Laura Glyda is a singer-songwriter from Chicago who crafts songs within the folk, pop, and Americana genres. Her latest album is titled The Heart Is A Machine. I am new to her music, but her talent and craftsmanship are evident in every track.
After trying out a few comparisons in my mind, Glyda most reminds me of Mary-Chapin Carpenter from her prolific 90s period, with that same sincere, beautiful vocal style and similar themes of soul-searching and troubled love. Glyda’s musical upbringing was steeped in the acoustically driven classics from the '70s along with '80s synth-pop. Her diverse influences include the introspective melodies of the Indigo Girls to the infectious hooks of Taylor Swift. She’s also shared the musical stage with artists like Melissa Etheridge, Colin Hay (Men at Work), and The Ballroom Thieves. Thematically, Glyda’s new album is said to be a deeply personal memoir that chronicles the end of her marriage while embracing “the transformative power of solitude.” Through her music, Glyda hopes to reflect on “the enduring power of belief, trust, and love, even in the face of adversity.” “A Beautiful Light” opens with the unmistakable sound of a live, acoustic piano. Glyda’s tentative melodies fall like raindrops. When she sings, it’s with that same hesitant, searching quality until she alights on what appears to be the truth: “Maybe you never loved me at all.” In that moment, the song proper begins, with a compelling arrangement of confident, lovely vocals, piano, strings, and drums. I don’t know where this was recorded, but it’s clearly a pro job. “After You” is our first song with a brisk folk-rock tempo and maybe the first to remind me of Mary-Chapin Carpenter or even Dolly Parton. It’s a gently rousing statement of belief within the fallout of a broken love: “There is only everything after you.” The introspective piano and classical guitar interplay that opens “Whatever We’ve Done” is positively baroque. Glyda sings more quietly for this mellow arrangement, but her voice loses none of its power. On this track, I’m feeling a bit of Nanci Griffith’s confessional harmonies from the “Flyer” era. “Take Only What You Need” is even closer to Nanci, in that there’s a bit of an Irish lilt in the sweet, soaring chorus vocals. This is maybe my favorite track thus far, simply due to the optimism and confidence of the lyrics and arrangement (“There is more ahead than all you leave behind / Take only what you need / There is salvation in the emptiness / And love within the loneliness…”). More exquisite strings follow this song through. “Bravery” has one of the best lyrical openings: “Can this be called bravery / Walking away from someone who can’t wait for me to leave / But they won’t hold the door?” This track has the polish of a folk-country radio hit, with an irresistible chorus and absolutely stellar singing throughout. “The Garden,” having a simpler acoustic opening, also draws attention to Glyda’s deceptively basic but evocative lyrics: “I said I loved you / Even though you said it first / Brought my kiss like water to your lips / You were dying there of thirst.” Glyda’s amazing voice, the acoustics, and the strings are a sublime combination. The final song is the title track “The Heart Is A Machine,” and Glyda really has constructed a beat that resembles a heartbeat machine. It starts a bit techno, but then kicks into a solid folk-rock groove with the vocals leading the way with (yes) heart and confidence. Whoever the studio players are, everyone is on point, and the production is stunning. Well, I certainly found myself impressed with Laura Glyda, and have no qualms recommending this album to one and al
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Fronted by sisters Caron and Michele Maso, Little Girls made waves in 1980s L.A. with their alternative radio hits "Earthquake Song" and "How To Pick Up Girls." Valley Songs serves as a comprehensive collection, spanning the group's musical journey from 1980 to 2020.
