Tag: Ambient

9fm – EP Review: “Little House”

On By EclecticMusicLoverIn Reviews5 Comments

9fm - Jarrod Pedone

I recently learned about an outstanding musician who goes by the artistic name 9fm – short for Ninth Floor Mannequin – after he posted his music on my friend Roy’s music sharing website Chatsong. 9fm is the moniker for the solo music project of New Jersey-based singer/songwriter and multi-instrumentalist Jarrod Pedone, and I was instantly moved by his arresting sound the moment I heard it. He melds folk with alternative rock, injecting bits of synth pop here and there to create incredibly pleasing music that seems to draw influences from such artists as Fleet Foxes, Paul Simon and Sufjan Stevens. And not only is his music brilliant and captivating, his poetic lyrics are so deeply compelling and filled with meaning that they seem almost Shakespearean. He’s just released a five-track EP Little House, and it’s marvelous.

Before getting into the EP, a bit of background about Jarrod to provide some context for his music, in his own words:

“Before 9/2/12, I was a full-time musician, recording engineer and composer. On that evening while out for a run, I was struck by an intoxicated driver. I suffered a laundry list of injuries, the most concerning of which was the traumatic brain injury. When I eventually woke up, I learned that outpatient physical and mental therapy understandably left something to be desired in regard to musician’s skills recovery. I naturally resumed my career path. Little did I know that creating music was now going to be by far the most significant source of therapy that I’d experience.”

9fm2

9fm writes, performs, records, mixes and masters all this own original music, and to my ears, I’d say he’s recovered from his injuries quite admirably. He released his debut album Green & Blue for Blackness in 2016, and followed in late 2017 with the EP 5 Characters (In Search of an Exit), both of which are superb. Little House dropped on September 3.

The title track “Little House” kicks off the EP with layers of shimmering synths and fuzzy guitars set to a galloping drumbeat, gently transporting us into to a dreamy soundscape. Jarrod’s warm vocals are lovely, and even more so when backed by his own soaring harmonies as he plaintively sings of letting down his guard and being honest with his true feelings – that he wants to settle down and be married to the one he’s loved for a long while: “To say it all aloud. The things that I had thought for years. I wouldn’t want a change. I wouldn’t change. I want a little house & rings.”

“Tin God” sees him coming to the realization that his lifelong quest to be the best, to be on top, to win, has come at a price, and in the end, did not bring the happiness he’d expected: “The goal was clear from day one. Perfect the game, sharing first place with no one./ Sleep in the hall. No time at all for love now. A legend or a tin god. I risked my life for just one try to dethrone. Well in the end, I did win best of all time. Not worth my time, you keep it, you can keep it.” The track has a progressive rock feel, with reverb-heavy chiming guitars, industrial sounding synths, assertive percussion and echoed vocals. I love the rather haunting melody that weaves throughout the song.

And speaking of melodies, “Allow Me” has one that’s absolutely captivating, in stark contrast to the song’s dark theme. The track opens with glittery, pulsating synths, then expands into a gorgeous soundscape of delicate guitar chords and sparkling keyboards, led by a gentle, driving beat. Jarrod’s layered harmonic vocals are beautiful, bringing chills as they soar. The biting lyrics speak to the facades people create to mask their fears, phoniness and uglier sides, and that doing so only diminishes them: “Lies & smiles are all we are. I think that I can’t keep up. Allow me to let loose, to scream it all. It feels so good to yell out all the truth & the hate that we hold.”

“Good People Bad” was inspired by a Twilight Zone episode called “The Shelter.” In a nutshell, a group of neighbors are at a dinner party at the home of the only family to have installed a bomb shelter (nuclear war hysteria was rampant in the late 50s-early 60s). After hearing a news bulletin warning of an impending nuclear attack, the neighbors panic and turn against the family that installed the shelter and, eventually, each other. (Quite frankly, this episode should be required viewing for everyone right now.)  Once again, the song’s hauntingly beautiful melody and music contrast with the dark lyrics. “The radio sent us all a noose. We pass it around ’til it’s right. The power of numbers can drive good people bad. Left no choice but to fight.”

