Tag: Experimental Rock

REBEL TRAMP – EP Review: “Intra Dimensional Frequencies”

On By EclecticMusicLoverIn Reviews9 Comments

Rebel Tramp is the music project of Bob Prince, an imaginative songwriter, composer and multi-instrumentalist based in Petaluma, California, a bucolic city north of San Francisco. Playing guitar, bass and keyboards, he creates his own unique sound by weaving together elements of blues, hard rock, psychedelic rock and electronic music. In a great interview last August with Marc Schuster for his Abominations blog, Rebel Tramp commented on the vast array of artists who influence his sound: “I’ve played in lots of blues bands and have a huge blues influence. BB king, Albert King, Mike Bloomfield on and on. Also, Hendrix, Jaco Pastorius, John Coltrane, Any Jazz Fusion from the 70’s, Metallica, and Sound Garden are probably my biggest influences.”

In addition to Rebel Tramp, Prince has also collaborated with several other artists, as well as being involved in another music project Amplitude & Frequency, which includes British musician SD Charlton on vocals and Taylor Allum on drums. Together, they put out an EP Urban Frequencies last June.

On February 3rd, Rebel Tramp released his latest EP Intra Dimensional Frequencies, and let me just say that’s it’s a psychedelic trip on steroids! He wrote the EP last year for the Lights And Lines Album Writing Club, a community event in which more than 50 artists signed up for the challenge of writing and recording an album or EP in a month. The brain child of Brighton, UK-based Mike Five, a guitarist, podcaster, and curator of the Off The Record Independent Music Festival, Lights And Lines is a music collective and independent record label whose mission is “to share new and exciting music from the underground with music lovers everywhere.”

Rebel Tramp decided to take part in the competition to – in his own words – “be my weirdest self“, and Intra Dimensional Frequencies was the result. The EP depicts a phantasmagorical songwriting journey, overflowing with wild experimentation and reflecting a strong desire to expand his creative boundaries to their fullest. Well, he achieved that and quite a bit more. Intra Dimensional Frequencies went on to win ‘Best EP’ in the competition, and was later released through the Lights And Lines label.

Most of the tracks are instrumental-only, with sci-fi themed titles like “Deep Space Blues”, “Intergalactic Spies”, “Robotic Fantasy” and “Funky Jupiter”. The lone track with vocals is “Deep Space Blues“, where Rebel Tramp reminds me a bit of Dan Auerbach (of The Black Keys and The Arcs), as he sings “There’s a place in deep space, where the roses are red./ I’m gonna sing my blues away.” Musically, the track is a languid bluesy number highlighted by a dramatic mix of tortured psychedelic riffs, gnarly blues guitar runs, sharp percussion and feedback-infused synths.

“Intergalactic Spies” sounds like it was recorded at a jam session in heaven between Albert King, Frank Zappa and Jimi Hendrix. Rebel Tramp’s double-barreled fusillade of wobbly blues and screaming psychedelic guitars are truly a thing of wonder, layered over a bed of crushing bass and accompanied by smashing drumbeats. “Robotic Fantasy” lives up to its title, with droning industrial synths, discordant guitars, electronically-generated and otherworldly robot-like vocal sounds, and an abundance of snappy drums and crashing cymbals.

On “Funky Jupiter“, Rebel Tramp uses a colorful mix of skittering keyboards, wobbly guitar notes, funky bass, assertive percussion and lots of fuzzy reverb to create a somewhat chaotic soundscape, though he ends things on a gentle, atmospheric note in the outro. “Same Channel” is perhaps the most melodic of all the tracks, with a wonderful soulful groove, highlighted by glittery spacy synths and dual funky and bluesy guitars layered over an assertive drumbeat.

The final track “Wavetashia“, which was the first single released in advance of the EP, is described by Rebel Tramp as “a psychedelic, blues rock electronic rollercoaster we ‘must be this tall to ride‘”. The powerful combination of crunchy synths, wailing psychedelic guitars, deep throbbing bass, snappy drums and otherworldly female vocals create a euphoric and trippy soundscape. The video he created for the track, using royalty-free video clips from Cottonbros, Koolshooters and Pavel Danilyuk, shows an array of glamorous people getting lost in the music being spun by a DJ.

Intra Dimensional Frequencies is a superb EP, and a testament to the impressive creativity, imagination and skillful musicianship of Bob Prince – aka Rebel Tramp. I’m confident we’ll be hearing more great, innovative musical creations from him in the future.

Connect with Rebel Tramp: Twitter / Facebook / Instagram

Find his music on Bandcamp / Spotify / Apple Music / YouTube

New Song of the Week – HEIST AT FIVE: “Faceless”

On By EclecticMusicLoverIn Reviews1 Comment

Ever since I first learned about the wickedly talented and undeniably charismatic electro-rock band Heist At Five, they’ve been one of my favorite indie acts. Based in London, the band has an international pedigree: front man and lead vocalist Oskar Abrahamsson is from Sweden, guitarist Jozef Veselsky is from Slovakia, bassist Marco Paone hails from Italy, and drummer Josh Needham is from England. Together, they play an aggressive, innovative style of alternative rock that borders on experimental, with complex melodies, intricate chord progressions, spine-tingling electronic and guitar-heavy instrumentation, and electrifying vocals.

I’ve featured Heist At Five a number of times on this blog, most recently this past August when I reviewed their single “Friday Night”. (You can read some of those reviews by clicking the links under “Related” at the end of this post.) With its jubilant Latin-flavored dance-pop vibe, the song is a bit of a departure from their typical edgy and harder rock sound, though it still features many of the stylistic elements and complex instrumentation that make their music so brilliant. The terrific song has spent the past 10 weeks on my Weekly Top 30. Now the guys return with an dark and explosive new single “Faceless“, which I’ve chosen as my New Song of the Week.

About the song, the band explains: “‘Faceless’ deals with an individual who struggles to form an identity, and tries to do so by piecing together scraps
of different characters. To capture the essence of this inner conflict, we invited people of different backgrounds and upbringings to collaborate, and create several layers of vocal overdubs that interpret the lyrics with contrasting emotions. The claustrophobic cluster of voices ultimately explodes in a bombastic chorus, which blends rock and metal with elements of industrial, hip hop and dubstep.”

“Faceless” is the band’s most experimental and intense song yet, incorporating the aforementioned elements of rock, metal, industrial, hip hop and dubstep to create a volcanic eruption of sound. The song blasts open with Jozef’s distorted guitar, punctuated by an explosive torrent of staccato riffs, firing through the airwaves like a rogue machine gun. Marco lays down a pummeling bass line while Josh smashes his drums with all the power he can muster, driving the relentless crushing rhythm forward. All of this is accompanied by a swirling maelstrom of tortured and spooky industrial synths, adding even greater drama to the sonic mayhem unfolding before our ears. The exquisite production, mixing and mastering of the track was done by Simon Jackman.

