exploring.

Powerful brew, this stew. It starts with a ferocious punk rock attack, but adds dirty blues, thick sludgy hard rock or Fang like punk rock. This is thick and gooey and far from a mess or at least the mess is well under control. This is in that in between land between punk rock and grunge that used to have more punk rock in it before hardcore and various other segmentations. They do well with lots of open high-hats, intense vocals, booming bass, and oh those guitars. Good stuff, dig in, chow down, and belch loudly.

Songs to start with first:

Get Up Get Out - And this song will have you up with its ferocious sense of abandon.

Wicked Man - Wicked riff with fuzzy guitar lead and then comes the song.

My Angel Above - A ballad of sorts with some twisted and very ‘eavy guitar toward the end.

    by John Miller
I don’t know if VIDEO could have picked a more difficult name but I will say their SEO is on point. Whoever is in charge of search engine optimization over at Third Man Records is doing their job as they were a lot easier to find than one might imagine doing a simple internet search. The Entertainers is their second effort, their first to be released by Jack White’s label. Immediately I am reminded of two albums I spent considerable time with; Officer May’s Smoking in A Minor and Combine’s The History of American Rock and Roll. Both bands are long now defunct but the fuck you garage aesthetics of VIDEO are certainly apparent with this new release.  Don’t let the first track (or the beginning of the second for that matter) fool you, as soon as the vocals begin, it’s as if this unaffected, broken, blasé style is a thesis, “We are here to entertain you”.

Songs to start with first:
New Immortals – The vocal style reminds me of early hardcore. Not so much the cookie monster screaming we have come accustomed to but this strained enema of hate. It’s an interesting mix when coupled with their garage sound.
No Art – Rarely do VIDEO slow down but when they do it’s as if they are doing so in a confrontational sense; jabbing their finger into your chest to get a point across even if it that point is as trite as saying, “there is no art left in this world”.
Opening – I am a sucker for just about any opening piece with a piano. Even though I find this track to be somewhat dissociative of the album as a whole, the simple piano piece is like a eulogy before everything goes to shit.


Yay! Real 1970s UK style punk rock here, such as we used to get from the Adverts or Penetration or X-Ray Spex with great desperation in the vocals and tight music on the edge of abandon. Yet somehow this band is from Austin. Yes, that is a smart, eclectic scene, but this sound separates them from just about anything I have heard out of there since the early 80s. There are some sharper post punk sounds here in the mix, although nothing overly arty, just sharp enough to stand out well. This album is fresh for young or old and it shows that the right kind of punk rock will always be around in some form, occasionally brought to life by creative people with spirit.

Songs to start with first:

The Entertainers - Wow! After a spacey opening, this roaring cut sets the tone. The pace car is out of control.

Drink it In - Tight little monster unleashed.

The End of it All - The ‘epic’ closer is a droner with plenty of bite.

This Belgian quartet follows a well established path, if not particularly overused, of post hardcore with death metal moves. From Rudimentary Peni to Napalm Death and many more, you may have heard this before. Yet the good news is that this band sounds lively and vital with some creative tempo shifts and guitar moves that keep this from ever becoming ‘just like all those other bands’. Of course if you don’t like it wild and heavy, you may want to steer clear, as these guys will leave wounds or vvovnds at any rate. There is more abandon in the vocals than deathly growls and the band feeds off of this as well, so the tidal wave crash of these songs not only will leave the expected impact, but you may be hearing the tunes in your head while you sort through the residue.

About ten years back, there were all these Wolf bands touring through in packs, and it was hard to tell them apart by name, although you could by listening. So this is not Wolfmother or Wolf Parade or even Wolves in the Throne Room, but an industrial rock band from Detroit, dark and edgy. If you were into the dark no wave bands of NYC, especially those with songs like the Swans, you should gravitate to this. Savage Republic also comes to mind and they even channel some of the Eastern mysticism of the Third Ear Band in much of this music. There also is a bit of that crazy Sun City Girls style here in the sound, but more so in the quantity of releases. I have not done a full study of Wolf Eyes, but these six songs clearly are more interesting than much of what passes for post-industrial music these days. This is dark, but not terribly disturbing music in the comfort of your home.

YOKO and the OH NO’s “YOKO and the OH NO’s”
There is usually plenty of swagger in garage rock and that is certainly evident here. Yet it is the slightly cool and thoughtful vocal presence that pulls it back a bit, while adding just enough sophistication. Instrumentally, it is there as well as these guys manage to cook up some creative sounds, such as in ‘Lone Wolf’, while still delivering the power and the hooks. It is really easy to get me to like your garage rock/power pop/popsike record, but this band has just a little bit extra for everyone else as well.

Songs to start with first:

She Knows It - The opener tears out of the garage at a pretty good pace.

Love U - Dirty blues cuts are usually not quite this tough.

Nobody Wants to Know - Sharp little pop number with inviting hook and plenty of bite.

Maybe I am just getting too many records in, but it seems like all that indie rock that started sounding the same in a post-REM manner has now morphed into a west coast pop-rock, either with a smidgen of roots or a dash or psyche. Here it is more the latter, which is my preferred choice. Still, this is all a little too laid back, especially in the vocal department. At times the pace is close to brisk, but it all just allows you to sit back and drift off a bit. That is ok, but I would prefer more dramatic moods from this UK band rather than something that just seems too in between concepts of atmosphere popsike and rock music.

Normally I like albums that take me back to the late sixties and early seventies, but this album really has me scratching my head. I hear modern versions of CSNY, Carole King, Loggins and Messina, and so many more singer songwriters from that era who were between a folk rock and classic songwriter style. This is quite intriguing as it almost sounds like a lost relic, although it has just enough of a modern production touch to belong to the 21st century. By the end of the ten songs, it is less eerie, but there still is such an interesting timeless quality to this that hangs in the air. It is not for everyone, but it is fascinating for those of us that have a long history of musical eras.

Songs to start with first:

Here and Now - Lighter acoustic guitar and even lighter voices here.

Laika - Nice hook and one of the more interesting keyboard arrangments with guitar.

We are One - Although, I would rather hear ‘We are THE One”, this had a fun breezy style to it.

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