The High Rip is a four-piece indie band from Liverpool, UK who play a deliriously infectious mix of alternative rock and post punk that just makes you feel good. And can’t we use some more of that right now! They also have a wry sense of humor – always a big plus for me. They state in their bio “The most notorious Liverpool gang of the 1890’s was The High Rip. Fast forward 120 years and it would seem little has changed.” Making up this current crew of Liverpool gang members are Ivan on lead vocals, Graham on guitar, Paul on bass and vocals, and Jo on drums.
They’ve released several excellent songs over the past year (I’m especially fond of “Best Holiday” and the T.Rex-ish “System Doesn’t Work”), and just dropped a terrific new single called “Wasted.” The rousing track has an upbeat 80s new wave vibe that reminds me of some of the great songs from The Cure and A Flock of Seagulls, two of my favorite bands from that era. The most arresting element for me is Graham’s exuberant jangly guitar riff that continues throughout the track, as well as some tasty little flourishes of distortion later on. Ivan’s lusty vocals are wonderful, as are Paul’s driving bass line and Jo’s masterful drums pounding out the irresistible beat. It’s a fantastic song that had me hitting replay, and so will you, my kind readers.
Despite the track’s upbeat vibe, its serious lyrics seem to speak of an approaching soul-crushing technocratic and authoritarian state, sort of like the one envisioned in 1984 (and which we’re sadly beginning to see glimpses of today):
And in the future, there will be no understanding Just a series of rules to obey And in the future there will be no together No tomorrow, no today Waste what you like, waste another lifetime Wherever you stand you are in the way
And now this feels like, feels just like I always knew it would feel Like the way that I was told And in the future, there will be no happy ending No way of coming in out of the cold So waste what you like, waste another lifetime Wherever you stand, you are in the way
As a blogger, I’ve gotten to know a great many indie artists and bands, a number of whom I’ve featured on this blog. It’s a real pleasure to follow them on their musical journeys, keeping up with new music they produce over time. And it’s especially heartening for me to watch the younger artists and bands get better and better as they mature and gain more experience. One such young artist is Draft Evader, an earnest singer/songwriter and guitarist based in Chicago who plays rock music with rock’n’roll and punk overtones. Draft Evader is the artistic name for the music project of Ryan Loree, who writes the songs, plays guitar and sings all vocals, with assistance by his good friend Joe Scaletta on bass and drums.
Following up on his last single “The Devil’s Disguise,” which he released in October 2017 and I reviewed, he’s just released a new EP Heel Turn. “The Devil’s Disguise” is a fine, well-crafted single, but he really ups his game on Heel Turn. His song melodies are more fully developed, the instrumentals more expansive and complex, and the production values tighter. But the biggest improvement is in his vocals, which sound really great on the EP.
Heel Turn contains four new tracks that deal with darker themes like insecurity, depression and problematic relationships. He told me “I don’t write love songs, I write hate songs.” And what a songwriter he is, penning such relevant lyrics that perfectly express the pain and anguish he – and many of us – have felt at one time or another. The first track is “Warpath,” a powerful song about not wasting any more time dealing with duplicitous backstabbers who drive you crazy, and making the decision to just let them go. “…to speak my mind is a waste of time. Light up one more cigarette. We’ll walk the hall of hypocrites. And I will bite my nails to the skin. Burn all my fingertips. / A heel turn’s the only way.” The gritty riffs, thunderous bass and pounding drums powerfully convey the raw emotion expressed in the biting lyrics and vocals. I like the little piano riff that appears late in the track, and the strummed electric guitar in the outro that seems to symbolize the sense of sad resignation.