I always love Oskar’s highly emotive vocals, and he nicely delivers here with a mix of menacing drones and impassioned wails that are downright chilling. Additional vocals contributed by Oskar’s sister Elin Abrahamsson, SERENA, ANGIE, Sean Frost and Peter Gentry serve to heighten the levels of tension and uncertainty.

“Faceless” is a brilliant song, and a testament to Heist At Five’s ongoing growth and maturity as a band. They continue to push the envelope through their fearlessness, superior songwriting and outstanding musicianship, and I eagerly await their next musical creations.

Follow Heist at Five: Website / Facebook / Twitter / Instagram
Stream their music on Spotify / Apple Music / Soundcloud
Purchase on iTunes / Bandcamp / Amazon

JONNY POLONSKY – Artist Spotlight and Album Review: “Kingdom of Sleep”

On By EclecticMusicLoverIn Artist Spotlight, Reviews6 Comments

Jonny Polonsky

Singer-songwriter, producer and multi-instrumentalist Jonny Polonsky has been actively involved in the music industry for over a quarter century, both as a solo artist and as a session musician and member of several bands, however he’s never become a household name. He grew up in the north Chicago suburb of Wilmette, Illinois, where he started playing music before he was ten, and performed in his high school orchestra and jazz band. As a precocious teen, he began writing songs and recording them on homemade cassettes, handing them out to friends and using them as an excuse to go backstage and meet some of the musicians he admired.

One of them was Reeves Gabrels, who was a guitarist for David Bowie and now with The Cure. Gabrels in turn introduced Jonny to Frank Black/Black Francis of the band Pixies, who ended up producing his first demo. That demo resulted in famed record producer Rick Rubin signing Polonsky to his record label American Recordings. Here’s the demo for “In My Mind”, which was later used in 2012 for episode five of the first season of the HBO series Girls.

The demos were eventually released, however, Polonsky re-recorded the songs himself using digital home recording equipment, and self-produced what would become his debut album Hi My Name is Jonny. The album, released by American Recordings in January 1996, showcased his strong songwriting, singing and musicianship, and received critical acclaim from numerous international news outlets including The New York Times and MTV.

Following the record’s release, Polonsky and his live band supported Frank Black on his North American tour, and also played the Second Stage of the 1996 Lollapalooza summer tour. He spent the next several years touring with other acts like Pete Yorn, and working as a session musician for such acts as Donovan. In 2001 he released an EP There is Something Wrong With You, and a year later moved to Los Angeles, where his connection with Rick Rubin led to work as a session musician on albums by Minnie Driver, Neil Diamond, Dixie Chicks and Johnny Cash, among others. In 2004 he released his second album The Power of Sound, and in the spring of 2005 he and his band opened for Audioslave on their North American club tour.

Serendipity and the power of networking paid off once again for Polonsky, as this time his touring experience with Audioslave led to him becoming part of the short-lived band Big Nose with Audioslave/Rage Against the Machine drummer Brad Wilk and bassist Tim Commerford. Big Nose collaborated on two songs with Tool and A Perfect Circle frontman Maynard James Keenan. who used those songs for his music/art project Puscifer. That resulted in Polonsky having a collaborative relationship with Puscifer lasting from 2007 to 2010, during which time he also toured with the band as their guitarist.

Eight years would pass before Polonsky would release another solo album, and in 2012 he dropped his third LP Intergalactic Messenger of Divine Light and Love, a fine work that saw him experiment with more psychedelic and alt rock elements. On his 2015 album The Other Side of Midnight, his music continued to evolve into a darker, more atmospheric sound with greater used of synthesizers and programmed drums, all self-recorded on his laptop. Also, his singing style incorporated more falsetto and whispered vocals.

In 2018, he released his fifth album Fresh Flesh, a fascinating and eclectic work that fused alt rock with post-grunge, psychedelic and shoegaze elements. The album was recorded with his live band in two days at Rick Rubin’s Shangri La Studios in Malibu California, and features guest performances by vocalist Mark Lanegan (formerly of Screaming Trees and Queens of the Stone Age), and drummer Kevin Haskins of the band Bauhaus, (and formerly with Love and Rockets and Tones on Tail). The title track “Fresh Flesh” is particularly good, with trippy synths set to a haunting melody, and highlighted by a blistering guitar solo.

On March 6, Polonsky returned with his latest album Kingdom of Sleep, an eclectic collection of eight captivating songs. He delves deeper into dream pop and vapor wave territory here, while retaining some of his signature alt rock and psychedelic elements. It also sees him going full-circle, in a sense, as like Hi My Name is Jonny, Kingdom of Sleep was entirely self-recorded and produced at home. Polonsky moved to Brooklyn, New York in 2018, and no longer has his old band of musicians nearby to record an album with him.

In an interview with The Big Takeover webzine, he explained “I live in an apartment in Brooklyn, so I can’t make a lot of noise, and I’m not in a position where I can spend thousands of dollars in recording studios or in hiring musicians. So that also plays a large role in why I’ve been recording everything on my laptop and most of the drums are electronic. Plus it’s fun. I like these sounds. For this record, I felt like making really pretty, dreamy, beautiful and melodic music that painted a picture. I was listening to a lot of Cocteau Twins and Prince. And David Lynch is always an inspiration. I love his films, but his records are really great, too. They are strange, little worlds you can enter and feel like you are somewhere new, just like with his movies.”

Johnny Polonsky Kingdom of Sleep

The album opens with “Ghost Like Soul“, a moody track with languid, psychedelic synths creating an appropriately spooky and mesmerizing atmospheric vibe. Polonsky’s breathy vocals alternate between an eerie, electronically altered monotone to an almost menacing whisper, while guest vocalist Cedric Bixler-Zavala (of the bands At the Drive-In and The Mars Volta) provides echoed spoken word vocals. The lyrics are cryptic and packed with meaning, and though I’m not sure, the lyrics seem to speak to changing societal and cultural mores, and how those in power use communication and propaganda to influence our thinking: “Seasons change and people get strange / In the courtroom of your mouth, you put all tongues on trial.”

Polonsky changes things up on “Sign in the Window“, a lovely song with a bouncy, driving beat and soaring melody that reminds me a bit of Future Islands’ “Seasons (Waiting On You)”. The smooth synths and gently strummed guitar provide an enchanting backdrop for his breathy vocals as he sings of his love and desire “All I want is for you to be real / And let me heal inside your light.”

On the wonderful Beatle-esque “The Weeping Souls“, he uses lush sweeping strings, keyboards and flute, combined with an exuberant mix of chiming and jangly guitars, and layers them over deep, rolling percussion to create an exhilarating and colorful soundscape. Polonsky fervently sings the rather explicit lyrics: “We live inside of a dream / If you let me in I’ll protect your heart / Turn lead to gold / I live inside of your thighs / Just to make you cum / And avert your gaze from the weeping souls.” It’s one of the standout tracks on the album.