The meaning of the final track “Absences V2.0” was a bit ambiguous to me, with my best guess being that it’s about how we identify ourselves and others through the prism of all the factors that comprise our belief systems and biases. But 9fm told me it relates to his accident, specifically about getting blood transfusions and how he lost some of his senses that were damaged: “We exaggerate the loves we lost on the way. Missing less each day, the pain, smell, touch & taste. The times that we had seems like they were fine. The saying isn’t true. Absences & hearts go fine.” Musically, the song is the most experimental of the five tracks, with mesmerizing chord progressions, otherworldly synths, and interesting guitar work.

To sum up, I can’t gush enough over this beautiful little EP. I love everything about 9fm’s songs; his lyrics, melodies, instrumentals, vocals, track arrangements and overall production values are all exceptional. I am a dedicated fan!

Connect with 9fm:  Facebook / Twitter / Instagram
Stream his music:  Spotify/ Soundcloud / iTunes
Purchase on Bandcamp / iTunes

THE PUSS PUSS BAND – Single & Video Review: “We Should Be”

On By EclecticMusicLoverIn Reviews4 Comments

Puss Puss Band We Should Be

I’m back in Wales (having just featured Welsh band Dying Habit), this time to talk about the lovely new single “We Should Be” and it’s delightful video from The Puss Puss Band.  Based in Cardiff, and consisting of multi-instrumentalists Asa Galeozzie and Lee Pugh, the band is named for Asa’s cat Puss Puss. Both are accomplished musicians who’ve worked with numerous artists and bands in the UK and Welsh music industry over the last ten years as writers & session musicians. They perform every aspect of their music: songwriting, instrumentals, vocals, arranging, engineering, producing and mixing. Asa plays guitar, bass, percussion, piano and melodica, while Lee plays lead guitar, bass and piano, as well as sings lead vocals.

In April 2017, with help from seasoned musician John ‘Rabbit’ Bundrick, the guys released their beautiful debut album Echoes Across the Cruel Sea. I reviewed the album along with an interview with Lee, which you can read here. Over the past six months or so, they’ve been writing and recording songs for a second album, and “We Should Be” is the first single. It’s a wonderful song, delivering the pleasing jazz and folk-infused pop we’ve come to expect from these talented guys. And once again, Mr. Bundrick lends his expertise on the keyboards.

The bittersweet song is about missing someone and wishing they were back in love with you so you could be together. Layers of gently strummed guitar, crisp percussion and delicate synths create a sparkling backdrop for Lee’s smooth, breathy vocals that convey a sad resignation as he sings the poignant lyrics:

Lighted excited waiting in the rain
Two minutes ‘til I see you again
Near misses, longed for kisses
An everlasting wait
The magic word that is her name

We stole our days away
Wishing by the sea
Wrapped up in you
Wrapped up in me

The way you see the world
Is just the same
It’s just the way you feel about me that’s changed

But we should be….
We should be in love
We should be in love…
See you’re all I’m wishing on

Dying, just trying to find
The words to say
The few minutes that I’ll see you today
Near misses, longed for kisses
An everlasting wait
The tragic word that is my name

If the way you see the world
Is just the same?
Maybe there’s no need…
To hurt in vain?

Is it right?
To close up tight?
To feed this cold divide…
Between you and me?
Is it so hard to see?…
That we should be

We should be…
We should be in love…
We should be in love…
You’re all I’m wishing on
We should be….in love

The video is one of the most delightful I’ve seen in a long while. It shows a man in a cat suit (played by Lee) sitting or standing in various locations on a busy street in Cardiff, holding a large flip chart printed with words that are directed at his love interest. By and by, he walks past a busking musician (played by Asa) and throws a few pieces of dry cat food into his guitar case. I love the scenes where he’s chasing pigeons, riding the merry-go-round, and when he sits on the bench, offers some of his food to a man who politely turns him down, then proceeds to eat it out of the bowl. At the end, the busker sees him sitting forlornly on the ground next to the merry-go-round, offers his hand, and they walk off together down the street holding hands. What a sweet story, and I love both the song and video!