“Complaints” is a terrific hard-driving song that was released as a single in March. The track’s arrangement and production are pretty close to perfection, and Ryan’s guitar work and vocals sound fantastic, as is Joe’s drumming. The lyrics speak of being an overly negative person, unable to see the good in anyone or anything and always complaining (something I’m sorry to admit I’ve been guilty of a few times myself):
Tell me all your secrets Now I know too much Don’t know what I’m thinkin’ or what I’ve become I’ve got nothing better to say Just constant complaints
Hell bent on a mission Objective self-destruct I’ve got nothing better to say Just constant complaints
On “Stutter” he addresses insecurities that cause him to stutter in just about every life situation, except when he’s alone with himself or singing:
Well I stutter when I’m nervous Well I stutter when I’m stoned Well I stutter giving bad news I don’t stutter when I’m alone
Well I stutter when I’m happy And I stutter when I’m weak Well I stutter in good company I don’t stutter when I sing
The poignant rock ballad “Petty” is my favorite of the four tracks. Not only are the instrumentals stunning from start to finish, but Draft Evader’s heartfelt vocals are wonderful, with a raw vulnerability that makes the painful lyrics seem all the more powerful. It’s a gorgeous song. The lyrics are from the point of view of a person saying a final goodbye to someone who just doesn’t want to be with them any longer:
You are so different these days I hope that the old you remains Mistaken for friends, means to an end I know things cannot stay the same Petty that’s how you make me feel Mending my wounds, need time to heal Petty can’t hide, here’s something real I’m ready, now serve my final meal
Though brief, with only four tracks, Heel Turn is monumental in scope. All four tracks are outstanding, powerful and flawlessly executed on every level. I’m so proud of Draft Evader, and look forward to hearing more awesome music from him!
After Aristotle is an indie alternative rock band based in Austin, Texas, and in late January they released their debut EP A Guide To Open Minds. Formed in 2016, the band consists of Kera Krause on vocals & ukelele, Cam Lamother on guitar, Tyson Zaria on bass, Ethan Schrupp on guitar & synth, and Zach Melvin on drums. The title of their EP encapsulates their collective approach to making music. In their bio they state: “We’re all about open mindedness. With a wide range of influences, our sound ranges from soft, indie rock to in your face punk. We let the music decide where it wants to go. We make the music we feel like making and have a great time doing it!”
The EP has a rather heavy, dark theme. With their intelligent, thought-provoking lyrics the band takes on subjects such as depression, fake news and betrayal by both friends and our leaders, and our attempts to find solace through denial and/or self-medication. Setting the tone is opening track “I’ve Got No One to Brush My Teeth For,” a melancholy song about feeling lonely and depressed, unable to see a way forward. With painful resignation, Kera sings “It’s so sunny outside I don’t think I’m getting out of bed. All day under the covers that hope that the day goes away with all of my fear and self hate. Light up the medicine, kill my adrenaline. So scared I don’t know where I’ve been.” The melodic track has some excellent guitar work that goes from jangly to blistering and everything in between, and Zach’s aggressive drumming is on-point.
The hard-rocking “Fakes and Escapes” is my favorite track on the EP. Propelled by Tyson’s driving bass line, Cam and Ethan’s frantic shredded riffs and Zach’s thunderous drums make for a really exciting hard rock song. Kera spits the lyrics that speak of duplicity and betrayal: “Well did you ever bite the hand that fed? Last thing we need is another fake smile. But we’ve all been learning to not feel for a while.”
The band incorporates a bit of Americana on the poignant track “Substance,” featuring some lovely violin courtesy of guest artist Ethan Thayer. Kera plaintively sings “We’re all pleading for a world we’ll never see, while the one where we live passes by like a dream. / We shouldn’t suffer to fuel their greed. And they wonder why we’re popping pills to get some peace. And they wonder why we’re drowning to feel clean. What dragon are we chasing?”
The fast-paced rock song “Shallow Folk” is about having the courage to admit that the lies and stubborn false beliefs you shouted loud and often in order to convince others they were true has been a sham (if only a certain occupant of the White House would do a bit of this self-actualization):
Well what did I think I knew about the world or anything it consumes Appointing answers as if I could back up my stances If I shout it so loud will it earn me my chance now Keep my head held high to combat the downspin of my selfish mind Keep the crowd’s attention just until I believe in my own words I’m still getting used to admitting when I’m wrong
You know what drives me crazy? People who talk with nothing to say See I couldn’t live another day with lips sewn shut, lungs black with regret Mind shut so tight, I suffocate inside of it But I’ve been shallow like water that’s two inches tall It’s no surprise that I’ve been feeling so small
“Escaping Handcuffs” ends the EP on a hopeful note. The lyrics speak to overcoming self-doubt and fear that are holding you back from achieving your potential and living a fuller, more satisfying life. “Don’t let the little things take up your time. Calm down your fight. Pull back the curtain. There’s a whole world and you’re acting so blind. Don’t be scared.” The horns are a nice touch on this soft rock tune.