Described as New Wave Power Pop, Little Girls' sound draws comparisons to iconic acts like the Go-Go's, Josie Cotton, and the Bangles. Upon listening, it's clear why these parallels have been drawn. "Earthquake Song" kicks off the album with straightforward power pop infused with a hint of surf, boasting catchy vocals, power chords, and a driving 4/4 beat. However, it's "How To Pick Up Girls" that steals the spotlight with its dynamic energy and experimental flair, showcasing the band's versatility. Tracks like "Bandana" exude a classic rock attitude, while "Any Way You Want It" melds 1950s pop nostalgia with contemporary power pop sensibilities. As the album progresses, Little Girls consistently deliver solid tunes, with highlights including "Rich Girl" and "No Time To Say Goodbye." There are also anthems like "Upswing" which really shows the band leaning into a late 60's sound not too far off from The Byrds. The inclusion of demos provides a treat for hardcore fans and offers insight into the band's creative process. "Love Song," in particular, stands out as a surprise, channeling 1970s folk vibes with the sisters' vocals shining brightly. "Valley Songs" offers a deep dive into the multifaceted world of Little Girls, showcasing the band's diverse musical palette and unwavering commitment to their craft. With each track, they paint a vivid portrait of their evolution over the decades, leaving listeners hungry for more.
If you’re looking for a crash course in Clash Bowley from Boston, you can’t do much better than this website. Clash has released over 40 albums since 2019, and a majority of them have been reviewed right here (you can get lost just flipping through his cool album covers!).
The fun really starts on Bowley’s Bandcamp page, where he describes himself as “having been born, not yet died, thus anything he produces is worthless. Keep checking, he can’t last forever!” Bowley is a one-man creativity machine, playing, recording, and mixing his songs while creating all his own artwork. He says he “doesn’t play well with genres” but admits he loves all music including orchestral, swing jazz, new wave, and electronica. As a performer, Bowley is primarily a vocalist. He builds his songs from rhythms, then improvises chords or riffs, then finally adds random syllables that eventually become lyrics. This process takes just a few hours, which may be why he’s so incredibly prolific. The opening track “Oh, Delilah!” has a laid-back, finger-snapping rhythm with the sound dominated by phasing guitars. Bowley sings in a rangy tenor, with a tone that indicates he’s very serious about couplets like “Oh, Delilah! / All this excitement follows me… Several indictments can you see?” Ultimately it almost feels like outlaw blues, with a subtle increase in energy as it nears conclusion. “Utterly Lacking” features a similar backing arrangement, and I can see now that Bowley’s songs would appeal to listeners who prefer not to have instruments thrown back and forth in their faces. This one actually has the smooth jazz feel of a Bacharach tune. Short and sweet. “Ship To Neverland” adds more volume and energy to the Bowley template, approaching rock. Bowley’s vocals take on the grit of a Dr. John or even indie superstar Captain Chemical. The drum track features a tribal beat near the rim and that’s all that’s needed here. “I Am Your Servant” features a very similar arrangement though Bowley is daring to mix his fuzz guitar leads almost on par with his vocals. Bowley seems to be giving voice to the hidden person in all of us who has committed “immoral, poisoned, and diseased” actions that sometimes need doing. “Embrace the Strange” features guest Fritz Herold, I’m assuming on harmony vocals (or is it guitar?). I dig the factory machine-like rhythms here, grinding away while the two singers pretty much stick to one note. The instrumental break is one of the richest yet, featuring expansive synths and Fripp-like fuzz lead. “Confetti” has another busy, tumbling drum loop, though Bowley almost plays against it with mellow, jazzy, introspective lead playing. Returning to a theme, Bowley pays homage to the moments when “You just gotta be bad… you gotta fight fight fight.” “Devil’s Kisses” is basically Bowley’s retelling of the Crossroads legend, where he sells his soul for fame and acclaim. The lyrics have the clarity and simplicity of a Daniel Johnston tune (who often sang similar laments, now that I think about it). “Bangalore Torpedo” is a rare instrumental, in which it’s nice to hear Bowley’s guitars more up-front within a kind of ‘60s Bossa Nova beat (and the drums also sound clean and clear). I’d love to hear more like this in the future. “Child Redux” sees the return of Bowley’s hardscrabble blues-vocalist persona, though again bathed in phased, psychedelic guitars. The album concludes with a catchy track that vocally features variations of the song title “Kaiju Space” with lots of moaning and humming for good measure. You know it’s catchy because even Bowley snaps along! Like many indie artists, Bowley has a crusty view of his musical reach (“no one in the public will actually listen to these!”) which I believe is misplaced. He’s an interesting and unique artist and well worth checking out!