Connect with The Puss Puss Band:  Website / Facebook / Twitter / Instagram
Stream their music on Soundcloud
Purchase on Bandcamp or iTunes

RANDOM… – Album Review: “Long Ago When Tigers Smoked Pipes”

On By EclecticMusicLoverIn Reviews5 Comments

Random... Album Art

Hailing from Rotherham, England, the music project known as Random… (Random dot dot dot) creates multi-textured synthesized music that ranges from dark and politically topical to catchy EDM. Born Ben Ellison, the enigmatic Random… describes himself thusly: “Random… is reclusive, innovative and slightly insane. Those lucky enough to have met him will testify that his view of the world is warped, dark, but always entertaining.”  Who am I to argue with that?

In May 2016, Random… released an EP Headspace, which featured spoken words by poet Wayne Dyson, and in April 2017 he released a remarkable full-length album Out of the Strong Came Forth Sweetness, an ambitious work released through Velvet Moron Records. The album was produced with contributions from two poets, Gav Roberts and Wayne Dyson, along with guitarist Mr Jiggs. I reviewed the album, which you can read here. Now, Random… is set to drop a new album Long Ago When Tigers Smoked Pipes, also to be released on the 20th of August through Velvet Moron Records.

The new album is once again a collaboration, this time with poet Gav Roberts. They explained their working relationship and creative process for the album:

“Random… met rather, well, randomly and they clashed heads from their two very different fields of creativity almost instantly. Having a mutual respect for each other’s work, Ben appreciating Gav’s poetic ramblings and Gav in turn enjoying the unique sounds that Ben creates. They are very much 50/50 doing their own thing and not interfering in each other’s work. Ben doesn’t like writing words and Gav can turn any musical instrument into something with the musical quality of your average Ikea table.

Indeed, the vast majority of what Gav records are poems that would otherwise grow old in notebooks, never to be opened, so he is overjoyed that Ben wraps them up in music.  Both of them are neither precious nor pretentious about their work, both believing that creativity is an entirely selfish process that a human must go through in order to ease the mental passage through this mortal coil. ‘Long ago when tigers smoked pipes’ is the Korean equivalent of ‘Once upon a time’ and that is what Random… have created, a story, a journey through their lives.“

OK, so let’s get into the album, shall we. The first track “The Possibility of 0 or 6” opens with spacey, sci-fi sounding synths and a monotone piano chord, then a pulsating beat ensues. The instrumentals expand into a melodic soundscape as Roberts describes a scene on a platform of a train station, where a woman becomes fascinated with a man pacing back and forth counting. “To wait, on a platform alone with him she feels cursed. Just her and the crazy finger-counter, counting numbers backwards, forwards on his fingers he counts. / So on and so on, til the initial fear she had when she first saw him turns to passive intrigue. / Eventually, one cancellation and several delays announcements later, a full 45 minutes after fear forgot … she observes the pacing man. He’s a friend of hers now. / She’s totally transfixed with the possibility of 0 or 6.” It’s a fascinating and mesmerizing track that seems shorter than its 4:11 minute length, holding my attention from start to finish.

“Gingerbread” is a dark track about a doomed relationship in which the woman tried to make the man into something he wasn’t – the opposites that initially attracted them to each other now repel. The ominous synths beautifully convey the biting resentment expressed in the lyrics: “Within months, I was on a choke-chain of my own making. Wearing clothes that you had bought me, dressed up like some kind of mannequin… I started looking like a really ugly ken doll as the gingerbread-cutting phrases came thick and fast. ‘You drink too much, you smoke too much.’ So Julie I drank less, and I smoked less, but what you didn’t realize was that the opposites were attracting less and less.”

