Rhett Repko - Thnx For The Ride (2017)

OFFICIAL: http://www.rhettrepko.com/

FACEBOOK: https://www.facebook.com/rhettrepko/

TWITTER: https://twitter.com/RhettRepko

Written by Frank McClure, posted by blog admin

The title song begins Rhett Repko’s Thnx For The Ride on a rip-roaring note. Repko and the three piece band accompanying him tear through this focused song, stopping on a dime, negotiating transitions into tricky time signatures with seamless skill, and Repko sounds energized throughout to be working with skilled musicians. Even on a recording, there’s a palpable chemistry these four musicians share and one can only assume they are even more explosive in a live setting. “Please Don’t Laugh” carries on with some of the skillful twists and turns we hear in the title song and the guitar sound is a bit more “normalized” compared to lead guitarist Stefan Heuer’s effects laden approach on the opener. Repko’s subject matter for the entirety of the EP is, invariably, romantic relationships, but he finds a way to tackle such time tested subjects in a way that feels uniquely individual. It’s no small thing to pull off this late in popular music’s history.

There’s a sarcastic, bitter edge to the track “It Ain’t Coming From You”, but never bitter enough to make this an unpleasant listening experience. It is invigorating, however, to hear Repko sink his teeth into these lyrics and deliver them with a well deserved emotive spike stabbing straight for listener’s hearts. Backing and harmony vocals for the EP are Stefan Heuer’s responsibility and his voice blends well with Repko’s. The emphasis Thnx For The Ride places on vocal presentation is one of the release’s strongest qualities. “Maybe I’m Weak” brings a stronger personal touch than ever before to Thnx For The Ride’s individual take on modern pop rock and Repko’s dramatic vocal is the finishing touch. His singing transforms “Maybe I’m Weak” from a fine track to among the EP’s best.

There’s some sly shifts in tempo thrown in for good measure on the memorable “And I Told Her So”, but drummer Tom Bryant is, arguably, more responsible for the success of this song than any others before or after. The whipcrack pop from his percussion drives “And I Told Her So” along with a mix of modern and classic rock energy. Stefan Heuer deserves a nod, however, for his commanding lead guitar work near the song’s end. The rhythm section churns out another impressive performance with the EP’s second to last number “Learn Your Name” and the groove established from the first is familiar, but rolls over listeners in a distinctive way. Young bands must bring something of themselves to traditional rock songwriting like this if they want to stand out and a lot of that depends on the musician’s penchant for melody. The song’s central riff illustrates that quite nicely.

Rhett Repko’s Thnx For The Ride is an EP but, make no mistake, it’s a notable addition to his growing catalog. These are song crackling in studio form, so we can only assume they will really catch fire on a stage. Repko, undoubtedly, wrote these songs with his live show very much in mind. They are more than entertaining concert fare, however; Repko has, likewise, advanced by leaps and bounds as a singer/songwriter of note and Thnx For The Ride’s songs clearly show his progress.

Shofar - s/t (2017)

BANDCAMP: https://shofar.bandcamp.com/releases

BROADJAM: http://www.broadjam.com/shofar

Written by Mike Yoder, posted by blog admin

Minneapolis’ Shofar has returned to action with a six track self titled EP that finds the Larry Hagner led outfit revisiting the glories of their initial run with a new found perspective that represents a real advancement from their older releases. The songwriting definitely stands apart, particularly lyrically, from standard rock fare, but it’s distinguished with a number of light touches emphasizing its melodic aspects and the recording belies their indie status with its polished, even sophisticated sound. This is a collection rife with accessibility and authenticity alike while they punctuate every track with an intelligence and idiosyncratic flourish that’s all their own. Shofar’s return to active ranks definitely fares a lot better than other such “comebacks” from acts big or small and, even if the musical landscape has changed a great deal, they sound poised to build on their long-standing reputation.

“Running” sets an early desperate tone. Even the more muted verses, with sketched out electric guitar weaving tense melodic lines around Larry Hagner’s voice and lyrics, crackle with unsettled energy. It occasionally erupts into some ferocious riffing quite unlike anything else on the release. “Powerman”, however, is a complete shift into acoustic influenced pop rock harkening more to the classic British rock side of the spectrum with a little California sunshina-via snowy Minneapolis tossed in for good measure. The addition of backing vocalists makes it an all the more enjoyable musical ride and the six string jangle coming through on the tune is a little reminiscent of The Byrds as well. Hagner’s lyrical acumen remains at a high level for the song “Shades of Grey” and the musical mood finds him asserting a little more rock edge without ever exploring any of the harsh power we heard from the EP’s first cut. “Hands Down”, however, should be offered up as Exhibit A that, given the right inspiration, Larry Hagner has conclusively mastered the art of writing a top shelf rock gem. The chorus of this tune makes it priceless and it’s invigorating to hear the band seamlessly shift into a higher gear.