A Guide To Open Minds is a strong debut effort from After Aristotle that showcases their skillful songwriting and musicianship. I’m curious to see what compelling topics they’ll set to music next.
I’m a sucker for surf guitar grooves, and am really enjoying what seems to be a resurgence of surf rock in all its variations, whether it be garage, psychedelic, punk or even grunge. So I was pleased when the musician Stephen Denning reached out to me about his music project Boogie Board, and his latest album Ferric Tape Noir, which dropped at the end of January. Denning is a solo artist from Chicago who describes his music as “fuzzy midwestern garage/ psych/ surf rock.” He writes, performs, records and masters all his music directly onto a 4-track tape machine in order to achieve a lo-fi sound, and I after listening to the album, I’d say he succeeds quite nicely.
Before getting into the music itself, I’ll provide a bit of background about music tape. Curious about the words “Ferric Tape” in the album title, I Googled it and learned “ferric” refers to ferric oxide, one of the oxides of iron that happens to be magnetic. That quality makes it an ideal coating for tape that allows both the recording and removal of sound. The tape coating on most cassettes sold today as either “normal” or “chrome” consists of ferric oxide and cobalt mixed in varying ratios. According to the website Cassetro, “ferric tape offers deep booming bass, warm mid-range and excellent high frequencies up to 16 kHz (the upper end of most people’s hearing range).” Now I understand why Boogie Board would choose ferric tape to record his music.
He’s been a busy guy the past year, releasing his debut 12-track album Surf N Turf in May 2017, then following up with a five-track EP Dream Telepathy in September. He dropped Ferric Tape Noir at the end of January 2018, then two months later released a double single Portal Window & Infinity Stairs.
Most of the tracks on Ferric Tape Noir are brief, generally running one and a half to just over two minutes, with the exception of “Moon Waves,” which is three minutes long. Also, many are simple instrumental compositions, beginning with album opener and title track “Ferric Tape Noir,” where Boogie Board delivers a repetitive gritty bass-like riff to a rat-a-tat drum beat. I say ‘bass-like’ because though the heavy, gravelly riffs on his songs sound like they come from a bass guitar, he told me they’re all actually only guitar. He added that one track is guitar run through an amp and another features guitar through a bass amp, with the remaining tracks dedicated to drum machine and vocals.
“Moon Waves” is more fully-developed, with an intricate little surf guitar riff flitting over another sustained gravelly riff and frantic drum beat. His extremely distorted vocals add an interesting, rather spooky dimension to the song. The psychedelic “Flying Shadow” is a lively romp, with jangly and fuzzy guitars following a bouncy punk dance beat. We can hear Boogie Board’s distorted repeating chants of “flying shadow” in the background. One of my favorite tracks is “Magic Swamp,” with dense, gritty riffs and a hypnotic beat. I love the bluesy guitar riff in the song’s second half.
“Cowabunga” and “Abyss With Me” are straight-up lo-fi surf rock at its best. The latter track has more distorted vocals of him repeatedly wailing the song’s title. “Night Walk” is very short, basically consisting of a repetitive riff over a gentle tapping drumbeat. Another favorite of mine is album closer “Spectral Glide.” It’s one of the more melodic tracks, with an intriguing guitar riff floating above what sounds like a very gritty bass line and muffled drumbeat.
I thought I’d also touch on his latest two tracks. “Portal Window” has a great little riff along with his highly distorted vocals that are basically unintelligible, but highly effective in giving off a mysterious vibe he seems to want to achieve in his songs. “Infinity Stairs” delivers a fast-paced tempo with rapid thumping drums and more of his awesome fuzzy guitars, along with some tasty added side riffs. I can hear him sing “infinity stairs” but can’t quite make out the rest of the lyrics.
Overall, I like Boogie Board’s interesting style of lo-fi surf/garage rock, and the roughness of his sound. I think he’s a talented guitarist, and would like to see him try some more fully developed melodies and guitar riffs that would make his songs even more intriguing.
Stephen is also a talented graphic artist. You can check out some of his work on his Instagram page.