“Supernova” is a hauntingly beautiful and epic track, with dreamy, otherworldly synths. Roberts speaks of going against all common sense and good judgment, submitting himself fully to the passionate urges of love: “I am carefully turning supernova. Here, in the rain. For I have stood here a time or two, thinking of you with a wish or two, chanced away upon a fellow shooting star. I must congratulate you. And I must conclude that I am joining them in their letting go of the ability to hold on to anything, never mind, everything, never mind plans. The scientists have advised against it, and they have done extensive research and they have told me to stop thinking of you this time or two. But, I don’t want to. I’ve told them to fuck right off.”

The lively title track “Long ago when tigers smoked pipes” has a rapid EDM beat that has a sort of African jungle vibe, replete with animal-sounding synths – but of course! It’s  predominantly instrumental, but halfway through Roberts says “This party isn’t over, it’s merely changed form.” Then, toward the end, we hear an echoed voice state “Long ago, when tigers smoked pipes, there was a world that lived in harmony. Without war, disease.” It’s a great song.

“We Occupy” is a hard-hitting protest song of sorts, encompassing many aspects of the human condition from suffering to triumph, and everything in between. Here’s a sampling of the compelling lyrics: “We occupy the shit jobs, the shop floor shelf-stocking rat race. / We occupy fragility in nursing homes and hospitals. / We occupy the uniforms that treat our dying loved ones with respect. / We occupy lives senselessly lost to war. / We occupy an education system manipulated to manufacture robot people with robot souls.  But we will not listen anymore. We have given up on your promise of a house on the hill at 2.4. We occupy free thought, free religion, free love, freedom of any kind.”

Roberts assures a friend or loved one of his unconditional support on “Let Me Know,” a brief track with a languid beat and wobbly synths that feels more like a soothing interlude. Next up is “Sometimes making something leads to nothing,” one of the more unusual and arresting tracks on the album. The track begins with strange, sci-fi synth sounds, then the music settles into a synth-driven melody with guitar, strong bass, and sharp percussion, the eerie synths continuing throughout the song.

The equally unusual and engrossing video shows a man pushing a large block of ice for what appears to be miles through the streets of Mexico City. As he continues on his journey, the block of ice eventually shrinks down to a small chunk, which he nudges along with his foot, until it completely melts away.

The final track “It depends on YOU” is a dire warning about the growing trend toward authoritarianism now happening in many parts of the world, including Europe and the United States. The dark, sinister-sounding synths really make the disturbing words seem all the more chilling:

In our world, there will be no emotions except fear, rage, triumph and self abasement
The sexual instinct shall be eradicated
We shall abolish the orgasm
There will be no loyalty except loyalty to the party
But always, there will be the intoxication of power
Always and every moment there will be the thrill of victory
The sensation of trampling on an enemy that is helpless
If you want to picture the future
Imagine a boot stamping on a human face forever
The moral to be drawn from this dangerous nightmare situation is a simple one
Don’t let it happen.
It depends on YOU

It’s a pessimistic end to a album that at first glance seems rather pessimistic on the whole, yet there are several glimmers of hope and optimism to be found. Random…’s masterful synths are the perfect accompaniment for Roberts’ dark but poetic words, and together they’ve created an enthralling and deeply contemplative work. The album will be available soon on many streaming and download platforms. Random… will give all of the profits from sales of the album to charity and is currently talking to a local independently run charity that helps people with mental health issues.

Track listing:

  1.  The Possibility of 0 or 6
  2.  Gingerbread Man
  3. Supernova
  4. Long ago when tigers smoked pipes
  5. We Occupy
  6. Let me know
  7. Sometimes making something leads to nothing
  8. It depends on YOU

Connect with Random…: Facebook / Twitter / Instagram
Stream their music:  Soundcloud
Purchase:  Amazon / iTunes

MANIPULANT – Single Review: “What Good Are the Stars?”

On By EclecticMusicLoverIn Reviews6 Comments

Manipulant WGATS art

Lancaster, Pennsylvania-based artist Manipulant (aka David Speakman) is an imaginative and intensely creative multi-instrumentalist/composer of electronic music that he refers to as “scientific sound spaces.” He’s also prolific. In 2016, he released his debut album Méthode de Narration, and followed up a year later with the superb Eclectro, which I reviewed and you can read here.  He released a five-track EP Perspective earlier this year, and on July 4th, he dropped his latest work, an EP of sorts with the single “What Good Are the Stars?” as the main track, plus three remixes.