Band of Jays is the brainchild of multi-instrumentalist Julian Volpe of Charleston, South Carolina. He’s had a 30-year career as a musical sideman on dozens of studio and live projects nationwide, and has just released his third album titled Brand New Heirlooms. He calls it “a fusion of power, pop, and rock, with a huge love for harmonies.”
Volpe lists as influences Jason Falkner, the Posies, R.E.M., and “a subtle whisper of Motown” reflecting his own diverse musical output. Among Volpe’s many accomplishments was being awarded 2023’s Best Rock Artist by the Indie Music Channel. Each track on this album strives to fuse different genres and features soaring melodies, intricate guitars, and soulful harmonies. All recording took place at Volpe’s Jumping J home studio using Logic Pro. Mastering was by Steve Turnidge at UltraViolet Studios, Seattle. Both digital download and vinyl are available. “I’m Fine” starts in a familiar way (for some of us, at least!) with a needle being placed onto a vinyl record. The music has so much going on I barely know where to start! There’s jangly guitars, pop-style organ, bumblebee bass, and tight drums but most of all there’s absolutely sweet, layered harmonies. If you’re at all familiar with radio-friendly pop from the ‘60s and early ‘70s, this song truly is a “brand new heirloom” evoking that era. “You Knew It” features clean, driving guitars like Elliott Smith used to do. The song itself has the sheen of a really good Todd Rundgren track. The chorus vocals feature a neat trick of overlapping the ends of a verse over the start of the next one. As we proceed to “Nothing Will Be The Same,” it’s getting harder not to think of The Beatles, and this track especially sounds like Paul on bass and Ringo on drums from the Revolver era, though the guitars and vocal harmonies are maybe closer to Badfinger. Interestingly “Sun Shine” takes us forward into solo Paul McCartney territory, based on driving piano chords locked in with the bass and drum kit. There’s a cool electric piano solo, making this song mostly about the keys. Not to beat a dead horse, but “You Know” can’t help but evoke the majesty of the Fab’s “Golden Slumbers.” And who shows up for a weeping slide guitar solo? Someone very much like George Harrison! “Solo So Low” has a Klaatu grace and elegance (and you know who Klaatu were mistaken for, right?). In fact, I keep checking to see if I have the right submission sheet because I can’t hear any of the bands they listed as influences in their music. (R.E.M.?) “Again Again” has a cool trick where the rhythm guitars closely follow the vocal phrasing, and is not just a background for them. “We’ll Be Home” combines rapid Led Zeppelin power chords with lightweight, Simon and Garfunkel-like vocals. “I Will Remember” repeats the band’s cool trick of finishing one vocal line just as the second begins, back and forth. There’s lots of cool stuff in this track including “radio-distorted” vocals, crunchy electric keys, and a showcase guitar solo. I’ve rarely heard music so sweet and hard-rocking at the same time. Well, this album is a marvel. If you like retro power pop you need to check it out, and I mean now!
The Naked City Underground is a band that could only have come from Sin City: Las Vegas, Nevada. The band was formed when showman bartenders James (Jimbo) Sordahl and Phillip (Billy Drums) Zurisk joined forces with elite players from across Vegas to “unleash a sound that resonates straight from their souls.” Anticipating their upcoming full-length album Comic Book Heroes & Honky Tonk Zeroes (already on vinyl!), they’ve released three singles titled “Last Stop to Houston”, “Comic Book Hero” and “Coming to Me.”