Face of Stone is a Los Angeles-based music project consisting of songwriter/guitarist/producer Marc Palmer and singer/songwriter/multi-instrumentalist Brad Schecter. Each has years of professional experience both as solo artists and with other bands. Marc has long been lead guitarist for L.A. band The Busboys, and Brad was previously in Scarred and Blue Embrace. Brad released his superb debut solo album Live Your Dreams in 2015 (which I reviewed last year, and you can read here). With Face of Stone, they bring to the table Marc’s skills at writing hard-hitting guitar-driven melodies and coaxing blistering riffs from his six-string, and Brad’s talents at penning compelling lyrics, vocal melodies and harmonies, as well as his great vocal abilities and skills with guitar, bass and drums.
They’ve just released their debut single “Red Moon Sky” and it’s a belter! We’re instantly hit with a relentless barrage of raging shredded guitars and gritty bass, punctuated by occasional blasts of distorted guitar that give the song added punch. The scorching riff in the bridge provides an extra dynamic as well. Brad’s raw, impassioned vocals are impressive, taking this electrifying track to even greater heights. It’s a fantastic debut that whets our appetite for more tasty rock treats from the duo.
Brad told me he purposely writes lyrics with some ambiguity so that more people can relate to them and draw their own conclusions. My take is that the song’s about the thin line between love and hate that can occur in a tempestuous relationship plagued by bad feelings and distrust:
Red Moon Sky. Time to heal until it hurts.
Not one to deny what you need to feel fulfilled.
Just not the one to do it.
You’re not someone who is capable of change.
No matter what, you stay the same.
Imagine if you will that Talking Heads, U2, The Cure and Radiohead all came together to collaborate on an album (after setting aside any and all creative differences). That would be one incredible dream album, right? Well, there is one that sounds like it could have come from such a supergroup: Bastard Performer, by a creative and outrageously talented alternative rock band called Bundy. The album is magnificent – a kaleidoscopic soundscape of breathtaking melodies, complex musical structures and deeply meaningful lyrics that elicit strong emotional responses for the listener. It certainly does for me; each of the tracks are so compelling and beautifully executed they bring tears to my eyes and chills to my spine.
Based in Long Beach, California, Bundy consists of front man Nani Serna (Lead Vocals, Guitar), Johnny Lim (Guitar, Keys), Mike Meza (Drums) and JB Vasquez (Bass). Serna and Lim had years of experience playing locally and abroad before they came together to form Bundy in 2016. “I like to say Johnny is the Greenwood to my Yorke” says Serna, in reference to Radiohead, one of the bands biggest influences. “I’m very much into the reverb drenched, dripping down the walls sound that The Walkman have – but I like to pair it with a Talking Heads feel.” Orange County publication OC WEEKLY named Bundy the Best New Band of 2017, saying: “Bundy temper their dark lyrical content with melodic breaks and pop-forward arrangements, letting audiences come up for air once in a while as they bob their heads to a dancy four-on-the-floor beat.”
The band released three EPs in quick succession during 2016 and 2017, and in late January dropped Bastard Performer, their first full-length album. Serna states the album “is an ode to the sinister feeling of expectations. Of feeling inadequate, unsatisfied, and alone. A lot of this album is about growing up in a broken home. Some of it is political. I thought a lot about my own struggles in life, writing these songs.”
Our first introduction to the album are sounds of sparkling synths, gentle guitar and fluttering horns, announcing the arrival of “Cold Dead Place.” As the instruments build, Serna begins to passionately sing about the pain from the loss of a loved one – “This is a cold dead place. Here lie the memories.” The track shifts to a balled-like tempo, and organ and percussion are added, along with a gorgeous little guitar riff that seems to convey the pain and sadness expressed in the lyrics. The song is mournful yet achingly beautiful.
The poignant second track “Holy Vultures” starts off calmly, but gradually-building riffs of jangly guitars and violently crashing cymbals create a fitting backdrop to Serna’s emotionally-wrought vocals. He wails about the agony of the personal hell he’s going through, causing thoughts of suicide but vowing not to let them overtake him: “I’m being ripped apart by these Holy Vultures. They’re circling the sky. Lighting my head on fire. I’m out of direction I swear. But I won’t let them take me.” The animated video is fantastic.
