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.     

Sarah Morris - Hearts in Need of Repair (2017)

OFFICIAL: www.sarahmorrismusic.com

FACEBOOK: www.facebook.com/sarahmorris10

Written by David Shouse, posted by blog admin

Minnesota songstress Sarah Morris unleashes a potent doozy of an album in the form of her 3^rd release Hearts in Need of Repair.  Fantastic songwriting, knockout instrumentation and Morris’ soaring voice are the glue that holds together an upper echelon recording that doesn’t have a dull moment in sight.  There’s groove and soul to spare throughout Hearts’ 11 rousing tracks with each tune being worthy of endless repeat plays. 

The title track is a punchy, catchy opener drenched folk influence with just the right amount of countrified acoustic guitar licks and Sarah’s skyward pushing vocals.  Morris also handles some of the acoustic guitar playing alongside regular band mate Thomas Nordlund while Aaron Fabbrini contributes exotic pedal steel.  Fabbrini carries over his smooth playing to the next cut, “Good at Goodbye.”  Lars Erik Larson interjects some percussive smacks thanks to his locked on work on the snare and the band’s regular producer Eric Blomquist ladles on a third acoustic guitar for a very vibrant, full sound that creates multiple melodies to follow. 

“Cheap Perfume” enters on a dusky, scrappy blues grind that eventually alters its mindset into up-tempo country.  Andrew Foreman’s electric bass grooves furthers the high noon shootout atmosphere as Morris’ vocals utilize husky lower registers that only highlights her many vocal personalities.  The wispy “Helium” moves at a slower clip and glows like the dying embers of midnight pyre with beautiful acoustic guitars glide above the supple support provided the bass lines.  The stringed instruments construct a rock solid foundation for Morris to paint hymnal vocal melodies upon.  

A duo of harder, more rockin’ tracks appear with the back-to-back attack of “Falling Over” and “Course Correction.”  Nordlund’s electric guitar is a centerpiece of both; bouncing off the numerous acoustic counterpoints that fill this part of tunes with life and soul.  “Empty Seat” draws the blinds, blocking out the sun with a dirge-y acoustic jam that’s equal parts engagingly melodic and heartbreaking.  Returning to hard rocking abandon “Shelter or the Storm” lives up to the “storm” part of its namesake by drilling electric guitar riffs into your cranium and offsetting with just the right amount of harmonic nuance.  The rhythm section explodes like a powder keg all throughout and the triple guitar attack is at its most ruthless right here.  This is easily the album’s heaviest, hardest cut and certainly shakes up the atmosphere like a vial of nitroglycerin.  The record comes to a close with a melodically contagious trio of acoustic leaned tracks with “Nothing Compares,” “On a Stone” and the piano-slicked, epic closer, “Confetti.”  Though the music throughout these songs is similar, each one has its own unique vibe. 

Hearts in Need of Repair is an astounding album and probably Sarah Morris’ finest offering to date.  The turbulent toss n’ turn of acoustic and electric guitar and bass, the generous amount of melodies and texture, the addition of dobro, piano, lap and pedal steel as well as Morris’ picture perfect vocal stylings yields an album that’s airtight in its construction.  Anyone with an ear for rustic rock, country, blues and folk will be unable to stop listening to this disc…it’s simply THAT good.

Joe Olnick Band - Downtown (2017)

OFFICIAL: https://www.joeolnick.com/

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

Written by David Shouse, posted by blog admin

The funk genre lies relatively dormant these days with new artists and acts tough to come by.  I’ve heard a few but other than Alabama prog-funk rockers CBDB, there really hasn’t been that much stuff catching my ears anymore.  I’m a big fan of the genre and it sure is frustrating to have such difficulty discovering new groups.  Well along comes the Joe Olnick band to turn that problem on its head and me on my ear.  Downtown is this airtight unit’s SIXTH record overall…where the heck have I been?