Another favorite is “No Tears“, an achingly beautiful dream pop song with drop-dead gorgeous chiming guitars and magical synths. Polonsky’s breathy croons are positively sublime as he laments of a love that is no more: “Oh what more can you say? / After you cry yourself to sleep / And there are no tears left to weep.” “Take Me Home” has a rich cinematic feel, with dark, pulsating synths, twangy guitar and harmonica giving the song a sweeping Sergio Leone Western vibe. On the sultry “You Turn Me On“, he leaves no room for doubt as to his carnal intentions as he seductively croons “You turn me on / Close the window, shut the blinds, leave your panties and your past behind.”

“Aenerone” is an enchanting, mostly instrumental track with sparkling ethereal synths accompanying a mesmerizing synth bass beat. The only lyrics are “You / Me / Us / We / All Of Us Are On our own.” “A Willing Eye” seems to speak to the incredible power of love, and opening oneself up in order to be able to love others, and accept love in return: “To realize you’re alive when you’re most vulnerable / Ooh you’re the only want I want /You lift me up above the fear/ To see with a willing eye is all it takes.” Polonsky’s soaring cinematic soundscape is a lush backdrop for his plaintive, breathy falsetto vocals. The song ends on a positive note with him reassuring us that “Love is the force that does surround you“.

It’s an uplifting and beautiful close to a really marvelous album. With Kingdom of Sleep, Jonny Polonsky continues his winning streak of delivering solid, well-crafted albums that reflect his ongoing desire to keep pushing himself into new musical realms. While reaching back to the past for classic stylistic elements, he simultaneously manages to create music that’s fresh, cutting-edge, and always a pleasure to hear.

Connect with Jonny: Facebook / Twitter / Instagram
Stream his music: Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Google Play / Amazon

A MILLION RICH DAUGHTERS – Album Review: “Hidden Parents”

On By EclecticMusicLoverIn Reviews2 Comments

A Million Rich Daughters

Today I’m happy to introduce my readers to a terrific band with an equally terrific name: a million rich daughters. Hailing from Chicago, they play an interesting and totally unique style of, in their own words – “garage/industrial/horror inspired alternative post-punk – music that transcends the typical boundaries of the observable universe.” That sounds about right. The band was founded by brothers Brett and Jake Grant, with Brett on vocals, guitars and synths, and Jake on drums. They were later joined by Matt Clepper, Rene Gutierrez and Taylor Ford, and just released their new EP Hidden Parents, which dropped November 15. After recording the album, Gutierrez and Ford left the band, and were replaced by bassist Josh Victor. Brett also has a solo project under the moniker brett.grant.5, and released his own EP disqui.etude this past June (which I reviewed).

The first track “Hitting Backspace” is a reworking of a song that was originally featured on disqui.etude. This time the mesmerizing track has been expanded by more than a minute, and gets a heavier full-band treatment. Starting off with moody, throbbing synths and shadowy bass chords, the music gradually builds into a spine-tingling crescendo of swirling jangly and psychedelic guitars, accompanied by harsh industrial synths and a deep, thumping percussive beat. Brett has a quirky, distinctive singing voice, and here he sings in a kind of plaintive monotone that grows more dramatic as the music intensifies. His vocals perfectly express the desperate feelings of being buried alive by the staggering weight of one’s problems:  “It wasn’t like I anticipated facing all this in the time since yesterday. Sands keep falling. Feels like I’m slipping away, and trapped hitting backspace./ It wasn’t like I could keep up pacing, keep up pacing through the sands of yesterday.”

The next track “Love Me After” is a feast for the ears, and possibly my favorite on the album. It begins with an enticing mix of plucked guitar strings, delicate snare and a delicious little bass riff that really does it for me. Then a thumping drumbeat ensues, punctuated by jarring jolts of what sound to me like intensely amplified guitar chords. As Brett’s vocals enter the proceedings, the music explodes with equal measures of heavier guitars, synths and percussion. Brett passionately laments of a relationship heavily damaged by a long history of hurt and verbal abuse, yet still holding out hope that perhaps it can be salvaged: “Just like you said, I’m as good as dead, yet you call my words slander. One day we’ll break these goddamn mistakes. Maybe you’ll love me after?” The wailing guitar solo after the final chorus is wonderful.

“Melancholia” is a bit of a musical tour-de-force, as it takes us on a delightful four minute long sonic journey. The first part of the song features a frantic punk rock tempo, with rapid-fire riffs and pummeling drumbeats, all anchored by a killer bass line. At around 2:30, the song transitions to a languid, synth-driven melody, with crisp percussion and that lovely bass taking center stage. Eventually, the frantic punk vibe returns in the final chorus for a great, head-banging finish. The lyrics seem to be about not allowing yourself to be defeated by depression or the oppressive forces imposed upon us by others, and to instead speak up and fight for one’s rights: “If you feel like you’re captive in a boat with no captain, speak up! Well I can’t just forget it, and I’ll always regret it, come on. Melancholia’s passion is a pit of distraction, come on. Now we’ve lost all our assets and we can’t pay for access, speak up!”

“Truth Be Told” is another track from disqui.etude that’s given a fuller instrumental treatment here, with spooky synths, muscular thumping drumbeats and intricate layered guitars. The stabbing guitar chords add a dramatic touch to the mix to great effect. I think this remake nicely enhances the impact of the haunting lyrics that speak to feelings of misery and guilt over the death of a loved one. Brett’s heartfelt vocals are really moving as he sings “Truth be told, I never thought that you’d be dead. Truth be told, I just can’t get you out my head. Truth be told, I’ve been obsessing for so long, I’d give anything to write a different song. Truth be told, I should’ve been the one to go. Truth be told, this burden’s getting hard to hold.”

A million rich daughters dial the energy back up with “Possibly a Problem“, delivering furious riffs of jangly guitars and hard-driving rhythms. My take on the song’s meaning is that it’s about how as more aspects of ourselves and our past are revealed in the early stages of a new relationship, we fear the other may lose interest in us, given our shortcomings. In this case, alcoholism appears to be the possible problem: “Lost so many to elixir, don’t you disappear. I just want to make sure, if I’m sick again, be my cure. Possibly a small problem, but I just want to be your man.”

The title track “Hidden Parents” has a wonderful electro-psych rock groove, and I love the haunting lead melody. Once again, there’s a lot going on here musically speaking, with numerous tempo and melodic change-ups. At times the song has an 80s new wave vibe, only to later veer headlong into frenetic punk rock beats. Backed by dark, sweeping synths and aggressive rhythms, the intricate, multi-textured guitar work is fantastic. Brett’s distant, echoed vocals convey a vulnerable sense of desperation as he seems to be asking for forgiveness for the wrongs he’s done: “Oh things, have changed, the damage done. Oh look, at what, I have, become. Now I, am lame and most probably not sane. There is, no me, no in-between. There’s still, one thing, I want, to do. And what, I want is to get a little closer to you. Oh it’s always for you.”