Bundy really channels Talking Heads on “Lavender and Chamomile,” and by now I’m completely smitten with this brilliant album. The guitar work is so fucking good, with intricate change-ups and melodic shifts that grab hold and shake you out of whatever complacency you may still be harboring. I love the powerful little flourishes of frantic jangly guitar and Meza’s hammering drums which seem to be a hallmark of their signature sound. I also love Serna’s vocals and his craziness that shines through in the endearing, off-the-wall video.
The mesmerizing title track “Bastard Performer” is a deeply personal one for Serna. Addressing his insecurities and self-doubt about his music career, he questions: “What is the point of this? Am I playing to a room full of people who don’t care at all? Does anyone care about me, or am I just stuck in this anxiety?” The poignant lyrics speak to the internal struggle of wanting success and acclaim so badly, but fearing your hopes and dreams are unrealistic and will lead to nothing: “Maybe there’s nothing better than to be in lights. It’s probably too much though, to have hopes so high. Bastard. Performer bastard.” The back and forth wavering of the music and tempo from gentle to intense creates a sense of anxiety that, combined with Serna’s impassioned vocals, makes for a song with great emotional impact. The brilliant and touching video shows an aspiring ballerina as a young girl and a teenager, struggling with her insecurities.
As the album progresses, I continue to be blown away by the band’s incredible musicianship. Remember when I mentioned getting teary-eyed and spine-tingled? Well, “Manic” summons both in spades. God, this song is stunning, with some of the most amazing guitar work I’ve heard in a long while. Like many of their songs, it starts off slowly, with beautiful chiming guitars, horns and a gently tapping drumbeat. A little more than halfway through it explodes into a torrent of shredded & jangly guitars, exuberant horns, buzzing bass and thunderous drums. The tempo shift seems to symbolize the pensive low and manic high of bipolar disorder. Serna wails “I’m up and down, ’cause I’m manic.”
The hard-hitting “Who Let Me In” and “Fill the Well” both have ominous vibes, thanks to a barrage of gritty, distorted guitars, massive bass and lots of crashing cymbals. On the first track, Serna desperately wails: “There’s a monster in a wedding dress. Asking me what am I doing here. And I can’t hear a single thing you’ve said. / I may have made a mistake coming here. But you’re the one who let me in.” “Fill the Well” is an attack on capitalism, and how it feeds our never-ending hunger for material things. “Consume it repeat it. Fill the Well. Wouldn’t you like to try to feel a little better?”
One of my favorite tracks is “Kerosene,” a beautiful track with melodic jangly guitar work that reminds me of The Cure. I could listen to this gem all day! Radiohead’s influence really shows on the funereal beauty “What Blood.” Oh man, here come those chills again! Serna’s heartrending vocals express utter despair as he laments: “Will I feel pain like this when I lay dying? The blood on my hands is mine to keep.”
The album closes with the powerful anthemic “They’ve Left Us,” a scathing attack on the wreckage perpetrated against society by our cruel, greedy and soulless leaders, especially in these tumultuous times.
Well the masters pretended there were lions in the den Rounded up all innocents into a grateful pen Set fires to cities filled with children Told us the answers all laid with them This is how we lost our faith
The changes came quickly and not without a word A nation ignorant left so many unheard But soon came the violence the sullen and the poor Led by the riches delusions of grandeur This is how we lost our faith They left us to face our fates
The music suddenly stops, then resumes with gentle guitars as Serna sings with sadness of people’s acceptance of this poor leadership and their worship of capitalism, believing that having more and more stuff will make their lives better, yet blind to the simple things that are really meaningful:
Some people clock in and clock out, wondering what comes next They spend all their money on meaningless objects They go to church crying that there left with nothing If they open their eyes they’d see the world is stunning
And so is this song, with exuberant horns that seem to soar to the heavens, jangly guitars, glittering synths and thunderous percussion. It’s a fitting conclusion to an album that is quite simply a masterpiece. Everything about Bastard Performer is perfect, and I can’t imagine what Bundy could have done differently on this flawlessly executed work.
You can see Bundy at one of these upcoming shows in their home town of Long Beach:
Dead On Arrival is a formidable alternative metal rock band based in Derbyshire, in the English East Midlands. Formed in 2011, the band consists of Jack Dughan (Lead Vocals & Rhythm Guitar), Ben Calver (Lead Guitar & Backing Vocals), Connor Woodward (Bass) and newcomer Joe Smith (Drums). Drawing on influences from some of their favorite bands such as Metallica, Machine Head, Black Sabbath, Iron Maiden, Asking Alexandria and Bring Me The Horizon, the guys make aggressive rock that’s melodic, raw and in-your-face. In their bio, they state “Our passion is to write, produce and release our own music and then play it live and LOUD.”