Downtown wastes no time in getting to the point as the title track throws down some heavy, hook-y instrumental funk that’s got no b.s. and showcases a trio of kick butt musicians doing what they do best.  Bassist Jamie Aston catches a boogie woogie, wackachicka 70s lick and engages in perfect rhythmic harmony with his skin-slapping cohort Jamie Smucker who oozes class and quality with every jazzy cymbal splash and a barrage of swift-handed attacks on the snare.  Guitarist/composer Joe Olnick rockets his way across the fretboard; bluesy, FX-pedal goose guitar leads rock and roll their way into extensive, expressive solos and tasty licks.  This is just full powered soul funk that teeters and eventually levels its balance into a supreme mixture of jazz, funk, rock, blues and total catchy goodness.  Sharing a similar mindset, several tunes offer up a congruent yet noticeably different variation on a funk them; “Philadelphia Moonlight (Part One)” utilizes multi-tracked guitars for a clean/distorted double trouble blitz that’s totally settled into a mid-paced glory, “Food Truck” rocks harder and deliberately while allowing the bass to provide its own lead instrumentation and Olnick serving up five-fingered fretwork that nails some exotic high-flyer solos and “Rush Hour” is the kind of old school 70s funk n’ jazz that’s so damn good it could even appeal to fans of the almighty George Clinton and P-Funk. 

Elsewhere the album calls the dealer’s buff and takes free-wheeling chances and gambles with the stylistic side of the coin for the construction of some tunes that are totally different than anything else on the record altogether.  “Parkside” eventually delivers the rockin’ funky grooves but employs a lengthy, meditative first half that’s weird and angular in the way that late 80s/early 90s New York City noise-rock is and its companion piece “Philadelphia Moonlight (Part Two)” is a creepy odd man out cut that features guitar noise, a singular cymbal burst, an individual bass notation and creeping keyboards…it’s a total no-wave approach and there’s really no describing it.  Even crazier, closer “Sports Complex” is a fierce, voracious blend of hard rock and scraping noise-punk that still manages to push the fact that this is a funk/jazz band through and through… a really weird one but a funk/jazz band nonetheless. 

Downtown is a great record.  It’s great because Joe and the boys manage to merge tradition with trailblazing thanks to a refreshingly original approach to the genre that’s never afraid to step outside of its confines.  I could see anyone from fans of Coltrane to Clinton getting a rise out of this instrumental nuthouse.  Joe Olnick’s discography is well-worth checking out if you find yourself caught up with this album; recommended.      

Slow Burning Car - Defection (2017)

OFFICIAL: http://www.slowburningcar.com/

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

Written by Raymond Burris, posted by blog admin

Slow Burning Car offers up a 10-track, hard rockin’ groove fest on their 4^th record Defection.  This twin guitar, energetic group mixes grand melodies with a rough, unpolished edge that is sure to ignite a spirited little mosh-pit at one of the band’s many concerts.  With airplay on 130 stations, this Los Angeles bred quartet has made quite an impact since their inception. 

The aesthetic Slow Burning Car settles on is as follows; not too heavy but certainly not too light.  Songs toss and turn between punk-fed melodies with a lot of pop phrasings and white knuckle guitar heroics where riff and rowdiness are king.  Lead-in number “Alpha Duplicor” is a prime example, the cut settling into a meaty, drop-D groove that allows the 2^nd guitarist to add leads and insert melodic indentations.  Bassist/vocalist Troy Spiropoulos constantly pushes the riffs into action with his bouncy, clearly felt bass lines lifting up from underneath as his voice’s well-contained anger never crushes any of the melodic intentions.  “Soul Crimes” is just as loud but ups the pacing by several clicks and weaves some harmonies into the vocals.  They’ve got a cool, breezy punk vibe that culls from goodtime punkers like Pulley or even Avail.  The mix of hard and soft mainly, not the exact dynamics of those bands; that’s one of Slow Burning Car’s biggest strengths, the fact that they really only sound like themselves. 