I must admit that this was one of the most challenging reviews for me to write in my four years of doing this. Despite having only six tracks, there’s a whole lot to unpack in each song. Not being a musician, and having no music ability nor training of any kind, I sometimes have a difficult time articulating what I’m hearing. Hidden Parents is an experimental work, teeming with unconventional, ever-changing melodies, deep, often abstract lyrics, and loads of innovative, complex instrumentation that give it a compelling and fascinating sound. Indeed, Brett himself told me the album “is fucking weird; there’s a lot going on technique-wise in the music theory, as well as a lot of layers.” That’s for sure, and while it might not be everyone’s cup of tea, I think it’s brilliant.

Connect with AMRD:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / iTunes / Google Play

WHALE HOUSE – Album Review: “Clowder”

On By EclecticMusicLoverIn ReviewsLeave a comment

Whale House Clowder art

Whale House is a psychedelic rock band that got its start in 2007 when Caleb Price and Clayton Brice met while students at the University of Wisconsin, Eau Claire. Sharing a love of both classic 60s counter-culture rock and the 90s alternative/grunge rock of their youth, they quickly bonded and began writing and producing songs together in Clayton’s apartment. Their music combines these two rock influences, while experimenting with structure and timbre to create their own unique modern rock sound. Wanting to take their music to the next level, they moved to the recording studio, where they could benefit from the expertise of a professional production team.

Whale House 2

Between 2009 and 2015 they released three EPs, and in 2016 dropped two singles, “Freeway” and “Think of Me”. That November, they released awesome videos of live performances of “Think of Me” and another of their tracks “Red Sun”. I reviewed those videos, which you can read here. Now, nearly three years later, Caleb and Clayton return with their first full-length album Clowder, which will be available on all streaming platforms September 7th, with CDs and vinyl shipping now.

The songs for Clowder were constructed over the course of a year from (in their own words) “sound bytes flung back and forth through the ether across the 300 miles that now separate Caleb and Clayton.” The album was recorded direct to tape at Drum Farm Studios, a re-purposed organic farm in northwest Wisconsin. With the help of drummer John Richardson, they recorded most of the tracks live as a three-piece to recreate the spontaneity of a live show. Veteran producer Tom Herbers produced and mixed the songs, and John Golden did the mastering.

“Into the Bluffs” kicks off Clowder in a big way with a burst of Richardson’s pummeling drumbeats accompanied by melodic piano keys. Layers of fuzzy guitars, bass and more keyboards are soon added as Caleb and Clayton sing with a harmony as near-perfect as any I’ve heard in a while. The lyrics are somewhat ambiguous, but seem to speak to tapping into one’s spiritual being: “Give me a sign. Search yourself and follow me in. Look into the bluffs. Ghosts are gathering in the upper atmosphere. Spirits calmly watch me yeah.”

Next up is “Doll“, a dark song inspired by Caleb’s experience spending time in the hospital with his mother while she was in a carbon monoxide poisoning induced coma. “And I know it’s over. I’ll pull the plug and let her go. After it’s over, I’ll start the engine, shut the door.” The song’s melody and structure give off a Nirvana vibe, with an ever-changing tempo that goes from chugging riffs of gnarly guitars to aggressive stop-start chords. Caleb’s plaintive vocals are wonderful, and I like how they rise with emotion along with the guitar notes. It all makes for a fascinating listen, and is one of my favorite tracks on the album.

“A Great Fire” beautifully showcases the guys’ skill at writing complex melodies and using rich instrumentation to create an interesting soundscape that continually evolves and surprises our senses. The track opens with a strong thumping drumbeat and ominous synths, creating a mesmerizing backdrop for Clayton’s rather mournful vocals as he sings of far-off cosmic storms, possibly symbolizing unrest or even the end of the world. Gradually, guitar, bass and piano enter the mix, then everything ramps up in the chorus with jagged riffs and crashing cymbals as Clayton launches into an impassioned wail: “The pores of my skin are dripping acid. The dogs are fighting, the snakes are biting. The back of my eyelids explode with lightning!” It’s a fantastic song.

The lead single “Milk” was released on August 15th, along with a surreal and vividly colorful video. It’s a terrific grunge song, featuring a torrent of gnarly riffs set to a powerful driving beat. Caleb explained that the lyrics speak of someone bogged down in a sea of ego-driven minutiae while the the rest of the world keeps on moving forward: “Near the belly digesting away. Far away, and deep inside, visions of hell. Paralyzed from the food that has yet to metabolize. And it’s been so long. And the world moved on.”

The guys take a melodic turn on the captivating “Elephant“, my absolute favorite track on the album. The lush mix of chiming and twangy guitars are drop-dead gorgeous, as are Clayton’s heartfelt vocals that express a deep vulnerability. At 2:22 minutes, a beguiling flute enters, giving the song a momentary Celtic vibe. “Spine” veers into folk-rock territory, but still retains a grunge sensibility thanks to the strong guitar work, and once again the guys’ vocal harmonies are really impressive. And speaking of strong guitar work, the guys dazzle us with their mind-blowing guitar skills on the trippy psychedelic gem “Shapeshifter“. We’ve barely had a chance to catch our breath before they return to hammer us with exuberant jangly riffs, deep, buzzing bass and frantic beats on the hard-driving banger “Papercuts“.

The title track “Clowder“is an intriguing song with fuzzy, reverb-soaked guitars and tumultuous percussion. Caleb explained the song’s meaning: “The song ‘Clowder’ is based on an old children’s book called ‘Millions of Cats’. It’s about a guy who goes out looking for a single cat and ends up being followed home by billions of them. We enjoy simple surreal imagery like that. The story ends up being about the destructive power of pride and the importance of being humble. That kind of suppression of ego is something Clayton and I aspire to and I think its a theme that pops up in a lot of our writing.” The song opens with sounds of Caleb whispering “Don’t bother me, and I won’t bother you“, then the music intensifies as Clayton’s vocals take a more insistent tone. In time, with guitars wailing and cymbals crashing in the chorus, Clayton emphatically repeats the line “Hundreds. Millions. Thousands. Billions.”

“Twilight Sleep” is an enchanting track, highlighted by a pleasing acoustic guitar and wonderful sweeping orchestral instrumentation that imparts an almost ethereal quality. The little piano riff in the chorus is especially good, and nicely complements Caleb and Clayton’s fervent vocal harmonies. Guest musicians on this track included violinist Ryan Young of Trampled By Turtles and cellist Hilary James of We Are The Willows. At the very end of the track, we hear Ryan Young state “I played one wrong note”, though it all sounded pretty damn perfect to my ears. The album closes with “Asleep On A Plane“, a brief but sweet love song. The music consists only of a resonant jangly guitar and bass, but combined with Caleb’s earnest vocals, the song packs quite an emotional punch.

I must admit that many of these songs took a couple of listens for me to fully connect with them, but once I did, I came to realize that Clowder is a brilliant and stunning album. Unlike a lot of pop and classic rock, with their catchy hooks and melodies that quickly bore into our brains, modern and experimental rock music requires us to really listen to hear and appreciate all the little nuances of the more complex melodies, innovative instrumentation, and somewhat abstract lyrics that Whale House have so cleverly written. If you’re willing to expend the time and effort to dig deep into their music, you will find a lot to enjoy on Clowder.