“What Good Are the Stars?” is mysterious and sublime, with a glittery soundscape of swirling synths that seem to float above the subtle bassline. A gentle hypnotic drumbeat  keeps the languid pace, and a delicate but haunting repeating piano riff adds a sense of unease to the mesmerizing track. Manipulant’s smooth, echoed vocals have an otherworldly feel as he sings the lyrics that question his inability to be with a loved one:

What good are the stars?
What good is the sky?
What good is the moon?
What use are these eyes if they can’t see you?

What good are the clouds?
What good is the rain?
If it’s not allowed to wash away pain
What good are the stars?
When they don’t know where you are?

What good are the clouds?
What good is the rain?
If it’s not allowed to wash away pain
What good are the stars?

Next up is the “Beltism Burnt Umber Mix,” which opens with an echoed and grainy background beat overlying the same hypnotic drumbeat and piano riff as in the main track. The synths are not as pronounced on this mix, though they’re a bit more psychedelic, and the bass is somewhat deeper. Nevertheless, this remix is still haunting and mesmerizing.

Each track seamlessly transitions into the next, and the third one is “Alternative Vocal Mix featuring Jennifer Doll.” It’s essentially the synth-heavy main track with added vocals by guest artist Jennifer Doll. Her soft, ethereal vocals take a starring role, harmonizing beautifully with Manipulant’s faintly audible background vocals. The final track is “Anisotropic Mix,” a trippier, bass-heavy remix with eerie-sounding synths that impart an almost sci-fi vibe. All four tracks are pretty terrific.

To learn more about Manipulant, check out his Website
Connect with him on: Facebook / Twitter / Instagram
Stream:  Spotify / Soundcloud
Purchase on: iTunes / Bandcamp

STILL OPTIMIST – Album Review: “Velvet Season”

On By EclecticMusicLoverIn Reviews3 Comments

Mysterious. Captivating. Sensuous. Moody. Gorgeous. All words that describe my impressions when listening to the brilliant debut album Velvet Season by the experimental band Still Optimist. Formed in Paris, France in 2017 by Ukrainian artist Bina Timurova (vocals, songwriting, composing, guitar), and Hungarian Mihaly Sipos (keyboards, synthesisers, electronics, programming), Still Optimist creates an arresting blend of electronic/ trip-hop/ ambient/ cinematic music. In their bio, they colorfully describe their major influences: “alternative and electronic music bands such as The Cure with its contradictory ambivalent of joy and sorrow; Massive Attack with their dark bass lines and atmospheric synth pads; Bjork and her multi-layered meaningful lyrics and the way she moves with her voice on an extreme scale; Tesla Boy with the whole 80’s synth pop vibe and tunes;  The Chemical Brothers for their outstanding soundscape and constant motion in sounds, and many more, such as Phantogram, Atoms for Peace, Him, Depeche Mode, Underworld, FSOL, and Archive.”

Another strong influence for the duo in the creation of Velvet Season was the 2013 Jim Jarmusch vampire film Only Lovers Left Alive. They state: “The slow, dark melancholy, the constant whispering presence of passion and crunchy guitar tunes somehow beautifully lifted, transformed into a fully coherent album.” But whatever their influences, what’s clear is that their songwriting is exceptional, with intriguing lyrics, complex and unusual melodic structures, and innovative musical techniques.

This is immediately apparent on the opening track “Another Space,” which starts off with mysterious industrial sounding synths, a sharp drumbeat and buzzing reverb. Bina’s unusual vocals are baby-like, yet sultry as she sings “I am raising my eyes to the sky. But I’ll never see all the stars in the space. That one day are destined to meet. And their beautiful light, like a beacon for lost ships, will be mixed in a fatal dance. And those stars are destined to meet.” The tempo then shifts to a strong hypnotic EDM beat, as the industrial synths and heavy buzzing reverb continue. Bina croons “And they will be absorbed in their final farewell ball. They could even collapse, giving birth to a Black Hole.” It’s a mesmerizing track.