The band’s music has been described as reaching from “the gritty depths of outlaw country to the sun-soaked vibes of Southern California surf punk, with a sprinkling of blues, jazz, and alternative rock.” Influences run from Waylon Jennings to Nirvana to Sublime. They assert that their songs “take the listener on a journey that could only be told through a lifetime of hard living, love, and heartbreak.” Our first track “Last Stop to Houston” is a song that’s very important to songwriter Sordahl. “Houston has a special place in my heart. I often have reunions with my Marine brothers in Houston or on the beach in Galveston, and this song was written about these trips.” The track begins with a very low-tuned acoustic and deep bass, then kicks into a fun, two-step country romp adorned with trilling guitars and slippery lap steel. Sordahl has a great Americana voice, with just enough grit and hints of good times several times over. The song itself has a basic I-IV-V structure, but the guys decorate this basic skeleton with all sorts of twangy adornments. The most excellent guest lead guitarist is Jerry Tomlin. “Comic Book Hero” is the upcoming album’s second release and certainly reflects the band’s amazing comic-style cover art. This is more of a retro rock track with a structure somewhat like “Wooly Bully.” Less twangy, this song features muted electric guitar chords and a faster one-two beat. Sordahl’s vocal is even more pinched and crunchy, making this almost a novelty track. The third song “Coming To Me” actually has a video so I’m reviewing from there. Basically, lead singer Sordahl starts up his big red truck and sings along to his own music while various band members cavort behind him. This song features percolating, funky guitar licks and jazzy sax punctuations. When Sordahl picks up a gorgeous blonde hitchhiker, the music seems to experience an adrenaline jolt (or maybe that was me!). Sordhal kindly loads up additional hitchhikers who happen to be the other band members. The good times continue until the surprise ending, but make no mistake: these guys make good time music, and to quibble would be churlish. Three great singles from what looks to be a fun and exciting album!
Dino DiMuro, a name perhaps familiar to denizens of this very site is not only a writer but a musician. Yet, his latest endeavor doesn't merely showcase his multifaceted talents; it resurrects a relic from the annals of time, remastering a song birthed in the womb of 1990.
In DiMuro's own words, his musical evolution traces back to the late '80s, where he delved into the intricacies of piano technique and the rich tapestry of classical music. "Mozart's 17th," is genre fusion that transplants the hallowed themes of Mozart's symphony into the fertile soil of rock-prog experimentation. Aptly dubbed "Mozart Meets Zappa," DiMuro's composition straddles the line between a number of different genres in my opinion. As the song unfurls, one is immediately greeted by a surge of energy, propelled forth by the unmistakable timbres of vintage synths. Echoes of chip-tune reverberate through the song bringing to mind old Nintendo games as well as all of the music it inspired decades later. It's a testament to DiMuro's unique approach for marrying the old with the new. Yet, it's not merely a sonic collage; it's a lyrical jaunt through the whimsical corridors of Mozart's life. With tongue firmly planted in cheek, DiMuro regales listeners with the tale of a "gorgeous little boy with the deepest, darkest eyes" who metamorphoses into a "froggy-looking big nose kind of guy," navigating a comical yet fairly accurate representation. Amidst the ebbs and flows of the song's dynamic trajectory, one encounters an experimental zenith that harkens back to the psychedelic odysseys of Pink Floyd and the avant-garde musings of Frank Zappa. Here, DiMuro's invocation of the late composer's name becomes a mantra, a sonic incantation that blurs the boundaries between homage and innovation. Yet, what truly sets "Mozart's 17th" apart is its unapologetic embrace of nostalgia, its whimsical exploration of historical figures, and its refusal to take itself too seriously. Clocking in at under three minutes, it's a whirlwind journey through the corridors of musical eccentricity, leaving listeners yearning for more. Indeed, one can't help but wonder: could an entire album of such audacious experimentation be lurking on the horizon? If so, count me in for the ride.
In the expansive realm of musical expression, Apollo emerges from the depths of a small country town, armed with nothing but raw talent and unyielding determination. His latest album, Dobson, stands as a testament to his unwavering dedication to the craft, offering a glimpse into a sonic universe teeming with emotional depth and lyrical prowess.