Their Record Release Party will take place Saturday SEP 14 at Brewery Nønic, Menomonie, Wisconsin

Connect with Whale House:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple Music / Soundcloud
Purchase:  Bandcamp / Google Play

BRETT.GRANT.5 – EP Review: “disqui.etude”

On By EclecticMusicLoverIn Reviews2 Comments

Brett Grant

I’ve been following the young singer-songwriter and composer Brett Grant for a long while, and am thrilled to finally have the opportunity to feature him on this blog. The Chicago-based artist goes by the moniker brett.grant.5, and drops his second EP disqui.etude today. Brett’s been involved in music for many years, both as a solo artist and in several bands. He plays guitars & synths and sings for A Million Rich Daughters, and previously pounded drums in Sleep For Dinner and TOOFUNCHILD. He released his first solo EP digital dirge in 2016, and in addition to his work with the aforementioned bands, managed to earn a B.A. Degree in Music, graduating just last month.

Brett’s fascinating and eclectic sound draws from a wide range of musical sources and genres, ranging from 1920’s jazz and classical to video game music and experimental progressive rock. He wrote all the songs and played all the music on disqui.etude, as well as recorded, performed, mixed, and mastered the entire project himself.

The EP opens with the eerily beautiful title track “disqui.etude“, an apt name as it’s essentially a disquieting etude. The song’s an instrumental, consisting of only a haunting piano riff, accompanied by rather menacing synths that build as the track progresses. It would make a great soundtrack for a horror film, and in fact reminds me of the music from the film Eyes Wide Shut. Brett states it and the album title are intended to represent the anxieties and unease he’s dealt with in his own life, which are expressed in the lyrics of the songs on the EP.

Next up is “Truth Be Told“, a moody track with spacey industrial synths set to a bouncy, stop-start bass-drum beat. Brett has an unusual but pleasant singing voice that’s strongly emotive as he sings of the misery and guilt he feels over the death of a loved one:

Truth be told, I never thought that you’d be dead
Truth be told, I just can’t get you out o’my head
Truth be told, I’ve been obsessing for so long
I’d give anything to write a different song
Truth be told, I should have been the one to go
Truth be told, this burden’s getting hard to hold

The poignant “Empty Bottles” features a beautiful but melancholy piano-driven melody, backed by delicate, sparkling synths. Brett’s vocals, which range from a low croon that seems to emanate from deep within his core, to just below a falsetto, are nicely displayed on this song. He sings of destructive and futile attempts to drown one’s troubles in alcohol: “You’ll see in the end this was the old me. And all my insincere apologies, like lobotomies, came off the top of me. Apostles of endless empty bottles. As we both drive full throttle to the bottom of my problems.”

Brett dives deep into electronica on “New Goner“, employing a rich mix of glittery and otherworldly droning synths to create a spellbinding track. On the apocalyptic, synth-driven “Might Make My Way“, he speaks to the downsides of the internet and social media, and the thought control we’ve allowed ourselves to become imprisoned by: “Alien intruder, watching from a computer. Alias abuser, flying fear producer./ The sci-fi officers playing cops and robbers. Have nothing to offer and keep us in coffers. You can’t run, you can’t scream, it’s all part of their dream. Bright lights and loud noises, foreign distorted voices. If they transport me safely, might make my way back maybe.”

The final track “Hitting Backspace“, which Brett released as a single in February (on Valentine’s Day), is the darkest and most intense track on the EP. The song starts off with an ominous throbbing synth, then 10 seconds in a loud piercing synth enters, sounding a bit like a slowed-down version of the shrieking music heard in the famous shower scene in the film Psycho. He wanted to create a similar disturbing backdrop for his gloomy lyrics about feeling like being buried alive by the weight of his problems:  “It wasn’t like I anticipated facing all this in the time since yesterday. Sands keep falling. Feels like I’m slipping away… And trapped hitting backspace./ It wasn’t like I could keep up pacing, keep up pacing through the sands of yesterday.” At the end of the first verse, the music intensifies with deeper synths and heavier percussion that continue until fading out at the of the song.

disqui.etude is a marvelous work that beautifully showcases brett.grant.5’s singularly unique songwriting, composing and production talents. One of the things I especially like about it is how every track sounds totally different, which makes for an interesting and surprising listening experience. If you like music that’s innovative and unlike anything else you’ve heard before, you’ll enjoy this brilliant EP.

Follow Brett: Twitter / Facebook / Instagram
Stream his music on  Spotify / Soundcloud
Purchase on Bandcamp / Apple Music

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

ANDREW LA TONA – Album Review: “Human”

On By EclecticMusicLoverIn Reviews2 Comments

The great city of Toronto, Canada has a thriving music scene, and I’ve featured a number of artists and bands based there, most recently The Autumn Stones and their stunning album Emperor Twilight. After seeing that review, singer/songwriter and multi-instrumentalist extraordinaire Andrew La Tona reached out to me for consideration of his latest album Human for a review, and I’m so glad he did because it’s fantastic! I can say without equivocation that I love his extraordinary album. Andrew’s a creative and gifted composer, songwriter and musician who employs all sorts of experimental and unique instrumentation, melodies and time signature and chord changes that make for incredibly interesting songs that always deliver unexpected surprises for the listener.

Andrew has had a lifelong love affair with music. As he explains in his bio:

“It seems as if music has been my life since the day I was born.  My mother always reminds me that as a toddler, she signed me up for a Mother and Tot music class. A fond memory of mine is that for as long as I remember, there has always been a piano in my home.  At the age of seven, I began formal lessons in piano and classical theory through the Royal Conservatory of Music for seven years. By fourteen I made a commitment to myself that music was to become my life.  I discovered my father’s old guitar hidden in the basement.  I took it upon myself to learn by ear, listening to records and reading guitar magazines.  When I entered high-school I was proficient on Piano, Guitar, Bass and Drums.  I made the band room my home, where I played in all the school ensembles, refined my sight reading and theory, and learned Trumpet, Euphonium and Flugelhorn as a personal project.”

He went on to study Radio Broadcasting and Journalism at Seneca College and School of Communication Arts, and from 1999 to 2006, he played with various groups with long-time collaborator Edward Kramer, with whom he founded the bands Odd Man Out and Yesterday’s Gone.  They recorded four albums together, and Andrew personally completed three solo albums which went on to be the foundation for his and Ed’s band Big Stereo, to which he devoted his full attention from 2006 to 2009. Since 2010, Andrew has continued to work on his own music, and Human is his latest album, which dropped in June.

