Restless Star - Overdrive Orchestra (Album Review)

Rock music has had an interesting transformation in the public eye the last few decades. There are those who stick to the traditions of the classics, sometimes refusing to acknowledge a modern sound unless it is steeped in nostalgia. Some acts lean into the commercial spectacle of a post-alternative rock world, where it is very lucrative to craft a product that plays into tropes and aesthetics over offering something new to the conversation. However, rock music has always had a strong undercurrent of personality and polish, turning amps up loud and delighting in how the perfect riff on a guitar can turn into a whole universe. In Grand Rapids, one can journey to the ends of a rock galaxy through the catalog of Overdrive Orchestra, a group that has garnered local recognition for their songwriting, live shows, and fierce commitment to a vision they all can enjoy occupying with their fans.

On their latest release, Restless Star, listeners are treated to 11 new tracks that invite people to “rise above the haze of daily life & rediscover their sense of self” through examining the duality of life and death. (Bandcamp) This includes acknowledging the mental health struggle of wearing many hats to survive in modern living and shedding the burdens that no longer serve one's goals and sense of being, something incredibly hard to do for many artists and non-artists alike (and something I’m personally working on in my creative career). It is a sonic journey that ebbs and flows beautifully, knowing just how and when to deliver a knockout punch after giving some breathing room to reflect and sink into a range of emotions.

The record starts with a tune called “Moonstruck,” a track that articulates the feeling of being stuck and wanting some cataclysmic shift to happen in order to usher in change. The simmering opening riff and vocals immediately bloom into a driving, interstellar rock sound decorated with layers of synths and vocals. “Storyteller” bumps up the energy while lyrically centering on being one’s own worst enemy, with lines like “Same old tired story/Etched upon the mind’s eye/All told over a glass of wine” building to a climax as if to break through that mental barrier. “Dark Mountain” hits hard with an almost Tool-esque combination of guitar/bass riffs and drums while encouraging audiences to remove their masks and let their true selves shine, hammering this point home with a powerful breakdown that shatters any attempt at hiding.

The album offers several moments to rest, breathe, and reflect during some instrumental tracks that feature Jordan Hamilton on cello, helping to really highlight the orchestra beyond the overdrive. “Atlas” is the first of these four, lush instrumentals, creating gorgeous soundscapes that offer a palette cleanser before diving back into more rock energy with “Written in the Sand,” a song that uses fantasy-driven storytelling with a heavy sonic backdrop to create a moment of triumph after so many hard-fought battles. “…Adrift” offers another moment of levity, with acoustic guitar, piano, and cello intimately performing together. “No Consent” hits an almost Motorhead-style high note with bassist Adam Bogues taking the lead on vocals to compliment Chris Cranick in a way that also is reminiscent of Mastodon in spots. The track emphasizes the punk sentiment of criticizing the police and their sanctioned war on the public while also offering a sinister undercurrent centered around the fear of cops that is palpable as soon as their lights flood into the rearview mirror. The mood of this tune is driven home in the instrumental that follows, building on the dark, moody tones with “Mourning Dusk.”

“Looking Glass” swings from slow and somber into a rush of sonic energy, complete with a guitar solo to cap off the end of the song. Lyrically, this song touches on the feeling of isolation supplemented by the collective anxieties we all feel while looking through the lens of our incessant screen-based consumption. “Restless Star” acknowledges these feelings further through lyricism set to excerpts of an interview with Marita Hacker (We Are the Middle of Forever: Indigenous Voices from Turtle Island on the Changing Earth) and a moment of calm once again provided by acoustic instrumentation and Jordan Hamilton’s skillful work on the cello. To cap off the record, “Figure 8” is a mixed-meter jam that reminds listeners to unshackle from the past and welcome what life is offering next.

Restless Star is a testament to the collaborative journey that can evolve through art and the shared, human desire to grow as time marches on. Throughout the album are moments to thrash and headbang right before you sink into a peaceful minute of reflection on one’s own progress through life. For a genre that often gets presented as stale, Overdrive Orchestra continues to breathe fresh life into their sound with a collection of tracks that meld deep, personal lyricism and expansive, sonic set pieces that easily lives up to the namesake of the band. It shows a group willing to grow alongside their audience, offering new experiences while paying homage to the moments along the journey that allowed them to continue to stride forward in 2024 after several years and albums under their belt. If you’re looking for something to blast in the car or a time to self-reflect boosted by the adrenaline of a rock concert, look no further than Restless Star. 

Album Credits:
Chris Cranick - acoustic, electric and baritone guitars, vocals, E-Bow, mandolin, Fender Rhodes (track 2), piano (track 3), backing vocals
Adam Bogues - acoustic and electric basses, vocals (track 7)
Shaun Sova - electric guitar
James Blevins - Moog, Juno-DS88, piano, spoken word (track 10)
Cameron Hill - drums, percussion

Additional musicians:
Jordan Hamilton - cello (tracks 4, 6, 8, 10)
Jim Wirt - Hammond B-3 organ (track 7)
Brandon Miller - inspiration and musical direction (track 1)

All songs written by Overdrive Orchestra
Published by Phunky Phetus Music (ASCAP)
Produced by Overdrive Orchestra, Jim Wirt, Patrick Sheufelt
Engineered by Jim Wirt, Kevin Kozel, Patrick Sheufelt
Additional engineering by Joe Sturgill, Raziel Castaneda
Recorded at I/O Detroit Studio, Superior Sound Studios, Third Coast Recording Co. during March 2022 – January 2024
Mastered by Larry McKay at LMK3 Recordings
Cover Art by Zulfajri MB
Design by Chris Cranick

Support Overdrive Orchestra!
Website: https://overdriveorchestra.com/
Facebook: https://www.facebook.com/OverdriveOrchestra/
Instagram: https://www.instagram.com/overdriveorchestra/
YouTube: https://www.youtube.com/@OverdriveOrchestra
Spotify: https://open.spotify.com/artist/7xeTmcjGWU60MaU7nly3ID?si=bWFKneP0Q06KHNUEiyuMRg
Apple Music: https://music.apple.com/us/artist/overdrive-orchestra/381644994
Soundcloud: https://soundcloud.com/overdrive-orchestra
Bandcamp: https://overdriveorchestra.bandcamp.com/

Sign 'Em - Fake Baseball (Single Review)

The landscape for creating music has never been more diverse and more primed for cross-pollination, cross-cultural collaborations, and other words that begin with “C” that delineate enthusiastic creative energy (confluence?). In Kalamazoo, there is a constant recognition and a wealth of collaborating talent in the music community, where trained musicians at Western Michigan University regularly interact with a beautiful tapestry of diverse, indie artists. Think of Kalamazoo groups like Last Gasp Collective alongside the more recently formed Fake Baseball: both projects are blossoming branches from deeply rooted commitments to each other and the music they create. All signs point to this eclectic potluck of creatives on Fake Baseball’s latest single, “Sign ‘Em,” as these art rockers weave together different influences for a whimsical romp through this summer festival dance bop that also delves into the predatory businesses that co-opt religion (like you’re “song of the summer” playlist already includes, I’m sure). 

This tune delights in building anticipation, wringing out every bit of the vibe until listeners are on their feet. The phrase “Midwest Carnatic” came to mind describing this song, because the overall instrumentation and style centers on West Michigan talent, but like Carnatic music there is an almost melismatic expression over a constant “drone” most of the song. Tension is built throughout with a constant emphasize of the tonic note, or root note of the key they are playing the song in, while constantly adding ways to layer harmonies or melodies overtop while always return to the root. The “drone” would come from the bass and guitar emphasis on “G” and the constant tempo flow, with keys and other guitar layers to add consonance and dissonance without the song ever feeling like it changes key or mood. Jazz harmonies help facilitate moments of calm, whimsy, and even existential dread, deepening the tune that much further into the group’s influences. The “angsty spank” (spangsty?) sounds from the guitar, the groove switches, and texture changes help keep this song feeling fresh, especially with some wonderful shared phrases (soli sections) and a stellar synth solo added into the mix. Then, right at the end of the tune, you feel the shift to the “V” chord, with the root following, to really add another layer of musical humor to a song full of enthusiasm that paints with vivid colors. 

If you’re not a fan of bold artistic ventures, Fake Baseball might be the wrong choice for you. If you’re someone who serves up whatever Top 40 mandates, you’ll probably feel scared listening to dissonance of any kind. However, for the many listeners of this passionate crew of creatives, they have found a home in this musical carnival ride. For all of its whimsy, “Sign ‘Em” orchestrates some great moments of improvisation, passionate performance, and an infectious collection of disparate earworms all wriggling their way into your brain soil. Hear this song live at Bell’s Eccentric Cafe on June 15th, with performances by my group, Earth Radio, and After Ours.

Song Credits:
Maggie Heeren - lead vocals and guitar
Adam Danis - lead guitar
Grayson Nye - keyboard and synth
Matt Milowe - bass guitar
Ethan Bouwsma - drums

Written and arranged by Fake Baseball
Recorded by Ben Zito at Centennial Sound
Mixed by Maggie Heeren at La Luna Recording & Sound
Mastered by Sam Peters at SP Mixing and Mastering
Produced by Fake Baseball

additional giggles and party sounds by:
Lindsey King, Josh Miller, Peter Melichar, John Stiger, and Josh King

Support Fake Baseball!
Website: http://www.fakebaseball.band/
Facebook: https://www.facebook.com/fakebaseball/
Instagram: https://www.instagram.com/fakebaseball/
YouTube: https://www.youtube.com/@fakebaseball
Spotify: https://open.spotify.com/artist/4LUBviQXLrcpwiu4iZSktW?si=hdtuVncbQXO5IPGESJ9IVw
Apple Music: https://music.apple.com/us/artist/fake-baseball/1611090096
Bandcamp: https://fakebaseball.bandcamp.com

Click the artwork to listen to “Sign ‘Em!”

Arachnirithmitic - Sami Calamity (Album Review)

In the years since moving to Detroit, Sami Blosser has only continued to blossom as she spent time getting more integrated into the scene, especially post-2020 quarantine. As an educator, she has done her own clinics that center around mental health advocacy, fundamental and extended techniques on saxophone and in performance settings, and important tools for navigating the music industry as a woman. Her compositional work has been well received by audiences around the state, with pieces like “Castles” even receiving the 2022 International Alliance for Women in Music award. Now in 2024, Sami Calamity has rocketed into the Detroit scene with a collection of powerful, expressive, freeing moments exploring “fears not based in reality” while being a “celebration of freedom from these fears.” With this projects debut album, Arachirithmitic, Pandora’s box has flung wide open and the deep, cathartic energy that comes from harnessing your trauma and wielding it through the lens of a group rooted in jazz, boosted by the surging sound of modern metal, while delighting in the groups like The Mars Volta to inspire their genre fluid apocalypse. 

From the first, haunting melody from Sami Blosser’s voice on “mE mAnIa,” listeners are treated to a one of a kind experience born out of a vision so calamitous it serves to shake the foundations of any genre, stage, or assumption that comes her way. Swirling metal, funk, and fusion music textures offer a spacious bedrock to support her wailing vocals saturated in effects that amplify her manic delivery. Meaty 8-string guitar riffs from Rob Kokochak, solid lead guitar playing from John Raleeh, powerful bass commanded by Caelin Amin, and surging drumming from David Zwolinski energy all move about free-jazz fluidity that is accented by thunderous hits. On “Dmizia,” there is a surge of dark, gritty energy that is almost theatrical  in how steeped the musicians are in the free, expressive moments after kicking off the tune with riffs in the style of doom metal. After a very intense moment of chaotic improvisations washed in effects, the track ends with one final groove that instantly snaps you back into focus. Blosser’s voice on this track cuts through the heavens with a fiery flurry of notes that descend destructively onto the listening masses below, unafraid to dig into the range of her language on the instrument and commune with the spirits.

“Little Miss Misanthrope” is as playful and devious as the name suggests, with each instrument playing off of different, interlocking motifs accented beautifully by Zwolinski’s fearless groove on the kit. After a couple of tongue-and-cheek twangy rock hits, the beefiest breakdown on the album smashes through with a powerful surge of effected saxophone that almost sounds like Blosser has now harnessed the spirit’s energy from the track before and is wielding it with such ease. Benjamin Bourlier materializes with a solid synth solo to add a beautifully chaotic cherry on top. With one last fizzle, the track ends abruptly to make way for the final number, “Aelurec,” to groove over a dissonant, mixed meter experience that shows Blosser’s unapologetic incorporation of motivic, jazz rooted vocal lines over this ostinato. The track builds in rage to the final moment on the record to conclude a firestorm of a listening experience.

Having known Sami Blosser since our shared time at WMU, it is inspiring to see how tall she stands on the shoulders of her own giant ambitions. Sure, she was writing great music for her recitals (one that I participated in) and was already known as a great person to collaborate with, but Sami Calamity is an entirely new expression that flows so effortlessly from her. Somewhere between Esperanza Spalding’s Emily’s D-Evolution album character and Shiva, the Goddess of Destruction, this artistic vision exudes creativity and oozes personality in a market saturated with playing it safe. Arachirithmitic is a beautiful collage of feminine energy radiating fury against the aesthetics of a male-dominated industry through fierce cunning and fearless exploration while navigating a ship that is expertly supported by the musicians she works with in this project. Even within the swirling chaos, their intent behind every expression is clear and the command of their craft speaks volumes for the execution of the music. They are unafraid to explore range, dissonance, morphing between characters/moods, all while delivering gritty, interstellar sonic asteroid collisions at light speed into your solar plexus. This record is not just “jazz students turning on distortion and calling it something groundbreaking,” this music showcases a deep love for expression through a confluence of genre, instrumentation, and shared training/influences as artists in the Detroit scene. This group is primed for future collaborations and for Sami Blosser to confidently stride through the doors of her artistic presence in Detroit, and whether or not you’re aware, Sami Calamity will make her presence known.