In 2016, the band released their debut album From the Ashes, then followed a year later with a scorching hot EP Chasing Tides (which I reviewed and you can read here). They’ve now returned with a new single “WE.ARE.ONE.,” delivering the face-melting metal rock we’ve come to expect from them. Jack and Ben lay down raging riffs of shredded and distorted guitars, while Connor’s deep, buzzsaw bass lines and Joe’s hammering drumbeats keep the frantic pace. The instruments all reach a bombastic crescendo in the bridge, causing an outbreak of goosebumps. Jack’s raw, impassioned screams are mind-blowing, especially given his youth and seemingly gentle appearance.
The scathing lyrics seem to be a repudiation of people or forces trying to hold you back, crushing your soul and self-worth through their lies and lack of faith in you. Jack told me they’re meant to symbolize the band’s determination to continue moving forward, staying strong against whatever odds are thrown their way, and to keep getting better and better. I think they’re succeeding quite nicely.
Don’t take this away from me Where are you gonna lay when you’re dead? When you’re buried in the ground covered in shit and dirt. And no one knew you existed. It’s all on you, It’s all on you. Karma wasn’t my intention. These things just happen.
You can try and take what’s mine. I can see right through the lies. But you can’t take, you can’t take this away from me. And no we won’t fall. It’s us after all.
You can’t take this away from me. You won’t take this away from me. You won’t be the end of me. We will never rest We are one, and one to be.
The awesome video of the band performing the song was filmed and produced by Bigger Boat Film.
You know those instances where you hear a song for the first time and you instantly love it? Well, that’s what I felt when I laid my ears on the wonderful debut single “Bierkeller” by UK band Circle Casino. Released in January, the song is so ridiculously catchy and upbeat it made me feel like a giddy teenager. Comprised of lead singer and guitarist Jordan Ashurst, lead guitarist Tom Brindle, bassist Arran Murphy and drummer Tim Glynn, the band amusingly describe themselves thusly: “Fresh out of your nan’s microwave, Circle Casino are a band from Greater Manchester, caressing your ear-buds with sweet sweet love.” I can most certainly attest that they caressed mine exactly as promised!
The track kicks off with a bouncy riff of jangly guitars and an infectious drumbeat, grabbing hold of your ears and hips with a firm grip from which you won’t be wanting an escape. Layers of intricate guitars and synths are added, along with a thumping bass line, making for a gorgeous musical backdrop for Jordan’s beguiling vocals. I’m one of those silly Americans who finds British accents endlessly charming, so I love that his Mancunian accent comes through in his vocals.
With a rather unusual title for a song from a British band, “Bierkeller” is named for a German drinking establishment where the song’s storyline takes place. The lyrics tell the tale of a character who has a sexual encounter with a woman in the bathroom of the Bierkeller. “She’s got her hands inside. Her hand’s in mine. Her hand’s down mine as she guides me away. I can keep your bathroom secret. ‘Cause I’m your bathroom secret.”
“Bierkeller” is fantastic, and an outstanding debut for Circle Casino. If they follow up with songs even half as good, I’m confident they’ll still sound terrific, and I cannot wait to hear them!
James Bakian is a majorly talented and charismatic young singer/songwriter from London, UK. He’s only 14 years old, but possesses a phenomenal vocal styling with a maturity beyond his years. He writes all his own songs and music, and records all the instruments. He’s also a hard-working and prolific musician. James released his second EP Unstoppable – a really fine effort featuring six tracks – in late 2017 (which I reviewed), and in the first three months of 2018 he’s already dropped five new singles, the latest of which is “Ice Cold,” which debuted on March 30.
The new song is a bit of a departure from his usual soulful pop sound. James states that he’s been exploring R&B and lo-fi hip-hop, and boy does he deliver! The track is mesmerizing, starting off with sounds of static and a hesitating synth chord, then unfolding into a gorgeous soundscape of shimmering keyboard synths floating above a languid hip hop beat. James’ smooth vocals are captivating, and sound better than ever. He can seduce us one moment, then raise goosebumps with impassioned pleas the next. It’s a fantastic song, and it’s wonderful seeing his music and vocals continue to mature so nicely.