Andrew La Tona

Human is a commentary of sorts on the current state of things, in which Andrew expresses his antipathy for today’s leaders, our growing obsession with gadgets, and ponders our place within the vastness of the universe. His lyrics are so well-written and compelling that I’ll be quoting a lot of them. The powerful opening track “Leader” speaks of how humankind’s ignorance and greed is wrecking our planet, yet we’re hungry for leadership to help us solve our problems, but our leader (Trump) is a fraud:

Here, we find ourselves trapped inside a fate so paramount 
And we live for ourselves with no regard for other animals 
Our mother earth is threatening with disaster 
We’re blind, we are condemned to live upon the soiled earth 
How could we figure out how to reverse our plight, our misfortune, our ignorance 
Total genocide 

You’re not the leader we want 
Leave or we’ll never have peace 
The way you speak is absurd 
It warps the minds of our young

Musically, the track starts off with a distorted spacey synth, then expands to a rolling drumbeat as Andrew begins singing in his silky, yet vulnerable voice. His layered jangly and chiming guitars are marvelous, and he uses a variety of synths to great effect in creating a very intriguing song.

“Borderlines” is a feast for the ears. Andrew employs guitar, bass, organ, horns, cymbals, drums and glittery synths to weave a rich tapestry of sound that unfolds throughout the length of the enthralling track. The song is about breaking free from mind control and expectations placed upon us by oppressive societal norms.

I want to be free. Free from your borderlines
I need to break the mold you’ve always cast for me
And in my mind, there’s a place like this
Without your rules, your greed

Andrew takes on people who feel success is having more money and stuff than everyone else on “At the Top.” The delightful song has a Latin vibe thanks to a peppy Samba beat and instrumentation that beautifully softens the bite of the lyrics:

Boast among your rich yuppy friends 
‘Bout how you trample on all those around you 
All just to end up at the top 
And what’s left for you? 
Is there more than just the cars – the yacht? 
Honestly, I’m not impressed 
Baby, nothings cooler than you, my friend

“Power and Prowess” is an incredibly satisfying ‘fuck you’ to Donald Trump, which automatically makes this a winning song in my book! The track has a fast-paced galloping drumbeat, with wonderful intricate guitar work and crisp layered percussion.  Andrew vocals get downright raw as he snarls the scathing lyrics:

“Be the champion”, that’s what you tell yourself 
I guess in your mind you are 
It’s true you shit on johns of gold 
You’re at least champion of that 
So how can you lead the people of today 
Forward to tomorrow? 

I doubt you know the gravity of your post 
I’d say no 
There are people out there who want to love 
There are people out there who don’t want to die 
You’re not one of us 
We should be blessed with human rights 
No one should be groped by you 
No one should be owned by you 
You’re in charge of you, big boy 
And that’s all (And that’s all) 

Weald that sword in battle, head up to the front line 
Bring yourself to ‘fess-up to one crime 
Let us know who’s running the show 
You’re not the man for the job 
Move over, asshole 
We can save the world 

One of my favorite tracks is “The Walls,” a beautiful declaration of love to someone to whom you are beholden. This song is so utterly captivating it gives me chills. It’s as if Andrew has gone out of his way to make the guitars and synths sparkle like jewels of sunlight strewn across the sea. His fervent vocals, which occasionally soar to a smooth falsetto, are positively sublime.

Another favorite is the bouncy “Laniakea Supercluster,” a fascinating track that has a strong Talking Heads vibe. Along with his echoed vocals, Andrew uses lots of otherworldly synths to create a sci-fi feel to go with the lyrics that speak to the fact that, on the one hand, Earth is but an insignificant speck in the overall massiveness of the universe, but on the other hand, it’s our home and so very significant to our survival and well-being.

“So Long to the Human Race” is an apocalyptic clarion call after a nuclear war for those who survive and repopulate the world to try and co-exist in peace and be one with the earth. The gritty guitars, heavy buzzing bass,  organ, and spacey synths lend a somber mood.

It makes me sick to look upon all we’ve done
And the little we’ve done to help
And if I could, I’d eat up all the terrible things we’ve done
And shit it down your throat 

Can’t you see that our kind is a warning 
From the first flame, to the first rocket 
So little is left of what we blew all our cash on 
And burned up all the oil 
And killed who we loved 
So long to the human race 

“Time Goes Ever By” touches on our obsession with our mobile devices, addicted to the siren song of staying connected on all our social media accounts, at the expense of many other facets of our lives. I know I’m sometimes guilty of this behavior myself. Musically, the track has a lovely melody, with some terrific guitar and organ. And have I mentioned that I love Andrews’ vocals?

Everyone around me seems to be gripped by the same illness 
Never putting down their device 
Never looking up from their trance 
Never have the time to sow seeds 
Never stepping past the bar 
Of this jail we’re put in by ourselves and our will 
Can we find the strength to let drop the rock upon the screen 
And our friends logged on the web

Human is a brilliant album on every level I can think of – composition, melodies, lyrics, instrumentation, vocals, and production. Andrew has done a masterful job with all aspects of the album production, and should be very proud of this outstanding work. And if all that weren’t enough, he even did the amazing cover art!

He’s now in the process of forming an ensemble of musicians to perform with him live, and is excited to have them add some amazing character and flavor to the songs from Human, as well as some of his songs from his back catalogue.

Check out Andrew’s Website and connect with him on  Facebook 
Stream his music on Spotify / Soundcloud / Apple Music
Purchase on Bandcamp / iTunes

Interview with UK Musician David Oakes

On By EclecticMusicLoverIn Artist Spotlight3 Comments

David Oakes

David Oakes is a fine (he hates when I say ‘talented’) musician and composer of electronic alternative rock music based in Wales, UK. In the early 2000’s, he was drummer with the British rock band Kotow, and since 2012 he’s produced a tremendous output of instrumental music as a solo artist, ranging from gentle synth-driven compositions to aggressive guitar-driven hard rock, and everything in between. In early May, he released his latest album TheMENACE, which I reviewed and you can read here. It’s a brilliant work that’s actually a double album, with the first containing 11 tracks, most with vocals, and the second being an instrumental-only version, plus two bonus tracks not found on the first.

I recently had a chat with David about his music background, influences and creative process.

1. Hello David. Thank you for wanting to talk with me about your music. You and I have spoken a bit in the past about your background, but for the sake of our readers, let’s touch on that again. You now live in Wales, but were born in England, then spent part of your childhood and early teen years in the Middle East. Living in Dubai must have been interesting, or at least an unusual experience I would think. What positive or negative things did you come away with?

Yes! I moved there when I was two so obviously I don’t remember relocating there. I remember a couple of the houses we lived in – mostly the 3rd one which is very strong in my memory. I can recall it in detail. We lived very near the sea and would go camping in the desert at the weekend. I had a little 50cc PW50 motorcycle that I drove everywhere :). It took me a very very long time to get over moving to the UK.

2.  Why is that?

Hot 365 and living by the beach, etc. to … Wales… Camping in the desert at the weekend, dune bashing to … oh, nothing.

3. At what age did you start playing guitar, or other instruments? I remember you saying you attended a music institute in England after you moved back there with your family. What did you study there?