The album unfolds with "Midnight Blues (Prayers)," a haunting ode that eschews conventional beats in favor of a delicate interplay between piano and saxophone. Apollo's rhymes glide effortlessly over the ethereal instrumentation, each lyric a poignant invocation to the gods of introspection. "Middle Finger" catapults listeners into a realm of pulsating beats and avant-garde synths, showcasing Apollo's ability to seamlessly navigate the intricacies of rhythm and flow. His verses, delivered with surgical precision, cut through the sonic landscape with a ferocity that is both exhilarating and unnerving. Collaborative efforts such as "Ghetto Kid (feat. Fredii Belaire & Slumlord P)" offer a glimpse into Apollo's world, where the trials and tribulations of urban life are laid bare amidst a backdrop of brooding beats and haunting melodies. Themes of family, law, and societal discord permeate the air, each verse a testament to the resilience of the human spirit in the face of adversity. The album's experimental leanings are on full display with tracks like "Blue Skie (Excuse Me)," a kaleidoscopic exploration of Apollo's psyche. Meanwhile, interludes such as the introspective "Pimp C Interlude" and the succinct yet impactful "Fish Bowl" serve as poignant reminders of the album's thematic depth and complexity. Yet it is on tracks like "Comfortable (feat. Fredii Belaire)" where Apollo truly shines, his lyrical prowess elevated by the infectious allure of captivating guitar riffs and hooks. It's a masterclass in musical alchemy, where disparate elements converge to create a sonic tapestry that is both mesmerizing and profoundly affecting. As the album progresses, Apollo delves deeper into the recesses of the human experience, exploring themes of love, loss, and redemption with a candor that is as refreshing as it is poignant. Tracks like "Moments," "Heartbreak," and "All I Need" offer glimpses into the inner workings of Apollo's soul, each lyric a poignant reflection of the human condition. The culmination arrives with "Family (Until Then)," a hauntingly beautiful closer that tugs at the heartstrings with its poignant melodies and introspective lyricism. It's a testament to Apollo's ability to transcend the confines of genre and language, offering a universal message of hope and resilience in the face of adversity. In Dobson, Apollo has crafted an exceptional album that challenges the listener to delve deeper into the recesses of their own soul. It's a testament to the power of music to transcend boundaries and unite us in our shared humanity.
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Citizen Wet Smack is the 35th album by the incredibly prolific Eric R. Rasmussen, recording as Salon De La Guerre. I reviewed the Salon’s 33rd album Even Toy Dogs Get The Blues, which to me played like an edgy, experimental power trio over which a prose writer freely pontificates (it was really good!). I’m very curious to see what he’s come up with this time.
Rasmussen explains that he often hops genres, having worked in country, classical, jazz, electronic and avant-garde music. However, he always returns to punk, alternative, and garage rock as his main thrust. Underlining his vocal delivery as a prose writer, he really has written several novels and works as a journalist. This new album was recorded late at Rasmussen’s home studio 2023 to early 2024 and is described as “driving punk and alternative-driven guitar, performed on both Fender Stratocaster and musical software, with bits of the No Wave genre of the early ’80s.” The song topics include fools, white-collar criminals, scam artists, cyber-punk kids, bad dads, and bad philosopher dads. “The Least-Loved Child Works the Hardest” seems to start literally in the middle of the first note. It’s a fast, thumping rock construction over which Rasmussen sings his rambling prose poems. The mix is interesting in that the backing “band” track moves to the back behind the vocals, leaving them plenty of room but not exactly meshing with them. On the plus side, you can clearly hear the lyrics, which was not always the case with the last album of his I reviewed. The repeating guitar riff reminds me of the main hook in the classic single “Friday On My Mind.” “Scooter Impossible” (these are all great titles) blasts in maybe three times faster than the