“Countdown” and the EP closer “The Coming” are more overtly introspective and thoughtful material than much of what we hear from this Shofar release/ The first of those two songs is particularly fascinating as it’s essentially a depiction of the world ending and rife with details that show Hagner’s eye for specificity is quite powerful. “The Coming” is a little more poetic minded, but it’s an ideal marriage of music and lyric with, arguably, Hagner’s best vocal performance on the EP. Shofar’s first run didn’t last nearly long enough and we can only assume, based on the strength of this release, that this time they’ve returned with the aim of fulfilling that early promise.

Blue Apollo - Light Footed Hours + Circles (2017)

OFFICIAL: http://blueapollomusic.com/

FACEBOOK: https://www.facebook.com/blueapollomusic/

TWITTER: https://twitter.com/BlueApolloMusic

Written by Jay Snyder, posted by blog admin

Dallas, TX trio Blue Apollo work up an admirable alt-rock sweat on their debut EP release, Light-Footed Hours.  As jangling, angular guitar lines rooted in minor-key chord phrasings brush shoulders with hard-hitting tribal tom rolls, deep diving bass lines and breathy higher-register vocal melodies in the title it’s clear that the band were raised in a school that taught John Mayer, Stevie Wonder, James Blunt and maybe even a little Slint.  It’s a rousing opener with a very casual flow but some nice tempo jolts thanks to Jeremiah Jensen’s punchy snare runs in the second half and guitarist/vocalist Luke Nassar’s scalding lead licks.  This is simply a well-put together rock track and it’s got the vocal magic to mold it into something special.  A great singer can carry an average band but a poor singer can’t carry a top-tier unit, graciously, neither is the case here. 

Groovy funk rhythms especially felt in those throbbing bass lines collide with reggae flavored guitar ska as Nassar breezes through a free-form scat in the hyper catchy “Feeling Right.”  Dramatic musical stops n’ starts lend the cut some jarring sonic expositions.  Jensen’s drums flex nothing but steroid pumped muscle throughout (his snare-work deserves special mention) while bassist Rodman Steele anchors down the groove with dense, fluid bass lines that weave in and out of the main guitar melody.  Luke’s lead guitar runs are yet again a highlight; even adding some classic rock style squeal, scorch and flair to the way they slowly, deliberately uncoil.  A touch of organ accompaniment further enriches the music in a golden 70s aura that enraptures the eardrums and keeps the listener involved for the long haul. 

“Therapy” kicks off with a simultaneously subdued and rocked-out lead guitar riff that picks up the pace as the drumming cautiously ratchets up the intensity.  Soon the rhythm section takes over with tidal ebb n’ flow of gorgeous sound as the guitar occupies an atmospheric role until it swells noticeably in volume during the tune’s show-stopping chorus.  James Blunt fans should be able to get down with the alternately indie and alt-rock tendencies going down in this cut (which so happens to turn out to be one of the EPs greatest highlights).  A melancholy, moonlit piano arrangement opens up “Avalanche.”  This piece provides a showcase for Nassar’s massively expressive pipes and a wonderful singer/songwriter showcase that focuses on the absolute most stripped-down structuring available.  Jensen integrates a sparse kick-drum beat with some cello wrapping around the twinkling ivories.  Layer by layer the song builds into something truly grand.  The bass creeps in carefully with sparse notations that rest within a bed of sparkling, crystal clear guitar melodies.  Surprisingly the music builds to a full band climax with some of the EP’s most frenetically rocked-out instrumentation contained within.  “Meant to Be” adheres to a similar format but pairs Luke’s soothing voice with mainly desolate guitar lines that eventually gives rise to another entire band climactic shuffle which sounds great and delivers the appropriate amount of impact. 

Bonus track turned single “Circles” closes out the record with spacey, high-energy buoyancy rippling in waves of effortless tom-tom pulsations, ever-flowing bass grooves, ambient electric guitar twang, a handful of bluesy riffs and soaring vocals.  It’s a perfect endnote to an EP that traverses many varying modes over its brief 6-song trajectory.  Honestly, the quality and satisfaction delivered by the material hear makes this record feel like a full-length.  At any rate, this is really good stuff and well-worth your time and hard-earned dollar.

Man Called Noon - Everybody Move (2017)

OFFICIAL: http://mancallednoon.com/

FACEBOOK: https://www.facebook.com/mancallednoon/

TWITTER: https://twitter.com/ManCalledNoon

Written by Laura Dodero, posted by blog admin

The third outing from Chicago’s Man Called Noon represents a substantial leap into the future for the Windy City eight piece and Everybody Move finds their brand of intimate, yet intensely physical, music more alive than ever and, potentially, ready to commercially take off in a significant way. However far Man Called Noon takes their dreams, they will always be able to say that they didn’t compromise themselves to reach their goals. The three songs on Everybody Move indulge in a relatively wide cross section of sounds for such a short EP and the band convincingly pulls off that stylistic balancing act. Their music brings singer/songwriter level intimacy together with a soulful, robust approach to arranging along indie alternative rock lines. One of their unique signature, multiple voices exerting some sort of effect on each of the cuts, elevates these already fine songs to a higher realm.