Album Credits:
Sami Blosser - Sax, Vox, Lyrics, Composer
John Raleeh - Guitar
Rob Kokochak - 8 string guitar
Caelin Amin - Bass
David Zwolinksi - Drums

Benjamin Bourlier - Synth Solo on “Little Miss Misanthrope”
Chris Koltay (High Bias Recordings) - engineer and mixing
Warren Defever (Third Man Mastering) - mastering

Support Sami Calamity!
Website: https://samiblosser.com
Facebook: https://www.facebook.com/profile.php?id=61559565412271
Instagram: https://www.instagram.com/sami_calamity/
TikTok: https://www.tiktok.com/@sami_calamity
YouTube: https://www.youtube.com/@sami_calamity
Spotify: https://open.spotify.com/artist/2iT94vJ0kvEuvcI74x5RWf
Bandcamp: https://samicalamity.bandcamp.com/album/

“If Sonny Sharrock proved beyond the shadow of a doubt that there are spirits in this world, Sami Calamity goes on to posit that there are demons too.” - Jarad Selner (Saxsquatch)

Experience the Calamity!

Knuckle Sandwich - The Burdens (Album Review)

West Michigan is seeing a growth in the music scene since Covid stunted everyone’s growth. And no, it’s not just the “DeVos/Acrisure Amphitheater to Stick It to Fred Meijer’s Garden,” it’s artists being able to commune with each other and their fellow music lovers again. It’s educators getting to inspire new creatives that appreciate art for its own sake, not for how well it looks on a resume for a job at a company that has probably already made it a policy to underpay gig economy workers. It’s finding that final member to the band you’ve been thinking about for the couple of years you’ve been inside demoing tunes and trying to cobble together limited, outdoor backyard concert experiences so you and your friends can feel something other than despair.

In North Muskegon, one compliment to this feeling of positive growth is an alternative rock trio called The Burdens, who blend 60’s pop and 90’s grunge into a wonderful pairing of uplifting transparency honed to a fine edge through gritty, punk aesthetics to carve through the fog of modernity and remind you your heart is still beating. Knuckle Sandwich, the group’s sophomore album, makes a space for everybody to strip their souls bare and ugly cry during a basement show. In this rebellious energy accented by distorted riffs with thunderous bass and drums are anchor points to latch onto: a chorus that uplifts the mood, an anthem to embody the whole tune, a moment of levity to recharge your moshing batteries.

From the jump, listeners are invited to join in The Burdens as a community beyond their music, with the hook “if you feel like a burden, welcome to the club!” on the song “Dumb For You // Bear Your Burdens.” This song is a great introduction to the album, the band, and the foundational sounds you’ll enjoy from the trio. Moving into “Where You Belong” reinforces this invitation, offering the encouragement to make the difficult choices that are needed to find where you are accepted. The energy keeps driving with “Lucky Square,” featuring verses driving by a slowly building dance beat into explosive choruses, all juxtaposing lyricism about the addiction. “Hall of Meat” is a 90 mph autobahn trip into a brick wall with reggae-style portion to emphasize how they have to laugh through the pain life throws your way, scars and all. “Junkie” reiterates the sinister hooks addiction can have with a gritty, stoner/doom metal riff that sinks you deep into the mood of the message. “True Colors” is a slower build that takes the energy from grunge and arches it upward towards a catchier pop hook, all geared lyrically towards recognizing the true colors beneath the masks we all hide behind sometimes. To cap off the release, “Speakeasy” is definitely their most pop-forward offering, and yet it concludes a great emotional journey and leaves you feeling energized.

Sometimes art takes itself too seriously and the message gets buried in institutions or locked up in academia for only the “privileged few” to comprehend, and The Burdens remind you with Knuckle Sandwich that art should come in many forms AND convey a message charged by the passions that come from bearing your soul and trying to help those with what you produce. Louis Cole can juxtapose goofy, nonsensical lyricism in his verses because they paint a mental trail to the emotional punchlines of these bits that he’ll deliver on the next track or the chorus hook or a shift from breakbeat grooves to soaring, symphonic scoring that is like sonic therapy. Dillinger Escape Plan could obfuscate their musical language in dense harmonies and rhythmic patterns, and yet their raw energy and full transparency on stage allows their music to emotionally resonate and connect with people in spite of the chaos within their music. The Burdens can quite literally bear their burdens because from the jump they have been loud and proud about what their group represents, and this album feels like such a great step forward for this group, especially with added engineering talents of Ryan Jamgotch (Electric Moon Studios).

These guys radiate the energy that has always endeared me to Muskegon - open, honest, fully expressing who they are and screaming it loud for the world to join in. They are scrappy survivors and ready to fight for their convictions while letting you stay their couch on a moment’s notice (they agreed, stay on their couch!). The description of this record on their Bandcamp page says it all: “A hit in the face with words to pick you up off the ground that pulls us in everyday. A reminder to keep pushing through the darkness with the light hidden in plain sight.”

Album Credits:
Evan Hooper: Vocalist/Lyricist/Guitarist
Caleb Henry: Percussionist
Corey McClary: Bassist

Ryan Jamgotch: Engineer
Recorded at Electric Moon Studios
Album Artwork by Siera Zamarròn

Support The Burdens!
Facebook: https://www.facebook.com/Burdensmi/
Instagram: https://www.instagram.com/burdens.mi/
Bandcamp: https://theburdensmi.bandcamp.com/
Apple Music: https://music.apple.com/us/artist/the-burdens/1687365077
Spotify: https://open.spotify.com/artist/1e8GTlufOSzLqHLr9vNt5K?si=-f17ue0nTmiSe4mvf9n21w
YouTube: www.youtube.com/@Burdensmi

Click the album image to listen to/buy the record!

Fragments - Josiah DeNooyer (Album Review)

Josiah DeNooyer is a force in West Michigan. Chances are, if you’ve glanced at the jazz scene in the last five years, you have seen him performing all around the region on keys and drums with all current/former WMU students and faculty and the talented, active legends all around the state. He performs in solo, duo, small ensemble, and various church settings with music directors like Jeremy Simpson while also playing with projects like DaVeonce & Da Funk Gang. He is an educator and someone who constantly shares his platform with the community he so passionately serves with his time and talents. All of this to say that when Josiah DeNooyer speaks, the scene listens.

With his latest offering, Fragments, DeNooyer compiles a patchwork of emotionally charged compositions pulled straight from the pages of his own story. These seemingly disparate pieces are linked together through a live performance at Third Coast Recording Company with a mixed chamber ensemble, which includes a traditional jazz quartet paired with a classical string quartet and a special guest for singing and narration. The passion from every performer is palpable, dripping with substance and the collective desire to deepen understanding through the lens offered by DeNooyer’s writing. What unfolds is a beautiful meeting together of minds and spirits for a special night of artistry.

After a brief introduction to set the mood, the album slowly unfolds with “Dreams,” a composition based on the poetic words of Langston Hughes motivating a climb out of writer’s block for DeNooyer to summit past creative peaks. As remarked in the album’s liner notes, dreams start with a single “spark of possibility” that constantly evolves far beyond its initial bounds. When you listen to this tune, you hear the strings and saxophone start the initial seed that blooms into a beautiful waltz that flows into a straight, 6/4 style groove, as if to further indicate how this tune evolves. The slow unveiling of the ensemble mimics a dream taking shape and also lends listening to the entire album experience, as if you were being led through this dream into the hidden truths buried further within the record. 

Next comes “Estrellita", a traditional piece of music originally written by Emmanuel Ponce and initially performed by the Plymouth Chamber Players who commissioned an arrangement from DeNooyer. With the additional jazz instrumentation to compliment the in-studio string quartet performing this piece, this live performance includes a hypnotic groove in 10/8 that features the soloing talents of Bill Cessna (keys) and Kyle Burgess (sax) before the strings emerge in the aftermath of the energy built up throughout this section. 

Listeners are then introduced to the singing talents of Faith Quashie, a frequent collaborator with DeNooyer that does a beautiful job on “Hold-Held.” This ballad sizzles with a moody undercurrent trying to articulate the feeling of a place that once felt like home but no longer offers the same respite it once did. The tune is scored to reflect this sadness and nebulous feeling of transition through airy textures, harmonies that flow into one another but never feel fully resolved, and the deep presence of each soloist’s offering into the conversation, including a first on the record from bassist Owen Cramer among the piano and sax soloing. “Stutter” shifts the tone immediately with its angular, pointed 13-bar blues melody that is friction that comes with trying to have the external understand the complex internal, with DeNooyer offering this piece as a way to communicate “in ways that words cannot.” The groove opens up to flow without being tied down, allowing for a saxophone solo that glides over top and right into DeNooyer’s drum solo, further communicating his spirit through his medium. The way the tune ends so strongly at the end with such a difficult unison line to execute live is so satisfying too!

To round out this emotional journey, the record ends with these two tunes: “Spiral Bound” and “Sunshine.” Both are based on lines of poetry narrated by Faith Quasie, and with these lines of poetry come more opportunities to text paint and colorfully accent the mood. “Spiral Bound” focuses on how a spiral bound notebook can be filled with ideas while the binding never truly feels stable; more like a chaotic unraveling of those moments just waiting to happen. Instruments ebb and flow underneath narration that flows through ideas like a notebook filled with pieces of the same story expressed in different ways. Chromaticism building tension then opens up into a gorgeous ballad section, all to eventually shrink down to an intimate pairing of pizzicato strings and soft piano. “Sunshine” rounds out the album with shimmering stanzas that serve to shine a light brightly on those DeNooyer holds dear, especially those encouraging him to breathe in a deeper life and delight in the sun nourishing your spirit. This calm, reflective tune dotted with brighter timbres also includes vocal effects to enhance the narration and a fugue to segue into the final, grand gesture of this dynamic, well crafted experience.

And with the applause at the end, Fragments comes to a successful close, thus transitioning this whole experience into another fragment of space time, never to truly be experienced the same way again. Sure, the players can return and the setting can be used again, but these tunes speak to such emotional depths that resonate through one's lifetime. There’s a reason we often return to old songs that used to light up our world, only to find the ashes of a world that has long since vanished. Additional listens will reveal sonic crannies left unexplored and new contexts for processing these emotional depths towards becoming whole. Every member involved crafted something special and performed beautifully, and if Josiah DeNooyer is not aware of it already, the many fragments of this special community he serves help to make humanity whole as well.

If you want to support this project, the artists involved, and Josiah DeNooyer’s efforts directly, check out his website and the links below to listen to the record, buy some merch, and keep up-to-date when he’s playing this music!

Album Credits:
Alto Saxophone - Kyle Burgess 
Piano - Bill Cessna 
Bass - Owen Cramer 
Drums, composition, arrangement - Josiah DeNooyer
Vocals, narration - Faith Quashie 
Violin 1 - Karisa Chiu
Violin 2 - Paolo Dara 
Viola - Sava Velkoff 
Cello - Piper Meldrum-Roy

Recorded by Raziel Castaneda at Third Coast Recording Company, Grand Haven, MI
Mixed by Samuel Peters 
Mastered by Mike Marciano at Systems Two Recording, New York

Support Josiah DeNooyer!
Website: https://josiahdenooyermusic.com/
Facebook: https://www.facebook.com/josiah.denooyer/
Instagram: https://www.instagram.com/musedriano_lyfe/
YouTube: https://www.youtube.com/@josiahdenooyer2776 
Kickstarter: https://www.kickstarter.com/projects/josiahdenooyer/fragments-a-suite-of-original-music

This link will be updated when the album drops, but for now, click to check out more about this project’s release!

Giant Space Ocean - Spike The Media (Album Review)

As an artist nowadays, standing out can be a difficult task. The right combination of playing talent, personality, and flexibility as craftsmen are all needed to incubate unique artistic experiences. With increased art consumption on various forms of media over the past few decades, audiences and musicians alike are made aware of styles from all around the world. This has led to bands more confidently wearing their influences on their sleeves in genre-fluid, inventive projects. One such band based out of Muskegon, "Spike The Media," crafts a unique listening experience that stands out from the typical West Michigan rock offerings in their latest album, Giant Space Ocean. You can hear just about every decade of rock influence from the last 50 years on this record, from their choice of guitar riffage and tones to the presentation of each track with the full band. It's equal parts a display of unrestricted talent and homage to bands that inspired them to pick up their instruments, with each track packing so much into mainly radio-friendly song lengths. 

“Dorsia'' is such a great way to open a record, with solid dynamic contrast emphasized by the soft acoustic guitars on the verses and the more powerful chorus sections that lead into funkier sections. “Fill The Space,” between the layered arrangement and the full sound from the overall mix, lives up to its namesake. The track centers on a meter in 6 and highlights some tasty synths and a stellar guitar solo. “For What It’s Worth” gives off strong Devin Townsend vibes with the playful nature of the instrumentation and vocals. “Maze” slows things down with a lilting, acoustic-guitar-driven track that features some beautiful strings from collaborator Rimma Agbo and an ambient slide guitar riff that spreads over the mix like butter. “Balloons Are Forever (But It's Now Or Never)” feels like a Van Halen classic with the lead guitar work in the opening before building into a disco jam with infectious lyrics. The hits that the band does 3/4ths of the way through on this number are a standout moment on this track as well.

“Walk Away” starts with a throwback acoustic guitar riff reminiscent of “Hey There Delilah” and transforms into a goofy Americana carnival complete with twangy guitar tones and what sounds like a jaw harp. “Cabbage Patch” builds instrumentally and harmonically in a wonderful arch, letting sections develop as more players are introduced into the arrangement (including some upright bass work from Nuri Tett and melodica in the mix). “But What Am I” plays like early 2000’s angst-fueled rock with a dash of danceable, modern pop sensibilities later in the tune. “Wooze” has a chorus and groove throwing it back to the 90’s while also adding a splash of atmosphere to this pop-punk tune. “Female Counterpart” includes a catchy guitar hook nestled in some ska-adjacent riffs that grow into an energetic ending that elevates the tune. “The Color Green” flexes the band’s arranging muscles in a meter of 7 while still delivering an earworm in the chorus, backing vocal hits that add a nice touch, and a sax solo from guest artist Hugo Lee. “Underground” is warm and earthy with great lead guitar/synth layers, and it concludes the new selection of tunes from Spike The Media. However, before the album stops, two new versions of previously recorded tracks are present with “Punk’d,” a tune that sounds like Alice in Chains with its darker tones and off-kilter harmonies, and “Trigger Warning,” a bluesy, in-your-face jam that caps off the full record in style.