We had an electric piano in the house from around 1988 and I taught myself stuff on that. Eventually I got my own keyboard and I was off. I played it every day and wrote my own albums onto cassettes. I don’t have any of them anymore. They wouldn’t have sounded very professional. I even bought card from the newsagent and printed out artwork onto them and chopped them into cassette sleeve size. You can see the lineage all the way back . The only difference to what I do now is I don’t print out my own artwork. Everything else is the same – the tech has just improved. I went to ACM (Academy of Contemporary Music) in Guildford in 2009 for 3 years to study guitar and music theory. I passed all my exams but I never attempted my dissertation so I never got the qualification.

4. You formed a rock band called Kotow with your brother and another friend, and released a pretty decent album “Demise of the Monsters.” How or why did you guys choose that band name, and how long was Kotow an active band? 

Rich wanted a Japanese name and so looked in a Japanese dictionary and found “Kotow” meaning to bow or acquiesce… We all liked the name. We formed around February 2002, whilst I was going back and forth to the city (Cardiff) to study music production on a “New Deal” course under the Labour Gov which lasted from 1997 until around 2004. Anyway – since Dad had re-married – they moved out of the house and the whole band lived in our big farmhouse so we could write and rehearse all day every day. After moving to the London area in 2004 or so, we realised that nobody really cared and got fed up with it and we split in 2006. 

5. I believe you played drums for Kotow. Tell me about your experiences playing in a band – both good and bad if you care to go there. Why did the band eventually split up?

You know me, I have no ego but I did believe we were the best band in south Wales. When we moved to London, nobody gave us the time of day and we all got tired of it. Plus I wasn’t happy with the direction our music was taking. My main thing was to write catchy riffs in odd time signatures and do my best to come up with complimentary drum parts. I’d get annoyed if I couldn’t play for the song and could only think of something ordinary. We liked being unconventional. We lost two guitarists for one reason or another and we got a new guy who was great, but he and Rich wanted us to sound more like the tech bands at the time and I really wanted to stick to our original ethos of being unlike anyone else. Oh well.

6. You obviously wanted to continue making music after Kotow ended. I know some of your favourite bands are Dream Theater, Mastodon, Green Day and Metallica, so am guessing your sound is greatly influenced by their music? 

I expect so. Not directly or deliberately. I just write music and what comes out, comes out. Exactly the same process as Kotow. I like making albums of different genres and styles since I listen to a lot of different genres and styles. I couldn’t imagine being in one of those metal bands who sound exactly like everyone else and only listen to that music. Boring.

7. When did you record your first solo album?

“The Juggernaut” in 2012. It was originally supposed to be the follow up to “Demise Of The Monsters” and Rich would play bass and sing and I’d produce since he’d done almost all the work on DOTM. I merely played guitar on that album. Since I’d never attempted a “proper” professional sounding album before and had only limited experience with Logic – I worked on it every day for about 6 – 8 months. I still enjoy it to this day but I think I’ve done better and I learn something new with each album I do.

8. You’ve been fairly prolific, recording and releasing quite a few albums and compilations over the past few years, several of which I’ve purchased. What inspires you to create a new album with a specific theme and sound?

I don’t like to create the same album twice in a row…So if I do a hard rock album I definitely won’t do one again as it kinda wears me out when working on an album. “Transmissions” was songs I wrote when I was learning guitar and some of those songs had been fully formed in my head for many many years until I could finally record them properly. “Transmission Part 1 & 2” was completely written and I had it all worked out in my head and even recorded a version of it way back in 1997 or so on my Dad’s 2-track reel-to-reel machine.

Every time I start an album I have to come up with something great first. That’s the springboard. If I like an idea – that’ll be the blueprint for the album. I could never just write 8 -10 random songs and that’ll do. None of my albums are fully fledged concept albums but I try to imagine they are. . . As I’ve said in the past – I like albums to sound/feel like *albums* and not just Here’s 10 tracks I wrote in any order…

Even if the idea doesn’t end up lasting the whole album – the initial idea is usually enough impetus. With “Strum Und Drang” I’d been listening to the 21st Anniversary of Leftfield’s “Leftism” pretty much on repeat and wanted to do something inspired by that. I pretty much listened to nothing but Leftfield’s three albums for the summer of 2017 and wrote at the same time. “The Menace” seemed to be the next logical step.

9. Your latest effort “The Menace” is one of your finest. Some of your previous works contained a few dark tracks, but most of the songs were more melodic, almost orchestral rock like that of Dream Theater. Also, for the first time you added lyrics and vocals. You told me it’s a loose concept album, and that you kept the lyrics intentionally vague, but what was your inspiration behind “The Menace” and it’s dark theme? Also, what made you decide to add a vocal component?

Thank You. I had so much fun making “Sturm Und Drang” that I wanted to do another in that style but – as I said at the time – I wanted it “tougher and harder sounding.“ One of the few times that the album has pretty much turned out exactly how I envisioned from the beginning. Once I had “ The Slammer “ – I knew I was onto something. Loose concept album in that…I didn’t intentionally write lyrics to mean anything – I just had my microphone there – played the track and improvised some stuff until I found something I liked.

After a while I realised all the improvs could be about a few things. Notably the “MeToo” movement, #45… all of these things that were going on in the news at the time. Completely subconsciously. Only the final two tracks “Finale Part I and II” I wrote to tie up this theme. All other lyrics are improvised. And yeah I kept it intentionally vague as I’ve never wanted to align myself with any party or politics or anything and I was not a fan of Kotow’s Anti-President Bush EP. I never wanted to be a political band – one of the other factors that led to our break up. As for vocals – people kept pestering me to include them and I thought if I do it, I’m gonna distort the crap out of them… Which I did on “The Slammer”. But as the album went on, I got more confident and I turned the distortion further and further down. I think I’ll do vocals again should I do another album at some point… Probably same style too.

10.  Besides my glowing review, what has been the response to The Menace?

Thank you! Well – same as ever. A few RTs from music accounts and a few more people saying they like it but nothing amazing really. About the same as it was for “Sturm Und Drang” or “The Dawn And The Dusk.” *shrug*

11. That leads me to the next question. You and I have shared our own frustrations over the lack of support from a majority of our so-called ‘followers’ on social media, who rarely if ever engage with our tweets, postings, etc. But in today’s music industry, an artist or band (or just about any other creative person) is all but forced to use social media to get people to learn about their music, unless they’re willing or able to hire an expensive publicist. Any thoughts about this?