The title song has an ambitious, melodic texture despite its condensed length. James Marino and Anthony Giamichael’s guitars rein themselves in for a fill and rhythm focused performance only occasionally bursting into brief melody laced passages from lead guitarist Marino. Giamichael’s vocals lead the way for Man Called Noon, but Erin Myover-Piotrowski and Jacqyelynn Camden’s contributions are important in this song and the remaining tracks. Much of the Americana touches creeping in on their earlier releases are, largely, missing with this EP, but it doesn’t lessen the impact of the band’s presentation on the title song. “Kiss Kiss Bang Bang” has similar results. This is far removed from Americana and, instead, the funk and rock mix powering this cut is topped off by a superior vocal from Giamichael. The song is a little busier than the title number, but never threatens to overwhelm you. Instead, it has fiery rhythms and a rock attitude that captures you quick.

“One Last Ride” does a much better job of bringing a rock sound into the EP and it’s never inaccessible. Marino’s lead guitar is a pivotal part of what makes this work, naturally, but the rhythm section performance from bassist Dave Aitken and drummer Josh Fontenot keys much of its fireworks without ever sounding too heavy handed. Giamichael’s upper register bent is credible tackling a straight rock track and the lyrics are among the most effective on Everybody Move. Man Called Noon’s EP recording carries the band’s creative vision a significant step forward without ever losing sight of its foundational strengths. Anthony Giamichael and his band mates sound fully engaged with this material and it’ll surely ignite even hotter during live performances.

Michael Askin - Road by the River (2017)

REVERBNATION: https://www.reverbnation.com/michaelaskin

FACEBOOK: https://www.facebook.com/MichaelAskinMusic/

Written by Laura Dodero, posted by blog admin

Breaking away from the cut n’ dry band aesthetic, New Jersey singer/songwriter/multi-instrumentalist Michael Askin (once a member of the bands Divine Sign and My State of Attraction) has dived headlong into a solo career with 2 EPs to his namesake already available to the public.  2013’s Single Step introduced Askin’s folk-y, blues smothered country rock to the masses while 2015’s Ignore the Evidence cemented his keen ear for his chosen style.  His third and latest release Road by the River takes the next logical step with his sound by compacting the songwriting into tighter, gruffer jams that balance melody with an occasional bruising, blues-centered rock n’ roll wallop. 

The title track gets this eclectic EP started off proper.  Punchy percussion, double-tracked acoustic guitar jangle, smooth vocal melodies, Earth-toned lyrics painting a picture of rustic America and ambient electric riffs congeal into a number that’s more pure country than anything that the radio’s been playing for the last decade.  Subtle vocal harmonies and the lush, organic nature of the music is an absolute jewel to behold.  “Nashville” the song sounds like it’s straight out of the USA’s country music capital city.  Electric riffs with a wealth of slide, pocket beat shuffles and a searing, mid-tempo rock n’ roll swagger meld some brimstone wielding dynamics to the contemplative country mule kick. 

After an elegant acoustic guitar riff sets things up, an increasingly harrowing, electric-charged blues rock thrust invigorates the brooding, growly jamming heard on “Sun’s Going Down.”  Organ runs straight out of the late 60s/early 70s (think some of Savoy Brown’s work) permeate the atmosphere with American Gothic manna while intricate acoustic/electric bedding covers a sturdy, 4/4 rhythmic canvas.  Running a similar ramshackle road but placing the glorious acoustic malice a click over the scraggly electric riffs, “Hard to Make a Living” tells the woes of making it as a musician on the dingy club circuit.  Askin’s lyrics paint a very visual scene that should ring true for anyone’s that ever stroke out with their music all on their lonesome.  Musically, each passing moment adds heavier, bluesy shades thanks to dirty guitar riffs and a deeply penetrating, soulful organ drone.  Rounding out this short yet fully effective release, “Last Train” blows in on a breezy acoustic guitar lick that swiftly coils its melodies around Askin’s downplayed, crooning lead vocal.  Wailing synthesizers help the song build-up to a peak of psychedelic majesty as the track and EP itself come to a close and the result is nothing short of magical; another composition that takes Michael’s established sound and again tweaks the formula into something different from the norm. 

The five self-penned tunes on Road by the River are all killer no filler.  Askin’s poignant lyrics and vocals are a consistent highlight throughout and his mastery of various instruments from acoustic to electric give the EP a very dense, deliberate attack with each of songs piling on more layers as they go along.  Fans of country, blues, folk and rock should all find something to love on Road by the River.