Spike the Media has crafted a truly unique sound for West Michigan. With an eclectic display of rock and metal that draws from so many influences, this polished band is primed for all sorts of memorable live moments around these songs. From the plethora of touring acts that come through venues like The Intersection and Pyramid Scheme, it's not out of the question for them to support regional rock acts or be frequent asks for the variety of rock and metal shows in the future. The band is still so new that they have room to grow and solidify their sound, but they're all proficient at their instruments and can actively deliver on the expectations of their recordings. If you're looking to deviate from your usual rock playlist or explore the wider ranges of the Michigan music community, Spike the Media will leave you banging your head, soaked in swirling synths and guitars, and dancing to a disco flare all in one listen. 

Album Credits:
Produced by Spike The Media
Drums, Percussion, and Upright Bass recorded and engineered by Ryan Jamgotch at Electric Moon Studios
Guitars, Bass, Vocals, and Synths recorded and engineered by Brendan Martin at Modern Wax Productions

Saxophone on “The Color Green” performed, recorded, and engineered by Hugo Lee
Strings on “Maze” and “Underground” performed, recorded, and engineered by Rimma Agbo 
Upright Bass on “Cabbage Patch” performed by Nuri Tett

Mixed by Brendan Martin
Mastered by Philip Shaw Bova
Album Artwork by Larisa Murariu|

Support Spike The Media!
Website: www.spikethemedia.com
Facebook: https://www.facebook.com/SpikeTheMedia
Instagram: https://instagram.com/spikethemedia
Bandcamp: https://spikethemedia.bandcamp.com/
Apple Music: https://music.apple.com/us/artist/spike-the-media/1258363897
Spotify: https://open.spotify.com/artist/150kB6A3MiIWUohi1p7I7K?si=9fEeAKkWT0eTHdUSE0wOWw&utm_source=copy-link
YouTube: https://youtube.com/channel/UCwKo2Bz4zZVI5BmB2VRiU9Q

Click the album art to listen/buy the record!

That's A Vibe - Sabbatical Bob (Album Review)

If you’ve gone to enough shows, you’ve definitely felt the “vibe” - the crowd, setting, and artists all merging together to create something special in that present moment. It carries the music along with the memories, recapturing those nights dancing in clubs or grooving with a band alongside your friends and fellow fans. In Sabbatical Bob, these talented young players are stewards of cultivating a vibe through dynamic, wide ranging funk that highlights both the individuals and the group. Every inch of their live sound encourages audience members to lock in and “shake that vibe.” Their latest full-length album, That’s a Vibe, steeps listeners in deep pocket grooves, stellar arrangements from an 8-piece ensemble, and a standout presence that begs to be experienced live.

Setting the vibe immediately with an endearing self-titled track, the band simply repeats the mantra, “That’s a Vibe!” “Electrolyte Solution/Broken Thumb” turns up the heat with a hydrating burst of funk complete with James Brown stylings, energy that’s no doubt fueled by electrolytes to reinforce their fast breakbeat sections and winding horn arrangements, and a wild guitar solo from Ian Elyanbekov. “Lil Bunny Foo Foo” pairs gritty riffs a la Rage Against the Machine (especially with how the guitar and bass sound together) with playful dynamics and rhythmic interaction. In addition to holding down trumpet, this track showcases Benjamin Green’s vocal chops. “Really Right” blends an almost Hendrix-style phasing guitar riff against a half-time groove that’s as deep and wide as the grand canyon. The guitar gets plenty of room for a solo along with an affected trumpet and sax solo trade between Green and saxophonist Alain Sullivan. The percussion included by bandleader and drummer David Ward was a nice touch as well, adding to the feel and flavor of the tune.

“At Least One” slows things down but keeps the bass/guitar combo front-and-center. The backbeat shifts partway through the song and adds clav, giving the perfect “stankface” moment. “Paradise” oozes with swirling phasers, dark tones, ambient reverb and delay, before it brightens up (tempo, instrument tones, and more active playing) and builds to the peak with some stellar solos from Alain Sullivan and keyboardist Jordan Anderson. “Interlude 1” provides a wonderful palette cleanser with some wonderful lo-fi stride piano that adds to the feeling of scrolling through radio stations. “Drive” lays the vibe back and begs for a slow drive through the city. The groove develops throughout and even includes some trashy, New Orleans-esque swampy funk under some tasty vocals. After some additional radio sounds on “Interlude 2,” the Gogo party is in full swing with “Shake That Vibe,” a tune that instantly gets the party going. “Interlude 3” channel surfs through more radio stations before a reprise of a previous track under “Paradise II,” this time with some added synth solos. This feels like when a DJ brings back a groove from earlier in the set while cutting it with something new. To keep the vibe rolling as the album winds down, a mellow, spacey track called “Springtime” counterbalances all of the upbeat grooves with a warm, cozy, flavorful sonic soup that is a comfort to the soul.

From their polished, exciting live shows to their recordings radiating funk personality, Sabbatical Bob has shown their abilities as performers, collaborators, and producers all over That’s a Vibe. Musicianship is on full display to celebrate the individual players while the collective shines throughout the album. Funk is explored to its furthest reaches while adjacent sounds add tasty moments in each arrangement. The mix on this record sounds great as well, building on their last self-produced record and adding so much color to their already eclectic style. Sabbatical Bob easily proves why they are a rising in-demand collective of some of Michigan’s finest young talent while raising the bar for everyone wanting to claim “funk music” on their band’s bio page. Well done all around!

Album Credits:
Saxophones - Alain Sullivan
Trumpet/Vocals - Benjamin Green
Trombone - Zekkereya El-magharbel
Bass - Benjamin Wood
Guitar - Ian Eylanbekov
Keyboard - Jordan Anderson
Drums/Percussion - David Ward

Recorded & Mixed by Geoffrey Brown
Mastered by Kate Derringer

Support Sabbatical Bob!
Website: https://sabbaticalbob.wixsite.com/funk
Facebook: https://www.facebook.com/SabbaticalBob
Instagram: https://www.instagram.com/sabbaticalbob/
Spotify: https://open.spotify.com/artist/4vFxdosJYUGMUbA3N7YmJ1?si=0r3L3TxjTFWSYkCxC0Hq0w
Bandcamp: https://sabbaticalbob.bandcamp.com/
YouTube: https://www.youtube.com/channel/UCXm0bvXVY7dX30kLtHuRElA/

Click to listen/buy the record!

Made In Kalamazoo (Trios and Duos) - Keith Hall (featuring Andrew Rathbun and Robert Hurst) (Album Review)

If you’ve ever lived in West Michigan as a jazz artist or fan, you have definitely heard of Keith Hall. Whether it’s his project TRI-FI with bassist Phil Palombi and pianist/academic colleague Matthew Fries, his nationally recognized summer jazz drumming clinic, or his educational background as a touring clinician, method book publisher, and professor at Western Michigan University (WMU), Hall has cemented his place in the region over the last 25 years. He has worked with a host of veterans of jazz history, including Betty Carter, Sir Roland Hannah, Michael Philip Mossman, Janis Siegel, Curtis Stigers, Steve Wilson, and many more. With his first album as a bandleader, listeners are treated to Made in Kalamazoo (Trios and Duos), an album that captures the city he has known and occupied for years that is also supported by a prominent area arts institution, the Arts Council of Greater Kalamazoo. Hall describes that “the vibrant arts community, dynamic industries and vital personal connections in Kalamazoo provide inspiration for this project and many of the compositions.”

The record begins with a solo drum improvisation called “Be Curious (For Billy Hart),” a fitting tribute to the legendary “Jabali” Billy Hart, a drummer who used to teach Hall at WMU before Hall eventually assumed Hart’s teaching position. It sets the table for what listeners can expect to hear on the rest of the record: colorful use of the drum kit, skilled execution of improvisational ideas, and a careful attention to spatial awareness within intimate listening spaces. Next, “Douglass King Obama” kicks off the selection of trio arrangements on the record, adding saxophonist/fellow WMU faculty colleague Andrew Rathbun and bassist Robert Hurst on a tune that celebrates Fredrick Douglass, Dr. Martin Luther King, Jr. and President Barack Obama. As stated in the liner notes, Hall chose to celebrate 3 leaders that have all impacted social justice movements in America while also delivering speeches to the citizens of Kalamazoo during their lifetimes. The tune expertly fills space without overwhelming the tune or any one player while inviting some spirited, sonic conversations. If you’re a musician in Kalamazoo, these types of conversations can be had throughout the city in coffee shops and places like Bell’s Brewery, with these gathering places being a focal point in the tune “Kzoo Brew.” Right away Hurst shines in his bass intro, exploring the groove before the rest of the trio joins in for a tune in 12/8 that sits more in the Afro-Cuban realm. The implied harmonies between bass and sax are beautifully expressed in the arrangement, and Andrew Rathbun’s solo flows with modern bebop flare and personality in the more swung sections. “The Promise'' smacks listeners hard with a funk groove while featuring a bowed bass solo in addition to a sax solo. The title refers to the “Kalamazoo Promise” fund that was established in 2005 to help pay for college for high school graduates of the Kalamazoo Public School system. Just like funk and jazz’s infectious stylistic influence, the model for the “Kalamazoo Promise” fund has been duplicated across the country and has helped to change thousands of lives.

“Boiling Pot'' derives its name from the Potawatomi translation of “Kikalamazo,” which is believed to be the origin of Kalamazoo’s name. This spirited tune turns up the heat and rides on the cusp of boiling over, but in the expert hands of these sonic culinary curators, it stays cooking without leaving anyone burned. The quick hits in the opening section give way to a swung section that begins to slow down, as if to mimic the rise and fall of a heated stovetop water pot, with Rathbun also utilizing a bass clarinet alongside his sax playing. “Coming of Age '' speaks to Hall’s musical upbringing in the Kalamazoo music scene while also reflecting on the life that led him back into his alma mater as a professor. This ballad centers around a beautiful soprano sax melody surrounded by a refreshing wash of bass and drums before grounding the ensemble in time. One of Hall and Ratbun’s former students, Ben Schmidt-Swartz, helped arrange this tune, further adding to the depth of representation in WMU-born artists. “Creative Force” builds on this community thriving with artistic collaboration with the drums accenting the melody up front, sax and bass joining in, and then opening up the tune into a swinging, expressive blues for the full band to interact with one another. The group slowly dissolves the backing textures to open up space for Hurst, with each member of the trio joining in to help support the ark of this fast, hard swingin’ bass solo. “Well of Hope '' plays off of two influential entities in Kalamazoo's history: the Hopewell tribes that first inhabited the area and Bobby Hopewell, Hall’s friend and the city’s longest serving mayor of 12 years. The band highlights these elements with a straight 8th, 12-bar blues, a form born in America’s history while also signifying one bar for each year Mayor Hopewell served. “Interlude” bridges the listening experience between the trio compositions into the duo arrangements that feature Hall and Rathbun, with the improvisational inspiration deriving from the drumming legend and Pontiac, Michigan born artist, Elvin Jones.

The second half of the record showcases Hall and Rathbun’s relationship as friends, colleagues, and skilled performers on their respective instruments. “Mop It Up” blends rhythmic interplay between the saxophone (with efx) and drums, with Rathbun’s use of delay complimenting Hall’s drumming foundation while Hall also interacts with the sax’s melodic phrasing. “Sweep” calms things down with brushed drums in a slower swing tune. Rathbun plays off of Hall’s brushing textures with ghosted notes mimicking swing-style drumming in between his accent pitches. “Get Up Get Out” showcases Hall’s funk chops once again, but this time creating a false bass line from the pitch/rhythm of his kick drum. Rathbun’s use of a wah effect adds an almost guitar-like quality to the mix with his articulations and loops. After some swingin’ conversations, the tune returns to the opening textures to ease out of the groove. “Dream Sequence” starts with an arpeggiation effect on Ratbun’s sax that creates a hypnotic expression, with this sound being less about centering on the pulse of the arpeggiation and more about utilizing the motif as a tool ground the players and listeners before things open up to a more swing-driven, free playing section. “Sympathetic Vibrations” continues the exploratory music-making with Hall back on brushes playing off of Rathbun’s journey through his instrument’s range of expressive tones (muting, altissimo, etc).

“Lakeside” features some darker, mallet-driven percussion work from Hall that compliments Rathbun’s gritty saxophone tone that builds on the guitar-like qualities expressed in previous tracks. The added reverb to both instruments creates a powerful presence in such a small configuration. “My Man!” sounds like what these guys would play together on a gig where they were allowed to open up together before the rest of the band joins back in. This tune radiates the joy of making music together, with the slow down at the end executed so well and the “My Man!” from Hall punctuating the vibe. “What You Say” features some lush saxophone phrasing (reminiscent of Coltrane) atop a bed of rounded mallet drum tones and cymbal washes before moving into a heavily rock-inspired tribute to the next generation of players in “Young Man’s Game.” Rathbun perfects his guitar mimicry on this tune, chunking away like a rhythm guitarist and soaring like lead guitarists in different spots as Hall’s thunderous drumming add to the power behind the track. To close the record, one last duo piece, “Landscape, creates a cinematic moment with shimmery cymbal work and wide, intervallic note choices from the Rathbun, along with one final solo drum improvisation, “Thank You Max,” to celebrate another influential man behind the kit, Max Roach.

Made in Kalamazoo (Trios and Duos) is a thorough expression of this prominent West Michigan city through the lens of masterful artistry. Each tune explores an idea without overstaying its welcome, giving listeners the chance to really sit and enjoy such a wide range of influences, styles, tones, expressive moments, and colorful collaboration. The nod to Kalamazoo in each trio composition celebrates so many great aspects of the city's history and its people, where the solo and duo moments capture some of the intimate artistic moments that resonate throughout the community. This body of work is filled with standout moments from such a small, committed roster of seasoned professionals, and it’s a masterclass in serving the sound verses purely serving the self, as sometimes academic jazz can come across to the public. It is approachable music that guides you comfortably through explorative moments, and it showcases Hall’s deep appreciation for his craft as a drummer, his knowledge as a continuing student of jazz history, and his commitment to Kalamazoo. Spin this record on a sunny evening with a cocktail in hand and look up when these artists are performing near you to experience this level of talent live!