The creative visuals and design are also an important aspect of their production, as evidenced in their videos like this one:

Next up is the trippy “Dark Places,” with it’s spooky soundscape of grinding psychedelic synths and sensuous keyboards. Bina’s vocal gymnastics are impressive, reminding me at times of Phantogram’s Sarah Barthel. “Voices” has a Depeche Mode vibe, with lush synths that are mysterious and fuzzy.  Bina’s vocals are enthralling as she sings about her fantasies and desires becoming a reality:  “And these voices around my head they are getting louder. Voices around my head they remind me I like it.”

“Here Comes the Sun” is a beautiful triphop song about how natural forces always triumph over humans’ attempt to subjugate them: “Plants overgrown on blocks, drain the strength of concrete, take them into possession.  People are full of absurd in their paltry attempts to transcend over Nature.” This becomes a metaphor for a loved one’s irrepressible nature: “Green sprouts grow through cracks in grey stone. As did your lust for life through all my years.” Bina’s soaring vocals are sublime.

“Chance” opens with a bit of surf guitar riff and strong drumbeat, then glittery synths and what sounds like skittering snare drum are layered over the repetitive drumbeat. With breathy vocals, Bina sings “If I only had a chance to feel your presence next to me. It’s more than I could give or take, that’s something that I can’t admit.” Heavy, distorted reverb and psychedelic synths are dominant features of the mysterious “Free Fall.” Bina passionately implores: “Don’t ask me why I’m afraid ’cause I won’t give you the right answer. When you jump out of a plane in free fall there’s no button to cancel.”

“Nomad” appropriately has a Middle Eastern feel with a beguiling melody and richly exotic synths that evoke the mystery of the fabled Arabian Nights.  Bina’s sensuously breathy vocals are alluring as she sings to one about not being afraid to embrace their final moments of life: “Tell me all if you can about sorrows in your heart, things that you regret. Spell things out if you can. That you had in life, that you won’t forget. Don’t be afraid of nomad, I won’t hurt you bad. In your place some people would be glad. Don’t be afraid, my virtue, I won’t steal from you. I’m here for one thing that I owed you. Cause I’m your death.”

One of my favorites is the dark and haunting title track “Velvet Season.” The song opens with a foreboding piano riff and Bina softly singing. The music and her vocals gradually become more dramatic, conveying a sense of impending danger as the song grows more ominous. The keyboards and other synths are really fantastic. The song lyrics seem to be spoken to the vampire who’s kiss – i.e. bite – has forever changed her existence: “I know that you won’t feel the swelling that sucks the life out of me. / I already miss you, your kiss on my neck. We both know it clearly, there is no way back. / You ask me if I’m scared, yes I’m scared to close my eyes when I’m in bed. I’ll tell you, honey; there’s always a little reason to extend a bit my Velvet Season.” “With You” is a fine triphop song with grainy, otherworldly synths that impart a decidedly psychedelic vibe.

The album closes on a bittersweet note with the hauntingly beautiful “My Shoes.” The complex, layered synths on this track are exquisite, and accompanied by some wonderful guitar work. Bina’s heartfelt vocals are gorgeous, fervently expressing deep sorrow and regret over past sins and transgressions: “There is a time that I want to forget. For the peace of my mind. And if I just could I would erase it all, those horrible things. / Guess, my shoes didn’t fit you. My shoes didn’t fit you as they’re full of broken glass inside. Cause my traumas are full of crime.”

Velvet Season is a truly impressive debut for Still Optimist. Their captivating melodies, outstanding songwriting, and Mihaly’s creative and skillful use of synthesizers, makes for incredible and deeply compelling music. Toss in Bina’s amazing vocal abilities, and the result is a brilliant work of musical art. This is an album that can, and should, be listened to repeatedly, as the complexity of the compositions always offer up new discoveries.