previous track. Again it’s mostly a couple of loud and very insistent guitar riffs and hyperactive drums framing Rasmussen’s spoken-sung lyrics. There’s a sudden Devo-like guitar moment in the middle which sadly drops out almost immediately. Playing “Fred Jr.” this morning, I was reminded of the early Who both from the aggressively punky guitar and the Townshend-like vocal. “Once Evil, Now Retired” features some of my favorite guitar riffs thus far, a bit further to the outside than even punk. “Love Subscriber” expands the vocabulary of this album a bit with the addition of keyboards and some especially angular guitar work. I’m getting a whiff of alternative heroes Beat Happening and Daniel Johnston. “The Philosopher and His Grandson” is based on one of the most complex guitar melodies thus far, and it’s amazing to me how Rasmussen plays these riffs without missing a note or a beat. The arrangement seems to be slowly rising throughout, even when it seems it can’t go any higher. “Spoof Addict” is a rollicking track where Rasmussen’s voice recalls Mike Stipe with a structure like early Husker Du crossed with Captain Beefheart. “Adam and Eve Achieve Peak Solipsism” reminds me that Rasmussen’s gritty melodicism often recalls Sebadoh and Lou Barlow. Meanwhile, “The Insurance Claim Sealed with a Kiss” has the insistence of a classic Strokes track. The album concludes with a kind of curtain call for “Fred Jr.” called “Fred Jr. Jr.” which is possibly an outtake featuring the backing track only. You can really hear a connection to early R.E.M. in the naked, jangly guitars. Though I love what Salon de la Guerre is putting out, I do wish Rasmussen might try mixing his backing tracks more intimately with his vocals. With that caveat, I highly recommend this album to lovers of jagged alternative, punk, and all points in between!
In the multi-faceted journey of David Ray, a former New York City cab driver, bartender, bouncer, and actor, lies a treasure trove of experiences that echo through his award-winning compositions. A sonic narrative woven with cinematic finesse, Ray's musical oeuvre has traversed the vocal realms of Grammy-winner Shawn Colvin to the tender strains of Dove Award winner Kathy Troccoli. His melodies, tenderly cradled by the hands of producers from Arif Mardin to Ric Wake, stand as testaments to a life lived in the pursuit of sonic transcendence.
Among the luminaries of folk, Ray's early Fast Folk recordings, alongside icons like Lyle Lovett, Richie Havens, and Julie Gold, now find their rightful place among the hallowed halls of the Smithsonian Center for Folklife and Cultural Heritage. Yet, Ray's journey doesn't merely reside in archival reverence; it springs forth on stage, where he's shared spotlight moments with the likes of Roger McGuinn, Shawn Colvin, and Marshall Crenshaw, among a constellation of others. Venturing into his style, "Habana" unfurls like a delicate tapestry, its acoustic tapestries shimmering with an ethereal glow. Ray's tender croon guides us through a labyrinth of emotion, each pluck of the guitar string a whispered confessional. As the song unfurls, the introduction of a saxophone adds a layer of richness, enveloping listeners in a cocoon of tranquility. Transitioning into "So I Run," Ray embarks on a sonic sojourn through the heartlands of country-infused storytelling. His vocals, a masterclass in emotive delivery, weave tales of longing and redemption amidst a backdrop of twang-laden guitars. Infectiously catchy, the track beckons listeners to join in its melodic journey, a testament to Ray's prowess as a storyteller. With "Rough 'Round the Edges," Ray takes a detour into the dance halls of yesteryear, blending elements of rockabilly and rock with effortless finesse. The track pulsates with an infectious energy, inviting listeners to shed their inhibitions and succumb to the rhythm. What sets Ray apart is his chameleonic ability to traverse musical genres with ease, a testament to his adept songwriting and impeccable delivery. Whether it's the serene vistas of "Habana," the narrative poignancy of "So I Run," or the infectious groove of "Rough 'Round the Edges," Ray's musical tapestry is a testament to the boundless depths of his artistic vision. Take a listen, and embark on a journey through the kaleidoscopic hues of David Ray's sonic universe.