Support Keith Hall!
Website: https://www.keithhallmusic.com/
Facebook: https://www.facebook.com/reverendofswing
Instagram: https://www.instagram.com/keithhallmusic/
Bandcamp: https://keithhall.bandcamp.com/album/made-in-kalamazoo-trios-and-duos
Spotify: https://open.spotify.com/artist/4C4QHCdeRMiYfCJhezibZG?si=9A3FAn6GQMmvGYb8yss5vA
YouTube: https://www.youtube.com/user/Keithhallmusic
Podcast (Real Music Talk with Keith Hall): https://podcasts.apple.com/us/podcast/real-music-talk-podcast/id1515807120
More: https://linktr.ee/Keithhall

Album Notes/Credits:
Recorded May 17 & 18, 2019 at Overneath Creative Collective, Kalamazoo, MI

Engineer: Gordon Van Gent
Mixing: Andrew Rathbun
Mastering: Chris Allen

Song #1, 6-9, and 20 by written Keith Hall - (Psalm 150:5 Music ASCAP), all others by Hall and Andrew Rathbun - (Broatch Music SOCAN)

Produced by Keith Hall
Photos: Casey Spring
Artwork Design: Matthew Fries

Andrew Rathbun is a D’addario performing artist.

Keith Hall plays Yamaha Drums, Zildjian Cymbals, Vic Firth Sticks, and Remo Drumheads.

Special Thanks:
This recording was made possible in part by the generous support of the Arts Council of Greater Kalamazoo. Special thanks to Ben Schmidt-Swartz for organizing and arranging some of this music, Robert Hurst for bringing his undeniable artistry and great vibe to this project, and my man, Andrew Rathbun. Andrew played so beautifully, wrote some fantastic music, mixed the record and has been completely invested in this project from the beginning. I literally could not have done this without him! Love always to Grace Nellie, Hannah Joy, and Josie Mae: my greatest inspirations to continue growing as an artist and as a man. LPSWC.

Like The Standing Still - The Charmer Under Me

Michigan is a treasure trove of hidden talent and I’m constantly searching for people to elevate, with what little platform I have in the region. On the face of it, most people just think “Detroit” and stop looking, understandably so considering the historic level of influential talent and immensely popular genres that have been nurtured in that city (Motown, jazz, blues, electronic music, etc). Many people around the state make great music, and some carve out the brightest diamonds with their careful attention to production, arranging, recording, and performing. One such artist is Geoffrey Brown, a name that can confidently be added to the list of thoughtful artists and engineers working in the Detroit scene. He recently put out an album under The Charmer Under Me that is densely packed with personality from start to finish. It is unlike anything I’ve reviewed before and I’m using first person in spots in this review to geek out about the music, because it’s like a sonic candy store that is filled with delicious morsels of music. If you had expectations for what Like The Standing Still sounds like, they will all be exceeded by the end of your listening experience.

Kicking off the record, “In The Water Still” expresses a noise-sprinkled, Talking Heads-style rock tune with a blend of weird synth sounds and whirly guitar tones. These walls of sound give way to a driving rock pulse that makes for an exciting place to start the record. “Floored” carries that energy into a math-rock vibe permeated by a near constant stream of layered vocals, with the guitars panning from left-to-right to add to a swirling effect. “Who” starts off more tame with an arpeggiated synth to latch on to, but it slowly builds around the pulse with smaller motifs to a huge sound that feels like being submerged in a loop station centered around the band. “Almost” has an angular-yet-tuneful riff that grounds the surrounding psychedelic textures and samples until they eventually obscure the groove in a washy synth sound that feels like brushed percussion arpeggios. “Within the Bound” starts with a synth that is reminiscent of eerie, old-school alien movies, with vocals soaring over a hypnotic rock beat. Gritty sounds surround echoed speech, overdriven synths make up noise clusters, all exploding back into the opening siren before being stripped down to a sliding guitar riff and manipulated loops that flow back into the groove.

“Like Driving Away” has a catchy melody that accents a driving pulse with some wonderful distorted bass and warbly guitars, swirling delay textures in the background, crazy synths, all combining into an expressive artistic frosting of a flavorful rock groove cake (this song makes me want to be in the live band, so fun!). The lyrics “and waiting for something to happen” are a great way to set up the next tune! “Certainty” builds on WIDE open spaces with vocals and synths, lush, effected chords, a lone trumpet singing overtop, and expressionistic/improvisatory acoustic instruments set against a canvas of synthesizers that elicits an obligatory “WOO!” from the jazz crowd. “Moment” is Heavy Riff City! It’s a 300 story building built on punchy riffs and spacey soundscapes. “127 GBH” follows this titan of a tune with stuttering, fuzzy, filtered sounds that feel like a radio broadcast before morphing back into the previously heard siren and a noisecore laser outro. “Forgetting” feels like you just had a eucalyptus bath wash over you after such intense heat from the previous tracks. The guitar tones are so expansive and the environment feels like a fast drive through the desert - simmering fire all around but a cooling breeze to keep you enjoying every moment. The tune ends with improvisatory drums as the rest of the track fades away, leaving the listener settled after such an exploratory journey.

If it took until my review (granted, months later) to check Like The Standing Still, let this be an invitation! Geoff Brown can be heard on a lot of projects between his musicianship and producer’s ears/techniques (including the previously reviewed album from Say Less), but to hear him on this record highlights his personality that delights in sonic exploration and crafting wonderfully distinct moments. Check out the links below alongside the album credits, it’s filled with great players that shine throughout this release, and keep an eye on future albums from this guy!

Support Geoff Brown!
Website: https://www.geoffreybrownproduction.com/
Facebook: https://www.facebook.com/geoffalib/
Instagram: https://www.instagram.com/geoffbrownonline/
Spotify: https://open.spotify.com/artist/2ASeVhn58tOkr1vGf5mVyh?si=VEK_xsIkSkOao_sO62ms1w Bandcamp: https://thecharmerunderme.bandcamp.com/

Album Notes/Credits:
A sprawling, overwrought studio project, Like The Standing Still showcases a kaleidoscope of influence, references, and oddball chaos from Detroit musician and producer Geoffrey Brown. A longtime engineer, studio dog, and hired gun, Brown employs super secret skills obtained from working with local artists Big Vic, Eight Carl, Lily Talmers & The Ypsilanti Goddam, and Sabbatical Bob to craft something in between and outside notions of shoegaze, krautrock, dub, noise rock, and ambient music.

While most of the record sees Brown performing every instrument, it features some notable and essential guests: David Ward (drums), Jordan Anderson (organ), and Ben Green (trumpet) during the latter half. Heavy Motorik grooves are accentuated with nodding, hypnotic vocal patterns, dubbed-out guitars, freaky synths, and left-field song structures. The music jumps between disparate idioms at will and without warning. Angularity ebbs and flows.

Like The Standing Still builds and erodes walls of sound, sometimes combusting into harsh noise, sometimes shattering into something beautiful - but never quite getting there. It’s dense, repetitive, and unpredictable. For as few aesthetic similarities as the two share, The Charmer Under Me’s Steely Dan-derived namesake is not coincidental.

Personnel:
Geoffrey Brown - songs, vocals, guitar, lap steel, bass, drums, keys, synths, no-input mixer, feedback, dub, production, mix
David Ward - drums, percussion (6)
Ben Green - trumpet (7)
Jordan Anderson - organ (6)
Adam Siismets - shrieks (9)
Kate Derringer - mastering

Recorded at Shmongo House, Ann Arbor, MI, Luc James Music Studio, Grand Rapids, MI, and Mouse House, Ypsilanti, MI.

Click the album art to check out the record!

Click the image for Geoff Brown’s website!

Old Time American Music - Ben Traverse (Album Review)

Thanks to household names in Americana entertainment, audiences around the country have been made aware of the sounds, instrumentations, and stories associated with the genre. Del McCoury can continue to put on a stellar live show built on tradition while Billy Strings can develop the art form for the next generation, showing a more dynamic scene than one might be led to believe if their only exposure to the style was one folk protest music video a history teacher might have referenced in grade school. This is where Ben Traverse comes in as one of Michigan’s dedicated songwriters, a traveling bard and historian, regaling audiences around the state with tales from deep in the Americana tradition while also exploring other genres popular for their stories, like his recent sea shanty album with Michael Dause (The Accidentals). Ben has the talent and kindhearted demeanor to easily draw in listeners and delight in educating folks through his passionate performances about these classic slices of American music history. He has also been actively involved in the DIY scene in a variety of roles, leading to folks like Seth Bernard saying that he “...is rooted in the past, forward thinking, and fully present. His foundation is solid and he cares deeply about music and people.” With summer here, music lovers can catch him touring to support the release of his new album, Old Time American Music, a collection of American folk tunes “captured in the spirit of Woody Guthrie and Pete Seeger.”

The environment these songs are sonically inhabiting is teeming with intimate spaces, a faithful recreation of classic 1950’s folk-revival aesthetic, and an exposed recording process that eschews modern production conveniences in favor of authentic representation. “Train On The Island” kicks off the record with a tale of love that comes with the passing of a train, but eventually the train serves as a reminder of the love lost, as “She don’t ride no more.” “Black Jack Davey” is a bouncy banjo number that tells the tale of someone falling in love with Black Jack Davey and running away with him, complete with that classic tagging of the ends of each verse. “The Moonshiner” is a somber ballad that details the life of a moonshiner who realizes the happiness he’s experienced is only about as deep as the bottle he’s drinking from, be it at the still or at the bar. It showcases Ben’s vocal range and passionate storytelling. The last verse has the sad realization that “The whole world’s a bottle/ And life is but a dram/ And when the bottle gets empty/ It sure ain’t worth a damn.” The auto-harp makes an appearance on “East Virginia,” a tale of a love so deep that it is obsessive, to the point of even scorning her beauty on his deathbed. As if to answer the subject of the previous song, “Silver Dagger” speaks from a woman’s perspective who notices how men around her, including her father, have courted and abandoned scores of women, with her mother even defending her from suitors with a dagger and leading to the resolve to “sleep alone all my life.”

“Over The Garden Wall” paints a cute love story of two neighboring lovers sneaking kisses and saying sweet nothings over a wall bordering their property, with the happy tale ending of her finally climbing over to be together. “Lazy John” is a comical song about life folks insisting that Lazy John gets his work done so he can join them for some fun, but he just can’t be bothered relaxing in the shade. The comedy continues with “Strawberry Roan,” a tale of a stubborn bronco that can’t be bucked, no matter how many attempts the rider tries. “Mole in the Ground” picks things back up with the banjo and details the desire to be a mole in the ground or a lizard in the spring, thinking of happier times in stark contrast to a stressful, overworked life. “Say Darlin’, Say” builds on the classic “Hush Little Baby” melody, although at a faster pace, and the last tune, “Shady Grove,” harkens back to the traditional English ballad, both in subject matter and the fact that many of these tunes, as Ben describes, were sung in Dorian mode. It’s a wonderful conclusion to the record and emphasizes Ben’s instrumental and vocal talents heard throughout.

This album review was an interesting one to do, because typically the reviews that come through are either full bands or more conceptual original music. However, Ben Traverse shows the depth in his performances by having a wealth of knowledge about each tune. In this review, each track has hyperlinked text, and each link goes to his website where you can follow along with the lyrics, see additional verses related to the tune, hear reference tracks and other arrangements from other artists throughout the years, and read a brief description of the tune’s origins and how it was introduced into the popular Americana music canon. Each tune highlights a different mood and the nuances that can be found in stories set to music in much more humble roots than more involved recordings of the same decade in other genres. It is a reminder of the rich catalog of American-born music as much as it is a foundation for future fans to enjoy virtuosic representatives of the style like Chris Thile or seasoned songwriters like the late John Prine. With every note played and sung, you hear Ben’s personality, his hours of work researching these songs for recording and performing, and the little imperfections that cultivate a distinctly human listening experience. Academic language aside, Old Time American Music lives up to its goals and continues to carve out a path for this Michigan songwriter and storyteller to connect with listeners and introduce a segment of music history to a new generation.

Catch Ben on tour this week!
May 18th w/ Political Lizard at Listening Room
May 19th at The Circuit in Traverse City
May 20th at The Ramsdell Theatre in Manistee

Support Ben Traverse!
Website: https://bentraversemusic.com/
Facebook: https://www.facebook.com/bentraversemusic
Instagram: https://www.instagram.com/bentraversemusic/
TikTok: https://www.tiktok.com/@bentraversemusic
Spotify: https://open.spotify.com/artist/1Fx7I4IB4bAYkseIUmcqvP?si=FQI7eY-ETv2lkBfSyjydrQ
Bandcamp: https://bentraverse.bandcamp.com/
Apple Music: https://music.apple.com/us/artist/ben-traverse/1574757229
YouTube: https://www.youtube.com/channel/UCM5ppG0F87MhVQnVCPMpebQ
Twitch: https://www.twitch.tv/bentraversemusic
All links (including upcoming tour dates): https://linktr.ee/bentraverse

Album Credits:
Performed, arranged, and recorded by Ben Traverse
Mixed by Greg Baxter at Second Story Sound with some early mixing by Ben Traverse
Mastered by Michael Dause at Treetone Studios
Graphic design by Tyler Newkirk
Artwork by Emilee Petersmark (@ermsauce on Instagram)

Click the image to purchase the album and tee shirt!