To learn more about Still Optimist, check out their website
Follow them on Facebook / Twitter / Instagram

Stream or purchase their music on YouTube / Spotify / Soundcloud / Google Play / Apple Music / Bandcamp

TEISAN – Single Review: “Anchor Pt 2”

On By EclecticMusicLoverIn Reviews2 Comments

Teisan2

Teisan is an exceptionally talented and prolific young singer/songwriter from Mannheim, Germany who I learned about when he followed me on Instagram. He started playing guitar at the age of 14, and quickly began writing songs in a predominantly ambient acoustic style. His songs tend toward a more introspective side, with heartfelt, personal lyrics. In his bio, he states “I like to make music about things I experienced in my life. What I write down in the lyrics helps me in dealing with past events.” In early 2016, when he was only 17, he released an excellent debut album Different Point of View. He followed up with an equally impressive second album Impatience in October 2017, and I strongly encourage my readers to check them both out.

Teisan has been writing and recording new songs for his forthcoming third album From Ten Thousand Miles Under the Ocean, and recently dropped a new single “Anchor Pt. 2,” which will be featured on that album. The song is a second part to “Anchor,” one of the tracks on Different Point of View. “Anchor” is a bittersweet song with simple lyrics that speak to a loved one who’s letting her fears of the unknown drag her down, the anchor representing those fears. On “Anchor Pt. 2” he’s come to the realization that she’s now dragging him down too:

I write a song, rip out my heart
You didn’t care and laughed
That’s the reason we’re apart
You think gossip makes you smarter
Heavy on my shoulders, I couldn’t swim to the surface
But time made me bolder
Ain’t the one that I need
You’re the anchor bound to my feet

Musically, the track is built around a wistful but pleasing acoustic guitar riff. Delicate, airy synths are layered over the riff, along with sounds of snapping fingers, gentle percussion and added subtle guitar chords to create a serene and beautiful soundscape. Teisan has a smooth, lovely voice, and sings with an earnest vulnerability that’s calm yet quite touching. It’s a wonderful song.

Connect with Teisan:  Facebook / Instagram
Check out more of his songs on his YouTube channel and on Bandcamp

RADIO GALAKSY – Album Review: “Free Ride”

On By EclecticMusicLoverIn Reviews3 Comments

Free Ride

Radio Galaksy is a music collaborative originally founded by Danish composer, drummer and producer Søren Jensen in 2015. Jensen calls Radio Galaksy a “music constellation,” and after listening to their album Free Ride I would say that’s a perfect descriptor. As he explains: “Based on themes such as outer space, coincidences, film scores, time, and everyday life, the album Free Ride places itself as a concept album that allows things to happen just when they do.” The album was released at the end of November 2016.

Soren Jensen
Søren Jensen

Inspired by classic acts such as Pink Floyd, Bill Frisell, Kraftwerk, Ennio Morricone, Ry Cooder and Air, Radio Galaksy skillfully combines elements of alternative rock, jazz, blues, funk, reggae and electronica to create a distinctive and captivating sound. Jensen composed all six tracks in his own music lab, then enlisted the talents of several accomplished musicians, including bassist Viktor Krauss (who’s also played bass for Bill Frisell), guitarist Aske Jacoby, and keyboardist Christoffer Jespersen. Guest appearances were made by Jakob Dahn and Sara Broberg on vocals, Lis Wessberg on the trombone, Mikkel Schnettler on percussion and Dennis Flacheberg on guitar. Additional recordings were made by Marcus Toft at Moremax Studios.

Viktor Krauss
Viktor Krauss

Aske Jacoby
Aske Jacoby

Christoffer Jespersen
Christoffer Jespersen

Jazz and blues influences are strong on album opener “The Lottery.” With Jensen’s crisp, gentle percussion keeping time, Jacoby creates a sultry mood with his nimble, bluesy guitar work as he playfully flirts with the sublime tones of Jespersen’s keyboard and organ. Quirky jungle sounds employed in the bridge add a touch of mystery to the track.