“The Orb” uses punk as a foundation but messes with some new wave, FX-dabbed vocal harmonies in the chorus.  It’s an unusual track from the beginning.  Drummer Adam Idell smashes out the intro solo with a syncopated, madman fill and the tune goes tumbling into down tuned riffs and angry, rhythmic vocal jabs.  They combine at least three different elements of genre and mash them up into a seamless barrage of sound.  “Devil in the Room” has got the kind of pop punk smarts that could easily land these guys a record deal with Epitaph; it’s no-nonsense and harder than the stuff that radio plays.  “The Sunday Derby” might stop for some catchy lyrical turns of phrase but this song feels like some twisted, gussied up version of really rocked-out 90s indie that is sandwiched in by another couple chord rocker, “You Can’t Stay Here.”  “Bedtime” is a fine acoustic guitar ditty, a sort of couplet alongside the equally sublime “Chrysanthemum.”  Just when you think the record is going to settle into a singular vibe, the band again pitches a curve in the form of “Polar Warden,” a psychedelic rock piece with a tapestry of loops, sound FX, molten bass riffs and sporadic vocals floating like vapor from your stereo speakers.  “Clouds” brings the album home with some epic, skyward guitar riffing, overcast drumming and stormy low-end yielding an emotionally stirring hard rocker that couldn’t have found better placement as a final number. 

Defection is really in its own league as an album.  It’s fresh, original and pretty rocking with a challenging songwriting approach that skips across several rock genres.  You can tell the band really enjoy and get down on their sound and this plays out to the listener’s advantage while listening to the record.  This album rocks hard and is a lot of fun; well-worth a buy for rock, punk, indie, grunge, and even hardcore fans. 

J.Briozo - Deep in the Waves (2017)

OFFICIAL: http://www.jbriozo.com/

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

Written by Daniel Boyer, posted by blog admin

Jeff Crandall’s work over two studio releases and numerous live appearances with Minneapolis’ Swallows has positioned him as one of the indie scene’s best vocalists on the rise, but his first solo album as J.Briozo, Deep in the Waves, should gain him further renown as a songwriting powerhouse and compelling performer away from the auspices of his full time band.  He tries his hand at multiple forms with this collection and achieves across the board credible results without ever straining listener’s acceptance. There’s a rare level of confidence coming off this release for a debut solo album and one can only ascribe that to the likelihood that Crandall began recording these songs with a sure idea of what he wanted the final results to sound like. There’s little question that he’s pulled that off with considerable aplomb.

There’s obviously a lot of thought and consideration given to these thirteen songs, but there’s ample evidence of a loose, spontaneous approach as well that’s capable of capturing true studio magic. This balance is heard strongly in the album opener “Blind” with its keyboard propelled arrangement and the measured duet-like aspects between Crandall’s voice and the artful instrumentation. There’s none of the acoustic musing in the opener that we hear in the album’s title and second track “Deep in the Waves”, but it also features a much cleaner and accessible approach than Crandall adopted with the first tune. The folksy strum of the song’s foundational acoustic guitar pairs up very nice with his voice. The alt rock confidence coming from “Spinning Out” makes good for Crandall and his listeners thanks, in no small part, to how much the mileage the song gets from its title and the steady fundamentals that enable the track to go deeper than most. It’s one of the few tracks on Deep in the Waves to show off some lead playing, as well, and it punctuates the song to magnificent effect.

“The Big Parade” betrays some bluesy influences while still following the acoustic template that’s been established a few songs in on Deep in the Waves. It’s one of the album’s most involved lyrics and comes off well, colloquial yet eloquent, yet the language manifests a rough and tumble quality we don’t get from the stylish and satisfying arrangement. There’s just enough hint of the epic in the song “Catalonia” that helps it stand out from the pack and the obvious work put into realizing the vocal arrangement leaps out as one of the song’s true highlights. Influences from psychedelia rear their head at various points during the recording and one of the best examples of that strand in Crandall’s musical tapestry comes to life with the song “Firefly” and its focus on atmospherics never plays strained. The tune “Santa Cruz” opens with a mix of ambient electronica before spartan acoustic guitar swells out of the mix alongside Crandall’s dreamlike, smoky mid-register singing. It’s one of the album’s shorter tracks and pairs up well with the next song and album closer “Sun Sun True”, a practically raga-like electric guitar workout with big, ringing chords and an inspired vocal from Crandall. This song closes Deep in the Waves with much of the same individual air surrounding the songs from the first cut onward. Anyone who appreciates fine, stylistically diverse songwriting will find much to admire on this release.