Wandering & Sandcastles - Elijah Russ (Double Album Review)

Elijah Russ has been involved in the West Michigan music community for many years. As a musician, he can often be seen sporting stellar guitar skills with all sorts of groups as a sideman for acts like Gunnar & The Grizzly Boys, Melophobix, The BlueWater Kings Band, The Legal Immigrants, and even touring with Harper & The Midwest Kind. As a soul-rock songwriter and bandleader, he can be heard playing around the region as a soloist and for special events with a full or expanded lineup of Grand Rapids musicians. I personally have been involved in his music as a recording artist with his 2019 single “Mind Your Business” as well as recording a solo on one of his new releases. His passion for the community and music radiates through his playing, and he’s a welcome addition to any lineup. Since his last live album release, The Elijah Russ Collective (Live), he has been hard at work crafting two very distinct albums: Wandering and Sandcastles, both of which release on April 24th with a release event at Wealthy Theatre (which I’m also involved in). One album is enough of an undertaking, but spending time funding, planning, scheduling rehearsals and studio time, commissioning artists, designing and ordering merch, and advertising and executing two albums worth of material is a huge accomplishment. The result feels like two cataloged spectrums of Elijah Russ’ artistry, arranging for different sized bands, styles, and a blending of instrumental and vocal highlights throughout each tune. It speaks to his work ethic and the support of such a vibrant cast of musicians in the West Michigan scene, and while I had to already learn these songs for the event, it was great to dive in and enjoy the tunes outside of studying them for the gig!

Starting with Wandering, this album sports a lo-fi, bedroom studio vibe that is a relaxed way to enjoy Elijah’s playing and songwriting. Each track captures a moment in his travels, delighting in experimenting with songwriting and styles while also programming his own beats and playing some keys. In a recent interview with Local Spins, he mentioned he doesn’t “like to be classified into one genre. I know that that’s advantageous in the industry. But that’s just not who I am. If somebody finds a lo-fi song, and then goes and looks through the rest of my catalog and finds a cinematic rock song, that could be a cool moment.” The album starts with “Evergreen,” a relaxed vibe that sinks your mood right into the coziest parts of your bedroom. It’s relaxed while still highlighting his improvisational skills. “Kung Fu” features lead playing from guest guitarist Jay Roberts and creates a darker, hypnotic loop splashed with voice recordings and a melody overtop highlighted with bells. “St. Louis” sets the table with ambient nature sounds and more directed audio recordings speaking on codependency, grief, and addiction, offering a moment of self-reflection as the track plays. “Swoon” lightens things up with the soundtrack that emulates the feeling of being swept up in love, pairing tongue-and-cheek comedic bits against a vintage recording of a man speaking on the subject. To close the record, a deeply atmospheric rendition of the classic “Colors of the Wind” can be heard against lush recordings of flowing water and chirping birds, creating a beautiful moment of calm to wrap up on.

Sandcastles is an album so large in scope that it is being realized live with a 16-piece band for its debut. It highlights Elijah’s confidence as a bandleader and arranger, wrangling a cast of characters to realize his vision. As a performer in the album release show, I found it so refreshing to see somebody thinking of the little details of a performance: reference tracks, scheduled rehearsals and individual sectionals, and even written charts with plenty of arranging notes to help keep everyone on the same page. That same level of care is showcased on the recording, with a full rock band stacked with strings, horns, and additional layers of vocals, keyboards, and guitars creating a record that feels dynamic and exciting to experience. “It Won’t Be Easy” grooves hard to kick off the record, featuring a stellar guitar solo among a driving rhythm section. “What You Want Me to Be” softens things a little with lush strings while building to such a powerful high point, complete with backing vocals that cut through with rock and roll flare. “Brilliant Mind” continues to ramp up the energy with a latin-rock jam that riffs hard while also features additional melodic layers from the keyboards and synths. Add in another guitar solo from Elijah and you have a great song for an awesome live experience. The funk is front-and-center in “Florida Funk,” unifying the band around a series of bluesy, heavy riffs that is guaranteed to get audiences moving while everyone’s stank-face comes into view at the breakdown riff that builds to the ending. “Requiem” is an instrumental track that shifts between featured improvisations and cinematic textures, and it cements Elijah’s stellar playing throughout the record. “I Would” adds a splash of classic soul on the front end and an explosive jam at the back end, with featured solos from Elijah utilizing different tones and approaches alongside my keyboard solo. “The Other Side” starts off with an intimate intro with piano and vocals, starting the earworm that permeates the entire tune and creates some standout chorus hooks that are colored by strings and backing vocals. To close this record, listeners are treated to a lively gospel rock version of “Go Tell It On The Mountain,” complete with a choir of singers and a burst of positive energy to send listeners out into the world.

Musicians tell a story with their art, whether it’s a single track or a wide variety of work. Each song captures a moment in time and a moment of an artist’s life, reflecting the people, places, moods, and inspirations that drive their desire to create. With Wandering and Sandcastles, audiences are treated to a succinct summary of Elijah’s life over the past two years of the pandemic, whether it’s emphasizing his relationships and personal trials or celebrating the people he’s met in his travels or the desire to create soulful rock music that leaves listeners feeling motivated and full of positive energy. Listening to both albums back-to-back also gives a fun variety to Elijah’s artistic output, and it reinforces his desire to not be bound to any one genre or style and to delight in exploration. Fans of rock anthems, solid musicianship, and of an artist actively working to better those around him that he works with and entertains will enjoy these releases, and they are mere previews to the polished live show experiences that he crafts. Go check out the record and see him live sometime!

Support Elijah Russ!
Website: https://www.elijahruss.com/
Facebook: https://www.facebook.com/elijahrussmusic/
Instagram: https://www.instagram.com/elijahruss/
Bandcamp (Listen to both releases here!): https://elijahruss.bandcamp.com/
YouTube: https://www.youtube.com/channel/UCiXi4PKF8Jt3tuCoPzf1A3A
Spotify: https://open.spotify.com/artist/3BTe748w8xXc56Ed257D9W?si=LkZ5Jt29Qbe-v6mLU9ze0g
Apple Music: https://music.apple.com/us/artist/elijah-russ/1473334651
Amazon Music: https://music.amazon.com/artists/B07X7FC2M4/elijah-russ?marketplaceId=ATVPDKIKX0DER&musicTerritory=US&ref=dm_sh_DAsY4e0GDO78BVrluopgwiLSC 

Includes a live version of “Brilliant Mind”

Behind-the-scenes info about the crowdfunding campaign about these releases

Interview I had with Elijah on my podcast, Mitten Backstage!

She Likes to Fly - Emma McDermott (Album Review)

Art is a journey, one that navigates many highs and lows while the artist braves each step towards the spotlight. Ample time must be set aside for musicians to develop their craft while also allotting hours every week to the business end, learning as much as they can from any person or resource to realize their vision. For artists like the Nashville-based Emma McDermott, the journey started with singing and performing at a very young age, supported by her two music-teaching parents and a community of artists in Ann Arbor, Michigan. Prior to this debut album, she had several years of making music with long-time multi-Emmy winning collaborator Brian Brill on several singles and EPs. Just when the momentum was building, the pandemic halted that progress and had her fighting for her life battling a virus-related episode of myocarditis. Years of developing as a songwriter, her training while assembling some lifelong collaborators at Columbia College, along with the clear vision to share songs “straight from the heart” have led to She Likes to Fly, an album that soars on the renewed energy of an artist finally able to take flight.

Emma McDermott has been described as a “one-woman-techno-Carter family” by folks like Nicholas Tremulis (the “Music Mayor of Chicago”), and she wears her influences on her sleeve. She draws from the “hooks and lyricism of Maroon 5, the mystical and carefully crafted sound of Coldplay, and the boldness of Lady Gaga’s music,” resulting in an eclectic blend of folk, pop, jazz, and R&B throughout the record. Things kick off with the title track “She Likes to Fly,” an upbeat dance tune with an infectious hook decorated with interwoven synth sounds. Her voice alternates between strong, unaffected vocals and colorfully decorated singing layers (i.e. vocoder, sampled pitches). “Mirrors” lays back with a more soulful, expressive number centered around harmonies (horns, vocals), a bouncy drum beat paired with snaps and trap cymbals, and dreamy textures. “If You Need To” picks things back up with a club-ready EDM tune that ebbs and flows with the dance floor, a tune that was originally recorded by a group she was a member of in Chicago called Sleep for Dinner. The album then rolls right into her recently released single from this record, “Ease.” Her folk roots are nestled underneath a blanket of colorful, percussive and synth-laden sounds, telling the story of leaving her hometown and searching for a sign that things will be alright.

“Lips Turn Blue” features Emma’s longtime collaborator, Asher Witkin, a kindred spirit in his artistic motivations and songwriting style. The pairing of their voices blend so wonderfully among the pulsing keyboards and half-time trap beat. “All I Want” starts as an intimate piano ballad and opens up into a retrowave bop, driving with acoustic guitar and programmed beats alike. “Waltz” takes a similar approach with the lilting piano intro, but deviates from the previous track by incorporating more soothing textures and intimate arranging details (plucked strings, warm synth undertones, faintly pulsing arpeggiators). It is a slower build that gives listeners a beautifully cinematic world to enjoy and begs for a dynamic staging filled with moody lighting pouring through hazy fog and visual storytelling gliding across a series of video walls. Sparkling and airy keys float into “Unsettled,” a lively synthpop romp through a love that changes everything around her. Contrary to this song, “City of Angels” tells of how she “found peace the moment you left [me],” stripping away the layers to lay bare the lyrics and the rich layering of vocals overtop a bed of synthesizer while featuring her longtime friend David Magumba on guest vocals. Capping off the album is “Dark Moon,” one final dance anthem that evokes a scene of Emma crying out in the night after such a roller coaster of emotions throughout this journey, complete with a powerful build with crashing percussion and the fullness of an orchestra complimenting her expressive voice.

She Likes to Fly feels like a burst of air rising everybody up to a dreamlike soundscape dotted with vibrant synths, crafted and catchy choruses, and a revitalized energy that can only come from an artist’s lived experiences through several difficult years. The album fits perfectly in a summer playlist, offering sing-along car rides and soulful cries to the night sky surrounded by your hopes and dreams. It showcases Emma McDermott as a talented artist confidently striding closer to the spotlight, pairing her desire for transparent songwriting with a cast of stellar collaborators amplifying her presence.

Support Emma McDermott!

Social Media:
Instagram: @vocalcake
Facebook: @vocalcake
Website: emmamcdermottmusic.com
Spotify: Emma Mcdermott
TikTok: vocalcake

Album Credits:
Emma McDermott - Vocals, Songwriting, Synths
Asher Witkins - Vocals/Co-writing on “Lips Turned Blue,” co-writing on “If You Need To”
David Magumba - Vocals on “City of Angels”
Brian Brill -Producer
Geoff Michael - mixing (Big Sky Recording)
Hank McMillin - remix of “If You Need To”.

Datum - Kyle James (Album Review)

One of the great things about Kalamazoo, MI is that it is full of promising young artistry. Sure, around the state you can find enthusiastic players of all ages making music a full-time or part-time priority, but to find someone developing a truly compelling artistic vision is special. Everything they design is to support their sound: how they write and record themselves, how they organize their aesthetic branding to capture their professionalism at a glance, and how audiences are elevated from the album to the live performance. With his debut record Datum, saxophonist/multi-instrumentalist/engineer Kyle James is stepping confidently forward with a collection of tunes that embody a young artist making a statement with every decision and sound he crafts.

Right away, “Daytona Type Speed” lays the groundwork for a compelling listen. The piano, provided by Grayson Nye, flows beautifully as the melody glides around a vibrant and colorful accompaniment. The track surges with energy right until the listener is left with one final, beautiful chord to rest on. In the space left from this track’s ending, Kazuki Takemura improvises around a pedal note on “Bass Interlude,” exploring the range of his instrument and preparing the listener for the next tune. “Victory Lap (Of Honor)” builds on the pedal note hinted at in the previous track while introducing a wonderful blend of a relaxed backing band with a playful amount of interplay. The tune ebbs and flows around these ideas with additional bass line motifs that compliment a rhythmic melody dancing in the spaces, building until it eventually returns to the initial foundation of the tune and settling the listener with the ensemble.

“Timeless” is a beautifully expressive track that is placed perfectly in this track listing, as it shifts from the previous tune’s dense composition in favor of a moment suspended in time. It’s like spoonfuls of soulful honey, each bite coating the palette and giving you space to enjoy the next one as the band moves as one fluid unit. It is colorful and vibrant without being overwhelming, and the ending tees up the mood to transition onward into “Ordinance.” This song plays off of the definition of the word, meaning “an authoritative decree,” through a variety of ways: the straight accompaniment against Kyle’s more swung saxophone playing, the climax of the tune feeling the strongest on the record, and the fact that the final harmonic progression feels so grounded when compared to the rest of the tune, almost signifying a final, decisive action. With this burst of collective confidence, “Crossover” features the ensemble locked in for one final, full tune that highlights the strengths of each player involved throughout the record in a celebration of skill and exploration. Listeners are then treated to a meditative “Outro” from Grayson Nye, giving a brief moment to reflect on the journey experienced on this record.

Datum is a great listen all around, from the players involved to the production polish from Kyle, Cynthia Kelley, and acclaimed engineer Mike Marciano. It is a record that stands out among the West Michigan offerings and shoots right for a modern jazz vibe that doesn’t alienate listeners. It is as clean and presented as Kyle’s album cover (shot by Stratos) while ripping through the tailored suit and into the soul of this artist. Treat yourself to this record, it is worth every minute of carefully crafted time. 

Support Kyle James!
Website: https://kylejamesburgess.com/
Linktree: https://linktr.ee/Kylejamesburgess
Facebook: https://www.facebook.com/kyle.burgess.9081
Twitter: https://twitter.com/KyleBSuperSaxy
Instagram: https://www.instagram.com/kylebsupersaxy/
Bandcamp: https://kylejamesburgess.bandcamp.com/album/datum
Spotify: https://open.spotify.com/artist/2DHBYZcynkI4pqQex7kMni?si=mnibhrxJTMmfQhrtKuHPcQ
YouTube: https://www.youtube.com/playlist?list=OLAK5uy_lMlFDt18uGIFSbOBn6ooOHKwHlFXrouB4

Album Credits:
Kyle James - Sax
Grayson Nye - Piano
Kazuki Takemura - Upright Bass
Josiah DeNooyer - Drums

Cynthea Kelley - Tracking/Engineering
Andrew Rathbun - Production
Kyle James - Mixing
Mike Marciano - Mastering
Stratos - Album Artwork

A Public Thing - Jay Gavan (Album Review)

A music scene isn’t just the folks you see leaving and returning to the state for big concerts, it’s made up of individuals who have dedicated portions of their full lives to performing, recording, and educating around music. These people give more depth to a scene than what can be quickly summarized in an ad campaign, and it’s artists like Jay Gavan who combine their passions to create something unique among his local peers. Part social commentary, historical storytelling, and diverse prog/classic rock opera, A Public Thing shows how a focused passion around a concept can be colorful and compelling without being sonically claustrophobic. It is a rich piece of art that whimsically parallels current empires with past civilizations and builds theatrical set pieces with the nostalgic rock idioms in delightful ways, whether you’re a seasoned musician or just a history buff with a craving for a good story.