Interesting subject since my degree course dissertation was basically gonna be all about this. “Do we need big recording studios now that people are making pro albums in their bedrooms“ etc etc… I THINK that the Internet has ruined a lot of music. Shops are closing because people are buying everything online, and it’s so hard to stand out when everyone and their dog has a band and a Bandcamp and a Soundcloud. It’s like whispering in a hurricane… And I’m not smart enough to think of some cool promo gimmick. And whenever I think I have something, it never works so…

12. Do you have any plans for a future album, or will you take a long break?

Ya know it speaks for itself – when I was putting out albums every month that I’d recorded in a week – the quality was dipping. You know how I feel about “Imaginary film soundtrack .“ I was so disappointed with it, I actually paid to have it taken down. I know I rushed it and it shows. I still cannot listen to it. Starting with “Juggernaut III” and then continuing with “Sturm Und Drang” and now “The Menace,” I’ve taken my time to craft an album over many months. Take a break..come back…listen to it….fix/adjust anything…etc. And as a result, those three albums I mentioned have a little extra going for them. I’m actually a huge fan of “The Dawn & The Dusk”. Its one of my favourite things I’ve done. And I seem to remember taking my time with that one too so… “The Menace” is still very fresh to me. It was released on May 4 – eight months after “Sturm Und Drang.” I’m not even thinking about another album and probably won’t until winter. I mentioned to someone once that i’d like to take a year to release an album at some point. Maybe I will for the next one. It won’t be a double though. I’d like to get down to doing only one album a year.

13. Anything else you’d like to share that I’ve neglected to ask?

I think that the “Sturm Und Drang” and “The Menace” “style” will be my default setting from now on. They were both really fun to create and I actually plan on buying a midi keyboard to make composing a lot easier.

I know James Lauters (a very supportive mutual friend of David’s and mine) likes the what I call the X&Y series. And I may do another one eventually but it would have to be really chilled out. Like “Dawn And The Dusk” but even more chilled. Lots more acoustic. Basically the exact opposite of “The Menace.”

Cheers !

Stream his music on Spotify / Apple Music / Soundcloud
Purchase on  iTunes

DAVID OAKES – Album Review: “TheMENACE”

On By EclecticMusicLoverIn Reviews4 Comments

David Oakes is a talented musician and composer of electronic alternative rock music based in Wales, UK. In the early 2000’s, he was a guitarist with the British rock band Kotow, for who he also played drums when they performed live shows. Over the past five years or so, he’s produced a tremendous output of instrumental music as a solo artist, ranging from gentle synth-driven compositions to aggressive guitar-driven hard rock, and everything in between. His latest effort, which officially drops today, is TheMENACE, a brilliant album that’s easily his best work yet.

David Oakes

I’ve gotten to know David over the past couple of years, and featured him on this blog in 2016. He’s a huge fan of Dream Theater, Mastodon, Metallica and Green Day, all of whom have been major influences on his music. He’s also a perfectionist and his own biggest critic, and reworks his tracks until he feels they’re just right. It’s been fun watching his creative process unfold and albums take shape as he shared his demos with me and a small group of friends who follow him on Twitter, asking us for feedback as they were being recorded. We’ve all enjoyed the songs he’s created the past few years, but were collectively blown away by the tracks that are included on TheMENACE. He really poured everything he had into this album, and it shows.

David explained his intention in creating this album: “The Menace is a very loose concept. I kept it intentionally vague and a lot of the guitar parts are very similar on purpose. As you know I like an album to feel like an ALBUM and not ‘Here’s 10 random songs in no particular order.‘” The tracks are darker and more aggressive than many of his previous compositions, which is appropriate given the album’s title, and for the first time he’s added distorted vocals, giving the songs even greater impact and depth. Regarding the lyrics, David stated: “Weirdly – none of the lyrics were planned out. But, as time went on I realised that nearly all of the lyrics could be about #45 (our awful President Trump – my words). Purely by accident. I guess it got in there subconsciously. But the lyrics are so vague that they could be about a lot of things.”

“The Slammer (Intro)” kicks off TheMENACE with ominous synths that immediately set the album’s dark tone. A lone guitar riff ensues, then a powerful hypnotic drumbeat takes over as the synths and guitars gradually build to a crescendo before calming back down. Then it’s a quick segue to “The Slammer“, a hard-driving track that lives up to its title. The frenetic drumbeat, raw synths and barrage of fuzzy guitars are fantastic, and I love David’s heavily distorted gravelly vocals as he drones “Hey what do you see? Is this how it’s going to be? Is this what you want?”

The awesome title track “The Menace” has everything I love in electronic rock – layers of multi-textured synths, scorching guitar riffs, and a colossal driving beat that aims straight for the hips. I seriously defy anyone to sit still for this track! David’s heavily distorted vocals have a…well…menacing otherworldly vibe as he chants “You’ve got to go. You’re a menace to society. You’re a menace to everyone.” Though five minutes long, it’s so good that it seems over in an instant

“The Monster” has a thumping EDM beat, with loads of gritty synths and intricate gnarly riffs. David employs some pretty impressive vocal gymnastics on this track as he sings “You’ve got a monster in your sights. You gotta make it through the night.” “The Distant Horizon” is one of the darker tracks on the album, with ominous drawn-out synths, very gritty guitars and dirty bass. His distorted vocals have an almost treacherous, seductive quality as he urges self-gratification” “If there’s anywhere you wanna go, just go. If there’s anything you wanna do, just do.” The track would be perfect for a sci-fi movie soundtrack.

David dials it up to full speed on “The Event Horizon.” The song is like a shot of adrenaline, with a frantic, head-bobbing EDM beat, The mysterious synths give the track a bit of an 80’s new wave/techno Depeche Mode vibe, and the guitar work is outstanding. Things get a little funky on the aptly named “Funkotron.” The melody and arrangement on this track are phenomenal, as are the synths and intricate guitar work. And it goes without saying that David’s vocals are terrific. It’s an awesome song, and one of my favorites on the album.

“The Resistance” is a hard-driving track with a fast-paced EDM beat that had me doing a lap dance in my chair. The guitars and instrumentals are amazing, as always. With echoed vocals, David defiantly sings “We won’t go down without a fight. / We will keep fighting for our lives.” “The Revolution” opens with industrial-sounding synths, then expands into a breathtaking soundscape of brooding, soaring synths and gorgeous chiming and wailing guitars. This instrumental track is a little slice of auditory heaven, and gives me chills every time.

As we near the end of the album, each new track is a new revelation. “The Finale Part 1” opens with gorgeous sweeping synths and jangly guitar that remind me of early Coldplay, then explodes into a rousing fusillade of layered guitars, synths and percussion. David proclaims the end of any emotional commitment: “I don’t need, I don’t need you anymore. I don’t want you, want you anymore. Everything you thought you had is gone. Everything you thought you knew is wrong.”  “The Finale Part 2” is a different interpretation of the song, with more of a new wave/punk vibe, sort of how it might sound if played by A Flock of Seagulls or The Cure.

TheMENACE is a genuine masterpiece from start to finish, and as I stated at the beginning of this review, David’s finest work yet in my opinion. He’s an amazing guitarist, and his skill for using synthesizers to create such incredible melodies and arrangements is impressive. This album is a must-have for anyone who’s a fan of guitar-driven electronic rock music.

TheMENACE is actually a double album, with the second being an instrumental-only version, plus two bonus tracks not found on the first. It’s also available on the streaming and purchase sites listed below. The Kotow album Demise of the Monsters is also available on Spotify.

Stream his music on Spotify / Apple Music / Soundcloud
Purchase on  iTunes