The band Electric Angels is already well-known to the Pitch Perfect site, and Eric Daum is one half of that group. His solo project is called Core Ten, and his fifth full-length album is called Has It Ever Crossed Your Mind?
The songs and music of Core Ten explore Daum’s fascination with late ‘70s and early ’80s synth-pop, ambient, and krautrock. This album delves into themes of "unrequited love, obsessive longing, missed opportunities, and a universe that got its timing wrong. The songs themselves were inspired by an unwitting muse who can and will never know that she inspired this collection." I recently reviewed an album with a similar theme, and I can always get behind a full album’s worth of songs wrestling with a messy, shattered relationship! Musically, Daum describes his structures as "weaving drone and repetition, bubbling sequencers, bouncy synth-pop leads, the romanticism of massed strings and my own unfortunate croon." Speaking of crooning, Daum goes on to note that his vocals are often whispered or intentionally left out of sync with each other "… to suggest the inner conflict of these emotions." The full album has been gestating for more than a year, with many songs rewritten or rejected. Daum calls the recording process "a relatively low-tech affair," having been tracked in his dining room on GarageBand and using Logic for mastering. "Behind Your Garden Wall" immediately put me in mind of Bowie’s electro-pop period, with a similar voice, beat, and arrangement. Daum overdubs some nice harmony vocals on the chorus, which is followed by a natty lead synth melody. It’s a simple but confident dream pop construction with definite spacey vibes. "Kloster av Laderarbetaren" features metallic, ethereal chords rushing in and out like an otherworldly squeezebox. The main melody has a sci-fi movie Theremin texture, interspersed with deliberate, quietly dramatic piano chords. By the end of this brief two minutes, one is amazed at how beautifully these disparate elements came together. "Calliope" has a thumpy, aggressive e-drum beat as Daum speak-sings across the top. The subject matter suddenly becomes quite personal, in much the same way Neil Young sang about his special-needs son in "Trans." Musically, I have to point out the debt to The Human League, obvious though that may be! "The Archetype" opens with a short story told in sound, very much like the opening of "The Dark Side Of The Moon" or ELO’s "Eldorado." The beats here are a bit unwieldy, though brought together by the confidence of Daum’s vocals and the many infusions of acoustic piano alongside the synths. Going way back in time, the opening of "Her Backward Glance" had an effect on me very much like the Moody Blues classic "Knights In White Satin." The chord scheme and orchestrations are similar, and though a short two minutes, I found this composition especially relaxing. "December" is a cover of an Electric Angels song that I actually reviewed way back in 2023. On that album, I was amazed how the boys piled up so many tracks yet still produced recognizable songs, and this one in particular reminded me of the Velvet Underground. Not surprisingly, this version ditches the overdriven guitars in favor or percolating synths, though Daum’s vocals are quite similar and just as good. The insistent, somewhat military-like marching beat of "The Time Of Our Lives" contrasts interestingly with Daum’s sensitive, introspective lyrics. Hard to trust my ears, but I feel I’m hearing some electric guitars in this track, unless the synths have been programmed to sound that way. Daum excels at the slow, steady build, and this is another example of a song that gradually pulls you into its slipstream. Thematically, "Has It Ever Crossed Your Mind?" brings us closer to some sort of closure to this mysterious but broken relationship, and as such, Daum mixes his halting vocals even higher in the mix, with the synth melodies acting as caretakers. But just as the narrator’s heart seems to have opened the slightest bit, "It’s Absurd To Think" takes us literally under the microscope where things look frighteningly oversized: "It’s naive to hope, under the microscope, that we would last / I can’t believe, or that you’d perceive, our chance has passed." The music becomes steadily more funereal, letting us know for sure that the fun times have passed. And yet, darkly beautiful. These songs, along with some shorter instrumentals I didn’t mention, make for a compelling journey and one I’d highly recommend! |
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