The first track, “Collapse,” is a commentary on how all empires eventually fall. The constant ups and downs of civilization, be it from progress or from warfare, are observed elements of culture, rather than merely isolated stories distilled purely into poetic songs that “dinner guests remembered.” However, in that same lyric, Jay summarizes how most people learn about history through entertainment, whether in catchy songs, staged plays, or well-crafted media experiences that lead to better retention, even if from a skewed perspective. There’s an Egyptian flavor to the beginning of the song that moves through different chord changes that are reminiscent of classic prog rock bands. The twangy electric guitar in the slower spots adds a touch of a “country ballad vibe” to this eccentric opening track. Next, “Owl Eyes” begins to tell the tale of Ancient Greek civilizations at war, the foundational story that the music and lyrical parallels will build on throughout the record. This folk rock tune begins the historical storytelling of Athens in 431 BCE, preceding the inevitable conflicts that the then ruler, Pericles, would have to endure against the Spartans from Peloponnesian League. The ending of each chorus states “Liberty Forever - Is it safe to assume?,” commenting on the messaging citizens often receive from their governing bodies of why a war is happening, drawing a parallel to current American perceptions of why the country involves itself overseas.

The titular ruler “Pericles” is examined in this grooving prog rock tune that is reminiscent of British Invasion styles of classic rock, alternating between straight rock jams with odd metered turnarounds and stylized verses that dip into cartoonish backdrops with acoustic guitar solos reminiscent of jazz manouche. There are also parallels to everyone’s favorite recently ousted and fake-currently-installed real estate mogul President, whose name escapes me, that parallel some of the leadership tactics of Pericles’ ancient political opponents. “The Flutes” centers on a surf rock sound that would probably draw from the same inspirations as Grand Rapids-based surf rock band, The Concussions. However, building the song around the Spartans’ advance places the mood closer to a B-52s track while listening. The lyrics and tone of the tune shift to reflect the perspective of the ruling class under Pericles, sitting comfortably behind the walls of an empire built with colonizing blood that seeks to ignore problems rather than have to directly confront them. “Meet the Press” is a sinister sounding bluesy tune that outlines the press as a diligent “thorn in your side,” seeking out the truth and preserving the integrity of their source material. It speaks as a warning to the powerful entities in this story with lines like “If there’s a smoking gun, we’re gonna find it.” There’s also an electric guitar solo that shows some of Jay’s jazz vocabulary while remaining tasteful to the character of the track. With “Echo Chamber,” listeners are back on the beach with this even more nostalgic surf rock, this time commenting on social media being the modern day “soothsayer,” with an additional  observation on the categories society falls into on the internet when arguments start “taking sides: “Only half believes reality, the other half wants to secede/ A third half is tickled by the first two halves' stupidity.” 

Earlier, the Spartans are merely described as the righteous army combatting a colonizing empire, but in “Spartan Education,” this doo-wop song serves to use the same fighting force to examine the messaging that often goes into military recruitment. There are so many things to “forget” in the pursuit of transforming into the “perfect soldier” (math, science, history, literature, philosophy), but all of the ignorance can be replaced by orders, allegiance, and the overwhelming power that comes from a holy war. The references to other songs in American music history that directly counteract the real world pain from wars, atrocities, and economic depressions are abundant in this tune. “Earth Angels Beyond the Sea Sleepwalking” refers to more popular American tunes by Harry Waters Jr./Marvin Barry/The Starlighters, Bobby Darin, and Johnny and Santo, all invoking imagery of other worldly experiences but tied to the doo-wop and crooner aesthetic. “Chain Gang In an Aeroplane Over the Sea/ You gotta Let It Be!” referring to tunes by Sam Cooke, Neutral Milk Hotel, and The Beatles, centering around themes of oppression with the reassurance that comes from past wisdom that things will improve. Still another verse references The Marcels and Ben E. King, possibly Cold War Kids. Chatting briefly with Jay, he mentioned that on a basic level he wanted to reference “four-chord songs” that he references in the lyricism, but these choices definitely add to the depth of the music regardless. Every single reference plays to the decade of such disparate emotions with WWII and post-war civil rights issues being juxtaposed with some of the happiest music, skewing the lens of history for some looking back.

As previously mentioned, a lot of characters and opinions have their own thematic material, and Symposium changes thematically whenever Socrates speaks. The responses point to more modern commentary on the current American political landscape. The latter portion of the song returns to the character of “Owl Eyes,” paralleling the concept of history repeating itself. “Strange Arrow” is a mellow jazz number detailing a grumpy, lonely man at the bar finding love in an old saloon, realizing that he was “the only one getting his cover charge’s worth.” As Jay described, he used this track to detail a personal love story while also serving as a transition into the next tune. There is a reference to Eros, which fits thematically with the Ancient Greek storytelling and to the theme of this song, since Eros is like cupid in mythology, but with the added power to make someone repulsed by another.

Lysistrata” refers to an old comedic play telling the story of a woman who tried to end the conflict between the various Greek states by organizing a sex strike against all of the men involved as a way to force more peaceful negotiations, since war time often involves “sexual conquest” (from the romanticized love to the more violent). The lyricism also advocates for more women being heard in areas of male authority, with the reference to Athena, Zeus’ wife in mythology, as being the type of female-focused guidance a polytheistic nation should center around (paralleling the generations of women’s rights movements). There is a reference to “Meet the Press” in parts of this tune, showing a more biased, nuanced portrayal of how major news sources can function. The lyrics switch from “We’re the press” to “Tell Us What You Want,” favoring the more gossip and sensational story over the genuine grievances of those reporting information. The tonal shift of the press from a formal, stalwart bastion of information to a soothsayer of sorts is expressed in lines like “(We’re the press) we don’t discriminate/ Unbiased in our coverage of love and hate/ (Tell us what you want), we’ll consider our arrears/ For at least twenty-five hundred years…” Jay could have also been using “arrears” as a double meaning, since it sounds like “errors” upon first listen, showing how history/news is full of errors based on who is telling the story. “Arrears,” or money that hasn’t been paid yet for debts, speaks to the trend of “we’ll correct the record when the time is right,” serving as a way to comment on America’s misrepresentation of its own history in part from historical press records serving a propaganda campaign. The line “When men are driving, no one asks the way” is a succinct way of summarizing the lyrical themes in this track. 

“Wine Dark Sea” is a calming samba that drives home the point made in previous tracks of an idyllic picture of life versus the reality that is observed. “You” has access to entertaining and sculpted representations of society while “We” has access to the more accurate measurements and depictions of history. The “Wine Dark Sea” also calls back to the depictions of bloodied seas in battle. “The Demos” is one last tune commenting on how history is often the first draft, and we all need to “listen back to the demos,” referring to the revision process that goes into the music writing and production. The musicians in the studio are the ones creating the “history” and the executives at the top of the music companies retell and repackage the art for whatever grabs the most listeners and yields the best results, much like selective re-telling of history serves different purposes rather than learning from the people that directly lived through these moments. “Demos” also translates to “the people,” which in ancient Greece refers to the “voting public.” The chorus leaves one final message for the listener: “Let’s listen back, we’ll listen back to the demos/ You won’t hear no hate, no gender, class or race in the demos/ Then tell that older generation/ When they try to throw that boomer-ang right at you/ Fear of change only curses fools/ You gotta listen back, just listen back to the demos.” 

This record was equal parts challenging and rewarding to listen to and examine as a musician and critic. Musically, there are wonderful callbacks to earlier themes and musical motifs that help reinforce the storytelling and hone in on the idea of “history repeating itself.” The exploration of different genres within the overarching rock style helps to strengthen the diversity of the various characters and subjects presented lyrically, whether they be Ancient Greek conflicts or modern day socio-political commentary. There are plenty of moments where songwriting shines through, with choruses that hook you back into the narrative and ground you in the materials presented. The astute history student can spend hours connecting the lines of historical references to the present. The seasoned music enthusiast or career musician can dissect how certain styles enhance the storytelling or various references create moments of meta-commentary. The classic rock super fan can delight in the various ways Jay showcases his love for artists of all decades while drawing broader parallels to artists like Pink Floyd, Yes, or Emerson, Lake & Palmer. It’s a record that immediately changes from “hobbyist, quirky album” to “well-realized concept piece by a huge fan of history, storytelling, and education.”

Bandcamp: https://jaygavan.bandcamp.com/
Soundcloud: https://soundcloud.com/jay-gavan

Written, Recorded and Produced by Jay Gavan at the Kalamazoo Academy of Rock in Kalamazoo, Michigan in 2021: www.kzoorock.com

Mastered by Mike Roche at Broadside Productions: www.broadsideproductions.com

Planets - Stratøs (Album Review)

Jazz is a staple sound of American music culture, from its earliest developments in the 20th century to the various interpretations and preservations of the art form that dot the music landscape. While decades of iterations on the genre make for a more nuanced conversation, artists like Nicholas Payton have begun using the term “Black American Music” to explain how jazz has evolved beyond it’s more traditional marketing terminology to encompass all sorts of black music styles from hip hop to funk to neo soul, all while continuing to build on the vocabulary of past artists like Miles Davis or John Coltrane. The range of influences that go into modern artistry are clear, and it makes for some truly inspiring works of art that speak volumes to the personalities behind it. One such creator, Stratøs, is the perfect storm of everything that was just outlined above: he is a Masters recipient from WMU’s School of Music as a jazz artist, a proficient performer on saxophone and EWI, a multiple-award-winning composer and arranger, and an artist that delights in exploring the depths of his soul while drawing from a deep well of past masters and current music innovators. Recently, he released his latest album, Planets, and performed a release show at Rockwood Music Hall in NYC, a venue oozing with creative energy from some of the world’s finest performers. The record is an entire sonic galaxy, with each track functionally named after objects in our solar system while also being inspired by Gustav Holst’s iconic symphonic suite, The Planets. There isn’t an ounce of wasted space, from the aesthetic choices around the theme to select guest musicians adding to the community of artists surrounding this singular vision. It was a delight to listen to this record, and it is one of my personal favorites of 2021, local to Michigan or otherwise!

The first sounds are reminiscent of growing up with retro video games, fiddling with game cartridges and blowing air into them to get them working. This track, “Mercury,” then kicks into action with programmed instrumentals, complete with frenetic, arpeggiated 8-bit synthesizer sounds swirling around punctuated hits in a groove fit for a classic game soundtrack. It is playful and captures a brief moment of character before moving on to “Venus,” a beautiful work of arranging around Alex Mansour’s piano playing that interacts with Stratøs’ own saxophone playing. The tapestry of textures expands to include lush harmonies from an accompanying string quartet, capturing the beauty often ascribed to the mythological goddess of the same name. The piano continues into an interlude called “Luna,” showcasing how fluid this record moves between styles and emotions. The last moments of this interlude are then utilized in the backing loop that supports rapper Santino Jones on the track “Earth,” blending laid back drum grooves, soloist Yakiv Tsvietinskyi’s beautiful melodic trumpet improvisations, and textures that lean into the classical music tradition. The shift into “Mars'' begins with a low drone of voices, colored by guest artist David Binney’s dissonant and frenzied saxophone lines. The tune then introduces a heavy, war-like metal-fusion backing band enhanced by Holst-inspired horn/wind sounds from Yakiv and Walter Cano. Patrick Arthur (guitar), Daniel Durst (bass), and Abel Tabares (drums) do an incredible job holding down the difficult syncopated rhythms while driving the energy behind David Binney’s soloing, creating such a primal tune oozing with raw energy. 

“Jupiter” plays around with some wonderful ear candy: syncopated synth hits, a straight and driving drum groove, virtuosic saxophone lines, and washy pads, with Julia Moffa’s vocal lines tying everything together. There is room in the tune for reverb/delay-filled saxophones overtop a thumping kick drum, building back towards the full ensemble with more wonderfully placed vocal melodies. Recognizing the intensity of the last few tunes, the next number, “Saturn,” relaxes with a winding acoustic line provided by Patrick Arthur, drums and cajon provided by fellow WMU alumni Josiah DeNooyer and Daniel Gayden, and masterful upright bass lines by guest artist John Hebert. It feels like watching a field of flowers blooming, delighting in the little moments and sinking into the warm, summery vibes. “Uranus'' leans more into the whimsical while still demonstrating the range of Stratøs’ sound with sampled photography sounds (no doubt from his sample pack, available on his website) and centering around a whistling melody line harmonized by saxophones, which is reminiscent of tunes like “When You Love Someone” by Jim Alxndr. A stomping synth bass line underneath adds to the “head nod factor” of this track, letting you move to the beat while you laugh with delight at such a fun blend of sounds, and the added saxophone talents of Kyle James (alto sax), Alekos Syropoulos (alto sax), and Andrew Rathbun (tenor sax), who also taught Eddie at WMU . “Neptune '' once again features Julia Moffa on vocals with the additional drumming sounds of Madison George (WMU Alumni, Earth Radio, Nashville artist). This spacey, modern fusion composition showcases Stratøs‘ chops on EWI, from his effortless technique and execution of improvisatory ideas to the varied sculpted synth sounds that cut through the mix. To close such a diverse and methodical journey, Planets ends with “Pluto (Elegy for Richard),” which includes Alex Mansour (piano) and Daniel Durst (bass) with yet another guest drummer, Christian McGhee, in a beautifully hypnotic ballad. Stratøs‘ flute playing is featured, throwing one more sound and skill set at the listener before they are gently ushered back into their respective worlds, touching down from a truly memorable experience exploring the cosmos.