The melodically complex “Elephant Swing” is a gorgeous composition, and one of my favorite tracks. While continuing with a jazzy theme, the track starts out with a strong hypnotic tempo that almost gives it an R&B feel, but with Jespersen’s lovely keyboards delivering an ethereal soundscape to the proceedings. Funky guitars float above a subtle bass line as all the elements come together to create an exceptionally pleasing sound. Spacey keyboards added later in the track create an otherworldly vibe, punctuated by funky, swirling guitar as the hypnotic beat continues.

The track immediately segues into “The Bike,” a languid, nine-minute-long track that feels like an extended chill jam session. Wessberg’s seductive trombone has a starring role here, complemented by perfectly executed instrumentals. As always, the guitar work is outstanding, as are the percussion, keyboards and bass.

Radio Galaksy channels Ennio Morricone (the famed and prolific composer of scores of film soundtracks such as The Good, the Bad and the Ugly, Cinema Paradiso and The Untouchables) on “Pangæa.” Named after the super continent from half a billion years ago, the track features a subtle reggae rhythm injected into a mellow beat, replete with beguiling piano keys, peppy organ and electric guitar strums in the deeper chords. The result is a mesmerizing tune that carries you away to another time and space – to Pangæa perhaps?

“Alone on Planet Earth” conjures up images of intergalactic travel with a mystical soundscape of dreamy keyboards, gentle percussion and a rather melancholy trombone. A layered mix of delicate and gritty guitar riffs add a discordant complexity to the track, as echoed spoken male and female vocals, provided by Jakob Dahn and Sara Broberg, add an extraterrestrial aura to the track: “You threw away the garbage from your past. You pack your bags, the darkness in your eyes expanded, and filled it with something vast. You wish that I would come along. I let go of gravity and second sons. And I don’t wanna run.”

The guys get deep into their groove on the fun and funky album closer “The Lottery Appendix.” The intricate guitar work is freaking amazing, nicely melding with the jazzy keyboards and deft percussion to create an infectious track that’s just too cool for words. Radio Galaksy are phenomenal musicians, and with Free Ride have crafted a brilliant album that keeps getting better with every listen.

To learn more about Radio Galaksy, check out their Website and follow on Facebook & Twitter

Stream their music:  Spotify / Soundcloud

Purchase it on iTunes

EMPIRE TO ASHES – Single Review: “My Own Phantom Limb”

On By EclecticMusicLoverIn Reviews3 Comments

Empire to Ashes is a new ambient / post-rock / alternative electronica project of Jamie Denton, a former member and bassist of the now disbanded New Zealand five-piece Poison Skies (who I loved and featured a year ago on this blog, which you can read here). So far, Empire to Ashes has been a solo project, but Jamie states that it may possibly end up as a collaborative project with other New Zealand musicians at some point in the future.

Through his music, Jamie explained that his aim is “to explore how far melodies can be bent or removed before they break.” He added that his “project is designed to produce questions, not answers.” And after listening to his debut single “My Own Phantom Limb,” which dropped today, I would attest that he fulfills his objective. The nearly six-minute long track takes us on a journey into a gorgeous soundscape of moody synths that chime and soar.

The track opens with what sounds like distorted, static-filled voices coming from a radio not fully tuned into a station, then chiming synths wash over us as Jamie’s otherworldly spoken word vocals enter the picture. His expertise as a bassist comes into play as he lays down a heavy throbbing bass line that gives the track weight, sharply contrasting with the airy synth chords. A hypnotic drumbeat settles in as the synths begin to soar, while a simple piano riff weaves in and out. Along the way, we hear sounds of gentle winds blowing. As the music fades, the song comes full circle, ending with a repeat of the static-filled voices.

The equally gorgeous and compelling video includes footage of frenetic urban life interwoven with calm scenes of nature, such as a forest with falling snow, and sunsets. Halfway through, a woman is shown sleeping, curled up in a fetal position on a bed of fresh snow, as the shadow of a person’s hands move over her as if to shield her from the elements. The imagery then returns to scenes of nature and the city which continue through to the end of the video.

I love this song, and look forward to hearing more from this project. Connect with Empire to Ashes on Facebook and stream “My Own Phantom Limb” on Spotify or purchase on iTunes