“Ice Cold” speaks to not allowing self-doubt and past mistakes to turn you into a bitter person:
Build up strength to live a day yeah All you want is to escape yeah Don’t let words intoxicate you We all get deserted sometimes
We get disappointed with what we’re assigned Can’t go without a complaint in your mind Losing your patience is turning you blind You need space to rewind
Cause you’re ice cold And it’s making you bad but you deserve a chance And we all make our mistakes but they are just mistakes We don’t catch the message so we all get sad
Xotic Yeyo is an entertaining band with a cool name, and they’re bound and determined to get our asses on the dance floor with their funky psychedelic rock grooves. The Miami-based threesome consists of Stu Sauce on guitar and lead vocals, Rod Reiter on bass and backing vocals, and Cody Orange on drums. Their upbeat sound is influenced by funk greats like Parliament, Curtis Mayfield, Average White Band, Prince, Gil Scott Heron, Phish, Primus and Jamiroquai, among others.
The guys dropped their debut EP Down 2 Funk in November 2016, which I reviewed, and are now back with a full-length album Chocolate Decadence, featuring 10 tracks guaranteed to funk you up! (The three original tracks from Down 2 Funk are included on Chocolate Decadence.) The artwork for both their EP and album are pretty risqué, and a good indication of their playful attitude and approach to their music: don’t take yourself too seriously, let loose, and have a good time.
That’s immediately evident on the zany opening track “Heyo Yeyo Mr. Snowman.” It’s a humorous take on a Christmas holiday song, with silly lyrics sung by Stu’s grainy vocals, but when the guys lay down some funky grooves, it all works. And it goes without saying that the video would be as crazy as the song, with a Black Santa passing out small gift boxes filled with snow – a precious commodity in South Florida where it never snows. (Interestingly, both ‘yeyo’ and ‘snow’ are slang for cocaine, but I’m sure it’s meant only as a pun in the video.)
One of the things I really like about Xotic Yeyo is how their songs sound like they’re being played live. On many of their tracks, they launch into what seem like mini jam sessions, giving them a spontaneous lo-fi vibe that sounds fresh and never over-produced. Some great examples of this can be found on tracks like “You, Me & the Funk,” with it’s tongue-in-cheek lyrics “A ménage a trois out on this dance floor. / Gonna funk so hard, you’ll never funk nomore.”
Another is“Disco Zombies,” an infectious earworm with great guitar riffs and jazzy grooves set to a catchy dance beat. Stu sings of the perils of looking for romance on the dance floor: “Fall in love on the dance floor with disco zombies that take control. Fall in love on the dance floor, they bite your neck and they suck your soul.” And one of the best is “Trip the Lights,” a six and a half minute long funk fest. I love Stu’s wobbly distorted guitar riff that continues throughout the song, backed by Rod’s funky bass and Cody’s strutting drums and crashing cymbals.
The guys take a mellower turn on “Love Triangle,” a pleasing track with a laid back R&B/hip hop tempo. Stu’s guitar work is terrific, and nicely complemented by Rod’s smooth bass line and Cody’s cool percussion. Stu’s gentler vocals sound really nice on this track, especially when harmonizing with Rod’s backing vocals.
The guys sing about who they are and what they do on the delightfully funky “Mothership,” which I think should have been the first track on the album. The band’s funky style is in full swing on this track, with Stu’s awesome guitar riffs in perfect rhythmic harmony with Rod’s funked-up bass. Stu’s quirky, rapid-fire vocals inject a playful hip-hop energy that makes this a fantastic tune. The song’s video shows the guys performing the song and cavorting with friends, clearly enjoying what they’re doing and proving they’re all about having fun and wanting their listeners and fans to have fun too.
Catch Xotic Yeyo at one of these upcoming shows:
Apr 19 Dada – Delray Beach, FL Apr 27 Kilted Mermaid – Vero Beach, FL May 17 Orange Blossom Jamboree – Brooksville, FL May 18 The Warrior – Tallahassee, FL
ECLECTIC MUSIC LOVER 