Planets is a work truly unique to listeners of any background, forming from years of experimentation and deliberate choices in arranging, guest musician choices, and past/present influences sharpened by the skilled artistry of a stellar creative force. It executes a concept in such spectacular fashion and begs to be revisited, because each planet has its own memory attached, much like a photo album isn’t just what’s inside the frame, but the emotions and life events that are sparked from it. There is a patience to this record that cannot be denied, from the years of gestation to the hours spent crafting, re-working, re-writing, demoing, and dictating every sound in this universe. If Planets is your first time experiencing the artistry behind Stratøs, know that this is only the beginning of many more years of powerful, Black American artistry that stands tall among the giants.

Support Stratøs!
Website: stratostones.com
Bandcamp: https://stratosmusic.bandcamp.com/
Instagram: www.instagram.com/stratostones/
Twitter: twitter.com/stratostones
YouTube: www.youtube.com/channel/UCoODhMOrJxGh7Q-c8awaA4w
Print Shop: stratos.darkroom.tech

Album Credits (from Bandcamp): 

"Planets" is the debut LP by saxophonist, composer, producer, and film photographer Stratøs. The album is the amalgamation of the producer’s diverse musical identities. Reaching from the visceral, distorted sounds and grooves of the death metal world to the serene soundscapes akin to Hayao Miyazaki film scores, Planets seeks to connect a narrative throughline between these juxtaposing elements.

Stratøs' previous project, "DiE," was an experiment conducted during the beginning stages of the 2020 pandemic that focused on isolation. "Planets" takes a differing approach and includes many of the producer's closest friends and mentors. This album is the apex of the producer's past five or so years of experimentation with the combining of the aforementioned musical styles in addition to jazz, hip hop, electronic, and classical music.

The idea of giving musical form to the planets of our solar system is famously credited to early 20th century composer Gustav Holst for his seven-movement suite "The Planets." In an attempt to recognize this lineage while simultaneously establishing his own artistic voice, Stratøs pays homage to Holst on one track from the album. The producer's own "Mars" takes the iconic melody from Holst's "Mars, The Bringer of War," and casts it in a new light colored by the sounds and textures of the death metal genre.

"Planets" was made possible by the several artists who shared their time, energy, and love for music.
released October 1, 2021
Stratøs // composition, engineering, woodwinds, EWI, vocals, production, mixing

featuring:
Julia Moffa // vocals, lyrics, // track 06, track 09
Santino Jones // vocals, lyrics // track 04
Yakiv Tsvietinskyi // trumpet, trombone // track 04, track 05
Walter Cano // horn, euphonium // track 05
David Binney // alto saxophone // track 05
Alekos Syropoulos // alto saxophone // track 08
Kyle James // alto saxophone // track 08
Andrew Rathbun // tenor saxophone // track 08
Patrick Arthur // guitar // track 05, track 07
Alex Mansour // piano, cello // track 02, track 03, track 10
John Hébert // upright bass // track 07
Daniel Durst // bass guitar, upright bass // track 05, track 09, track 10
Josiah Denooyer // drums // track 07
Daniel Gayden // cajon // track 07
Abel Tabares // drums // track 05
Madison George // drums // track 09
Christian McGhee // drums // track 10

Samuel Peters // engineering (vocals, track 04) // mastering
Maria Galvan Cobo // album artwork

All music composed and arranged by Stratøs (ASCAP).

Odd Family - Minor Element (Album Review)

Large ensembles have always been a part of music history. From communal music making in rural villages to royally-funded chamber orchestras to hybrid/fusion projects, the well runs deep and the cross section of collaborative musicians can yield some amazing music. If you were to pick a group that has influenced the world of instrumental music-making in recent years, many can point directly to Snarky Puppy’s widespread influence on the global music scene, with their inventive compositions utilizing all sorts of sounds and styles on records like Family Dinner, GroundUp, and the infamous We Like It Here. Michigan audiences are treated to stellar groups building on this type of sound like Minor Element, a collective of highly talented artists based in Battle Creek, MI that has grown from a trio in 2012 to a full 9-piece band in 2021. Currently, the lineup includes bandleader and keyboardist/synth player Brandon Fitzpatrick, keyboardist Tom Ryberg, drummer Anthony Tyler, percussionist Colin Wilson, bassist Troy Roberston III, guitarist/sound engineer Braulio Green, guitarist Ben Crino, trumpeter Brent Proseus, and saxophonist Quinn Blakeney. For their latest record, Odd Family, it feels like the product of years of work behind the scenes, around the Michigan music scenes, and the gathering of a family strengthened in the featuring of Michigan artistry and digging deep to explore the range of their influences.

The record kicks off with “Double Speak,” the perfect way introduce this family gathering to listeners. An afrobeat groove immediately gets you moving, with horns and keys creating a winding melody overtop as the energy slowly builds to some hits, opening up for Tom Ryberg to take a warm, gospel/jazz infused Rhodes solo. The energy builds once again, only to shift moods to an exposed bass/keys bass line while Brandon Fitzpatrick on synth and Ben Crino on guitar trade solos around a new horn section melody. The final stretch of the tune features a funk-fueled, driving groove that let’s drummer Anthony Tyler really open up and sink into the pocket, all while saxophonist Quinn Blakeney soars confidently overtop for one final solo feature. For track two, “Finster” starts off with a hypnotic blend of guitars, percussion, and keys around an odd-metered groove, with piano quoting a melody line that is the perfect earworm for the horns to echo. As the harmony shifts, Brandon trades solos on piano with trumpeter Brent Proseus until the melody is reintroduced in different keys, allowing Brandon to then take time on his Moog Voyager to perform a blazing solo packed with emotional bends. The groove’s foundation shifts, allowing for some wonderful interplay between the ensemble while Anthony Tyler lays down a powerful drum solo.

“5-D” starts with Anthony’s drumming and opens up to a flurry of notes from the horn melody, with dotting textures and harmonies from the various keyboard layers, leading into a winding synth solo from Brandon. The added layer of percussion throughout from Colin Wilson adds a great texture to the robust rhythm section, a definite strength throughout this record. Anthony opens up for an extended drum solo, with the energy building around a new set of interweaving melodies and textures right before a new accompaniment is set for Ben Crino’s guitar solo. One last groove and melody wraps up this nearly 15 minute opus, locking into a heavy, rock-driven fusion vibe complimented with some almost comedically placed hits from the rhythm section (seriously, listen to the execution of those moments!). 

The title track, “Odd Family,” begins with a lilting mixed-meter backbeat that highlights an infectious horn hook, quickly shifting to a mysterious, moody groove that segues into an almost carnival-style waltz with Brent Proseus laying down a trumpet solo full of chops, attitude, and theatrics abound with his use of a plunger mute. The horn hook returns in the new key and mood before all is stripped away, aside from guitar swells and minimal drums, to let bassist Troy Robertson solo with all sorts of spirit, tonal variety (gritty overdrive, octave layers, etc), and meaty, heavy phrasing that stands out among the featured solos on this record. The track fades away to bass, percussion, and hand claps, allowing the energy to settle before the next number.

At just over 8 minutes, “Prospero” is the shortest track on this epic record, and it makes use of every minute to vibe hard on a heavier, more laid back groove sprinkled with moments of calm and space. It is also a tune without any soloists featured, opting instead to highlight the power of a collective sound around this instrumental arrangement. To close out the record, “Steep” soaks the senses in a warm bed of keyboard sounds, an undercurrent of percussion, and a soulful horn melody. Ben Crino is featured one last time on guitar, with the latter half of the tune ebbing and flowing between intimate keyboard-focused expressions and a full, celebratory final statement from the full crew.

Odd Family is a perfect summation of this band’s dynamic, one filling every corner of sonic space with something to enjoy and remember long after the record stops. The multiple years of this group taking shape, the hours of writing and crafting, the pre- and current pandemic scheduling hurdles for sessions and rehearsals, and the dozens of shows around the Midwest solidifying the unit and repertoire all culminates into this singular expression of artistry. Each track feels like a moment of a big family gathering: pulling out all of the style, keeping the vibes rolling, and letting everybody pull up and have their say at the table. It’s as much a celebration of Southwest Michigan musicianship and artistry as it is a celebration of life, community, and the creative spirit of collaboration, and it begs to be experienced live. Hears to 2022, when Minor Element will no doubt be bringing their family to stages all year long!

Support Minor Element:
Website: https://www.blvcksheepmusic.com/abt-minor-element
Facebook: https://www.facebook.com/minorelement/
Instagram: https://www.instagram.com/minorelementofficial/ 
Soundcloud: https://soundcloud.com/minorelement
Spotify: https://open.spotify.com/artist/47vCiE0QuZQtClpuB7myjq?si=uYcD9TZNTYO7YFgBEeVLqg
Apple Music: https://music.apple.com/us/artist/minor-element/1385758059
Pandora: https://www.pandora.com/artist/minor-element/ARXV455tr4xZrdX
YouTube: https://www.youtube.com/channel/UCVnAvy9TiFpvpa10NizXXUw

Album Credits:
Brandon Fitzpatrick - Piano & Synth
Tom Ryberg - Rhodes & Synth
Anthony Tyler - Drums
Colin Wilson - Percussion
Troy Robertson III - Bass
Braulio Green - Guitar
Ben Crino - Guitar
Brent Proseus - Trumpet
Quinn Blakeney - Saxophone

Mixed by Sam Peters and Nick Pasquino
Mastered by Ian Gorman
Recorded, Mixed and Mastered at La Luna Recording & Sound

Album Artwork by Maxim Schleicher

See them perform with The Battle Creek Symphony Orchestra for their holiday concert during the 2021-2022 season! Check this link for details on the event and tickets!
https://yourmusiccenter.org/?s=minor+element

Click the image to listen to the album!

Minor Element Live at The Flint Public Library

“Odd Family” Live at River City Studios

“Steep” Live at River City Studios

“Finster” Live at River City Studios

Interview with Bandleader/Keys/Synth Player Brandon Fitzpatrick on my podcast, “Life is a Piano!”

1A - Pieces (Album Review)

Michigan has a robust roster of jazz artists occupying the scene and taking their experiences and education out into the world. From collegiate music programs to the legendary roster of artists coming out of historic music centers like Detroit, jazz history has touched every corner of the Mitten. If you talk with artists in the scene, a guitarist named Olin Clark will no doubt creep into the conversation. Graduating from Michigan State University, Olin Clark was known to play in a variety of projects around the state, from the Rasta-funk project Speak Easy (who got to track an album for the legendary Lee “Scratch” Perry) to even laying down parts for my personal jazz project, Blushing Monk. Currently, Olin is living in Brooklyn with his long time friend and roommate, bassist Louie Leager, and during the shutdown last year they, along with drummer Adam Ray, created a new trio, Pieces, after working together the past couple years on different performances with artists like vocalist Richard Cortez and while performing two weekly gigs and a monthly showcase. As they emphasize in their liner notes, it is a “rare circumstance in the modern New York scene for a group to be able to perform together on such a frequent basis, and this consistency allowed [them] to develop a valuable sense of trust, both musically and personally. On these gigs, they pushed each other, forged an assured supportiveness as a unit, and grew to share a strong familiarity with each other’s musical vocabulary.” Their debut album, 1A, is a journey through the vintage and modern guitar-led trio repertoire, pairing original compositions with choice arrangements from a rich collection of classics.

The record kicks off with a disjointed, yet fluid expression of the trio’s dynamic with the tune “Dissociating for Beginners,” playing around with time, phrasing and harmony to showcase just how tight this group plays. The title track “Pieces” creates a beautiful tapestry of soulful blues with memorable hooks, building in energy right until the last note. In “Alli,” space is created for Adam Ray’s stellar drum solo, rolling off the energy afterwards to end the tune on a calm note that creates the perfect compliment to how the next track, “Texas,” starts with Louie Leager’s opening bass solo. This ballad has a beautiful sense of presence, no urgency in its delivery and soaking in every ounce of the composition, with added warmth from guest musician Lex Korten’s organ playing. After the last bit of the track fades, a lilting rhythmic figure in the bass creates an air of mystery, with soft brush work and ethereal guitar effects adding splashes of color to the texture in the tune “Long Walk Home.” The energy builds towards the end, eventually returning to the mysterious mood of the tune’s beginning.

Listeners of Pat Metheny’s catalog will instantly recognize this classic tune, “James,” expertly performed and perfectly juxtaposed against the previous track. Every member takes a turn with the form, ending in a joyous celebration of the melody, with Lex Korten adding Rhodes to the sound. “Interlude,” plays on some of the rhythmic and production ideas from various iterations of the reggae while continuing to add jazz vocabulary in the melody and the solo accompaniments (with Lex again providing Rhodes). “Bandit” centers the trio back into what most listeners think of when they hear the word “jazz,” swinging on a lighthearted tune with an infectious melody. Lex Korten returns on piano to pair with Olin’s guitar in the harmony and melody around “Matote,” a ballad that features Lex gliding beautifully over the changes in his solo. Finally, as a callback to their roots studying the jazz lexicon, the album ends with a rendition of “Without a Song” that allows each player one last gleeful expression of their artistry to celebrate such a well-crafted listening experience.

This record was a joy to listen to, particularly because of the joy and healing that went into making this record. The pieces that came together for this album cannot be understated: long time friends and bandmates move to New York from Michigan, they link up with another kindred spirit and begin playing together on a regular basis, quarantine solidifies their playing that much further through writing and performing original compositions for livestreams, and then they all collectively navigated the recording process during a pandemic together. 1A is for fans of Julian Lage and Bill Frisell, centering around guitar driven music with nuance and spirit codified in the strength of the unit. It ebbs and flows effortlessly between the intellectual and the interpersonal, delighting in the stellar musicianship between each member while embodying a spirited sense of delight in music making.

Support Pieces!
Website: https://www.piecestheband.com/
Facebook: https://www.facebook.com/piecestheband
Spotify: https://open.spotify.com/artist/5nFlgHIggBLW5klqnawgO3?si=_aPXtjOtTWuqDQlNHaFB1w
Bandcamp: https://piecestheband.bandcamp.com/
YouTube: https://www.youtube.com/channel/UChd8m_ywonZxf8Px9afO1Pg

Album credits:
Olin Clark - Guitar
Louie Leager - Bass
Adam Ray - Drums

Tracks 4,6,7,9 ft. Lex Korten - Keys

Recorded at The Honey Jar in Brooklyn, NY, October 24-25, 2020
Engineered & Mixed by Eva Lawitts and Chris Krasnow
Mastered by Dave Darlington (Bass Hit Studios)

Album Art by Veronica Mitrano
Additional Art by Sam Bennett
Additional Production by Kim Vi

Compositions:
1,2,8,9 by Olin Clark
4 by Louie Leager
3,7 by Adam Ray
5 by Olin Clark, Louie Leager & Adam Ray
6 by Pat Metheny & Lyle Mays
10 by Vincent Youmans

Check out my interview with Olin Clark on Mitten Backstage!

Welcome to Neotroit Vol 1 - Say Less (Album Review)

If last year taught us anything, we are not used to listening as a country. Sure, we may consume hours of media, jump from podcast to YouTube video to album, but there are often things lost in translation. As Cory Henry put it in one of his tunes with The Funk Apostles, people are “talking loud, and saying nothing!” What if you could feel the change coming, stirring in the sonic spaces of a passion project in Detroit? What if there was a direct response to all of the noise, commanding your attention rather than your opinion? That’s what Welcome to Neotroit Vol 1 is bringing to the table.

This project is a collaborative effort under the band name “Say Less,” and it features Louis Jones and Jordan Anderson crafting a super imaginative collection of tunes geared towards having you think as you listen. Textures swirl around pocket grooves, synths pulse with warm bass lines, and samples and scratches cut through the mix and support featured soloists and emcees. The album unfolds with “The Shadow,” a track that is bookended by some cinematic synthesizer as you are introduced to the meat and potatoes of this album: black excellence in artistic expression! Keys and DJ sounds flow around dark, groovy beats to give this opening track some weight. It then moves to “Meritocracy,” a word often used to dismiss black citizen concerns about unequal opportunities in education, the job market, housing market, etc. However, in this tune you can tell every part was selected for its excellence and performing/creative ability, adding another layer of interpretation. The overdriven synth sounded like a guitar, and it reflects the anger that comes from hearing that “work hard and you can achieve anything” thrown at black citizens needing their basic needs met. “Teargas in the Savannah,” the second single released from the record, centers on an Afro-Cuban percussion groove, a bass clarinet driving the bass line, and saxophones improvising around in a fashion reminiscent of Rahsaan Roland Kirk.

“Derek Chauvin” was the first single released from the record, capturing the moods and black energy around calls for justice in response to the murder of George Floyd. It’s a spacey, heavy vibe punctuated by cool, “out” soloing and chordal interjections that lets you sink into the headspace needed to reflect on systemic racism and the police relations with the black community. “Karen Crowe” creates the perfect imagery in your head of the archetypal racist, entitled white woman who responds to anything black with outbursts and calls to management or cops. The tempo shifts and added video game-sounding synth textures almost sounds like a Street Fighter game where you’re placed in conflict with this Karen as a listener. The flute solo with the delay trail was a wonderful touch of color and tone. “The Big Bang” is as explosive as the real thing, with all of the tension and the frenzied drumming and keys and sounds being born into the universe this album has created. “Lilith & Eve” features some Herbie Hancock fusion vibes that also delve into the large ensemble, futuristic fusion freedom that is reminiscent of Kamasi Washington’s shared love for large sounds and multiple black genres interacting. “Intergalactic Gentrification” can be summed up like this: it takes a second to build, but you can’t ignore it once it drops, just like real gentrification! The raw percussion sounds peppered in the smoother synth layers feel great around the involved jazz head. Finally, to celebrate the contributions and collaborations on this record and tie up every concept into one send-off, listeners are treated to “ANTIFA Block Party.” It’s got the Afrofuturism and unapologetic funk of artists like Parliament Funkadelic paired with the energy you’d hear in a Detroit block party that tosses in some Go-Go music vibes. It’s a track that feels like a celebration of black artistry!

This album is one of the strongest first releases I’ve heard from a Michigan band, full stop. It’s a level of maturity in artistry that far exceeds their young age, and it’s a great indicator of how Detroit musicians work and collaborate. Strong musicianship, interesting production and arrangement, speaking to so many things through mainly sounds rather than lyricism (“say less”), and a level of care and passion that is palpable throughout. Listen to this record, absorb the messages baked into the artistry, and celebrate black culture with “Welcome to Neotroit, Vol 1!”

Support Say Less!
Facebook: https://www.facebook.com/saylessproject/
Instagram: https://www.instagram.com/saylessproject/
Spotify: https://open.spotify.com/artist/0kGuyiRGOHRv3TyZwRKhEZ?si=Rbwu73K6RlK0NzWhLeWB_g&dl_branch=1

Album credits:
SPECIAL THANKS TO David Ward, Geoff Brown, Kasan Belgrave, Ben Green, Chris Tabaczynski, Alain Sullivan, Desean Jones, MC Kadence & Mr. Demented for their musical contributions.
Mixed by Geoff Brown

Pocket Knife - Morgan Haner (Album Review)

Morgan Haner is no stranger to hard work. A man of many talents and skill sets, one can often see him working with all sorts of tools on various projects around his Kalamazoo home. Always looking to grow as an artist, engineer, and producer, he set to recording his latest release, Pocket Knife, as a completely solo venture. It’s an album that showcases his talents on guitar, keys, bass, drums, vocals, harmonica, and all of the production from engineering to mastering. It’s also a journey through different travels and time periods, with it all culminating in one longer narrative arch that ties each tune together.

Kicking off the album with “Paperback,” this tune feels like a 90’s rock throwback and focuses on feelings of confusion and regret. It mirrors that feeling we all have going back to normalcy, where we all survived such a tumultuous year and have new questions about ourselves more than we have answers to questions brewing last year. “Bandolier” notches up the twang in a blues-rock, down-tempo storytelling song that touches on perceptions of emotionally charged events in the news. There are references to all sorts of conmen and familiar, problematic figures and entities outlined in the tune: mass shooters, televangelists, the legal and prison systems, and the overall character found within struggles for power. “Copper” seems to add to the thematic lyricism of the previous tune, telling the tale of the working man getting screwed over to a tune that fits the character of a dusty cowboy in a Texas blues club telling tales from his life. “Break It Again” waxes nostalgic of a past love, never shying away from the pain and even acknowledging “to heal a broken bone/ You've got to break it again.” “Downpour” delivers rock soaked in the rain that’s pouring down on someone fleeing from the trappings of a religion. The psychedelic guitars and a vocal game of tag help to wash the tune in a swirl of sound, adding an extra drop of liquid into the focal point of the tune’s lyrics.

Things take a more positive tone with the title track “Pocket Knife,” remembering those moments traveling around the country with your partner and knowing how bad your luck could have been. All the while, the refrain “There’s something in the white’s of your eyes / That I can't find in my waking mind / It don't matter how hard that I try” serves as a constant reminder that the best part of the trip was being together. Next is a playful number called “Rocking Horse,” and it is by far the catchiest tune on the record. Even with it’s seemingly nonchalant lyricism, it fits the mood started by the previous number and adds to yet another memory in the journey of this release. However, that is short-lived, as the final two tunes delve into a more somber tone. “Sundown in Birmingham” is blues-filled storytelling with a stripped down, more intimate ensemble, and also focuses on the wealthy taking so much from the working class. The lead guitar paired with the vocals helps strengthen that chorus melody in a fitting way too. Finally, we wind things down with “Embroidered Rose,” which feels like a letter to a lost loved one, a blend of memories and current observations that help to celebrate a person and keep them in the present state of mind.

Pocket Knife is a journey through this past year told in a combination of anecdotes, nostalgic trips down memory lane, and the revelations that come with visibly seeing how the power structures that be continue to put down the working man. While all of the songs weave separate tales, the full scope of the album reads like a farewell letter to a loved one. Tales of travels and memories long past, remembering the good times and the bad, and finding peace in the conversation, even if it’s just to old letters and photos. Whether specific people in Morgan’s life or just amplifying the experiences of those around him, it is a work that tells an honest story of a hard-working man just getting his side of the story out there. When your back’s against the wall, a pocket knife might be all you have left - vulnerable, prepared (both to fight and survive), not wholly trusting, resourceful, well-traveled. It sets a scene: the sun is setting, the porchlight is just coming on, and folks grab their sweaters to hear stories from the past, all while a guitar softly accompanies the narration. As Morgan commits to more experiences as an artist going forward, audiences should definitely pull up a chair and be ready to engage with the tales he wants to tell.

Support Morgan Haner!
Instagram: https://www.instagram.com/morganseiberthaner/
Bandcamp: https://morganhaner.bandcamp.com/album/pocket-knife
Spotify: https://open.spotify.com/artist/0xEQn7UByJw4ypRY5ky3mU?si=JlkNAkK7RvKN8ZrJVyJ-wg&dl_branch=1
Apple Music: https://music.apple.com/us/artist/morgan-haner/1202998518

Album Credits:
Morgan Haner -- all instruments and vocals
Drum programming by Morgan Haner
Engineered, mixed, and mastered by Morgan Haner
All songs written by Morgan Haner

A Light Within The Dark - Chris Cranick (Album Review)

Chris Cranick has proven himself to be a capable and entertaining performer and songwriter in the Michigan music scene. Along with his band Overdrive Orchestra, he has been recognized in multiple “Best of the West” Revue Magazine award years, showing that in addition to support from the music community he has made an impression on West Michigan audiences. His soulful rock voice soars high and mellows low, and his guitar skills are equally as diverse and injected with passion. For 2021, he has crafted a new record to showcase his skills as a performer and songwriter with A Light Within The Dark, and these skills are definitely showcased in spades when you consider that aside from myself on various keyboard instruments and Scott Pellegrom on the drums, the album is fully written and performed by Chris.

“Take A Load Off” is a great way to kick off the record and give listeners an idea of what they can expect throughout the record: layered accompaniments that don’t take away from the vocals, psychedelic/spacey textures added among the rock/Americana aesthetic, and solid performances by Chris and the supporting artists on the record. It  grooves over a guitar riff that has a bouncy, rhythmic hook (think “Wake Me Up Before You Go-Go” by Wham!) and expands to a lightly Americana-seasoned rock tune, complete with guitar and mandolin melodies overtop. “Black Tea” relaxes things a little with a dreamy rock aesthetic that has an instrumental section that mirrors the melodies on the verses. “Sleep Talking” progresses that much closer to the fully relaxed, adding more soundscapes for the listener to sink into as his vocals continue to remain present. “Light In Your Eyes” drops the psychedelic rock vibe and sinks into a mellow, Americana styling to the overall flavor of the song. There are some great vocal harmonies, an added melodica for a different, bright texture, and some lead lines on acoustic guitar. “Chasing The Sunset” feels like when you’re in the car on the highway trying to get to the Michigan shoreline to watch a sunset: fast-paced, light and enjoyable, with all of your stresses melting away as you take in the scenery. The way it’s written and the various ambient tones surrounding the song structure reminds me of My Morning Jacket almost, with a wonderful vocal hook to tie everything together. Then, after the sunset, folks gather around the campfire to hear a story in “Firebug,” a wonderful, acoustic-guitar driven number that shines in its ability to be patient in its shaping of dynamics. With the Americana “train” backbeat comfortably driving the tune and Chris’ vocals shining through, it’s no wonder this was the first single released off of the record. Finally, in a fitting end to this record, “West Coast Blues” creates a sonic summary of what makes this album a wonderful listen: solid songwriting, careful attention to how the electronic and acoustic textures play together, and great guitar and vocal work from Chris, complete with a slide guitar solo that glides effortless overtop the spacey textures.

In 7 tracks that sit a few minutes shy of a 30 minute release, Chris Cranick has successfully demonstrated why he has garnered so much support over the years in Michigan. Each tune sits in the rock genre while taking steps to explore other styles that result in enhanced song structures rather than straying too far from the overall aesthetic. Every guitar line or vocal hook is comfortably placed, showing an artist with experience that knows how to craft a record. It’s a record that lets Chris shine his brightest in a variety of ways, a celebration of humble approaches to well-rounded talent. Pop this CD in the car and let that long commute stress just melt away, this is the perfect compliment to a summer evening!

Support Chris Cranick!
Facebook: https://www.facebook.com/chriscranickmusic/
Instagram: https://www.instagram.com/chriscranick/
Spotify: https://open.spotify.com/artist/1rpZY0x4nsqnYKqVYKSR8p?si=ICov73DSTuOJiY2qfRAP8w
YouTube: https://www.youtube.com/c/ChrisCranickMusic
Bandcamp:: https://chriscranickmusic.bandcamp.com/

Album Credits:
Chris Cranick: Acoustic and Electric Guitars, Vocals, Bass, Mandolin, E-Bow, Percussion

Additional Musicians:
Dutcher Snedeker: Piano, Rhodes, Wurlitzer, Melodica
Scott Pellegrom: Drums

All songs written by Chris Cranick
Published by Phunky Phetus Music (ASCAP)
Produced by Chris Cranick
Engineered by Kevin Kozel
Recorded at Third Coast Recording Company in Grand Haven, MI
Mixed by Kevin Kozel
Mastered by Ian Gorman at La Luna Recording & Sound in Kalamazoo, MI
Photography by Paige Stevens and Chris Cranick
Album Design by Chris Cranick
Thank You: Paige, John + Therese, Taylor + Adam, Adam + Jackie, Cameron, Shaun, James, Chris + Carlie, Matt + Debbie, Brian, Jordan, Pat, Tay, Mike, Nikki, Jesse + Danielle, Bobby + Denys, Darline + Mike, Jeremiah + Alicia, Zach, Kevin, Scott, Dutcher, Bill, Ian, John, all my friends and family as well as the beautiful state of Michigan