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!

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

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!

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

Keep Up - Evan Wouters (Album Review)

For those who have been following Kalamazoo artist Evan Wouters (WOOTS), you may remember that he has been on a journey to release his first album as a bandleader and multi-instrumentalist with a host of collaborators on the performing and production end of the process. Fans and first time listeners alike were treated to “Home,” a tune as warm and inviting as walking into your own home after a long journey, and “Awake,” an Americana outing that urges everyone to seek out their passions. Now, after months of refining each tune in various studios, his album Keep Up is ready to enjoy this summer!

The introduction sets a very calming, beachside scene, complete with waves lapping the shoreline and gulls chirping in the distance as acoustic guitar plays in the foreground. The tune transitions into the opening single, “Miles Ahead,” featuring a full, funk-fueled outfit with additional vocalists and horn players. The tone right away is centered on progress, delighting in the joys of completing that next goal to move forward. Caleb Elzinga (Joe Hertler & The Rainbow Seekers and GrooveGround Music) is featured on this track as well, blazing a triumphant trail of energetic tenor saxophone lines. “Leave It Alone” speeds things up with a driving bass and drum groove nestled in some washy soundscapes crafted by the layers of guitars and keyboards. To contrast the initial soundscape, the mood shifts after the second chorus to introduce some piano accompaniment among a lighter instrumentation. The high points in this tune are definitely the fast, fluid guitar solo early on and the Allman Brothers-style guitar soli towards the end, both performed by guest artists Rob Compa from Dopapod.

The next two tunes, “Home” and “Awake,” are reviewed in great detail in the linked posts that I did last year on this blog. Each tune serves to transition from the funkier, larger ensemble to the smaller, more intimate instrument pairings. “Off the Dock” lyrically details that feeling of falling off of a dock into uncharted waters, knowing you’re swimming towards safety but not knowing when exactly you’ll reach it. It mirrors the feeling of taking a risk and diving into your creative venture full-tilt, from the initial rush of the decision to searching incessantly for that moment of triumph in realizing your passions. The lack of bass and drums really emphasizes the intimacy of the song. “Steady Strides” centers on a jangly, old-timey acoustic band feel, adding in a tambourine for percussion and the upright bass, with tasteful horn stabs complimenting the style. For the solo section, Mark Lavengood rips on the dobro during an upbeat bluegrass accompaniment. This track adds yet another example of Woots’ exploration of genre through songwriting and arranging. “Rolling Coal” tells the story of a trip down US 131 gone sideways, complete with a classic train beat to drive the tune down the highway. Musically, the album travels back into the full band with “Untitled,” a track that showcases a solid mixture of “live feel” and a “warm, comfortable mix” between all of the instruments and vocals in the production. The lead tone on the guitar solo soars with reverb and delay with some tasteful, melodic phrasing that builds to some tapping at the end of the tune. “Denver” feels like an Incubus tune, with a sort of psychedelic timbre to the layering of the electric and acoustic instruments on top of the backbeat. There are some wonderful builds on riffs that are reminiscent of Rage Against the Machine with various payoffs: a splashy, expressive ending to the first build and a shift into a different texture for the trumpet solo on the second build. The track closes by returning to the shoreline, with “Outro” taking the listener back to the environment where the journey began.

This album is a great insight into how Evan Wouters operates as a creative. When performing, he delights in exploring what types of sounds he can craft on his own, developing several ways to generate new ideas for songs in the process. As a collaborator, he recognizes the value in bringing in experts on other instruments to enhance the authenticity of each genre choice. During the mixing and mastering process, he utilizes different producers to get an expert set of ears on every part of the recording process. All the while, he continues to learn and grow from the community around him as his vision comes closer to being fully realized on Keep Up, a title that motivates an audience into picking up the pace to follow his progress. This is such a great first outing from Evan Wouters, and it points to some wonderful music to enjoy when you can catch him around the Michigan music scene.

The album drops Saturday, May 22nd! Click the image below to pre-order!

Support Evan Wouters!
Website: www.wootsmusic.com
Facebook: https://www.facebook.com/wootsmusic/
Instagram: https://www.instagram.com/wootsmusic
YouTube: https://www.youtube.com/channel/UCsROHGzNCiiRBq4zeMeHrqg
Spotify: https://open.spotify.com/artist/0pMPMOTVvEBGaIQzwEfnUs?si=GETlOdrxQYGNxihJhVkKNA
Bandcamp: https://woots.bandcamp.com/album/keep-up

Album Credits:
Evan “Woots” Wouters (Executive Producer / Guitars / Vocals / Synthesizers / Compositions / Arrangements / Project Manager)
Joe Hettinga (Producer / Audio Engineer / Arrangements / Compositions / Piano / Rhodes / Hammond B3 / Prophet / Moog Sub Phatty)
Ian Gorman (Producer / Audio Engineer / Mixing)
Michael Arlen Bont (Banjo / Guitar)
Mark Lavengood (Dobro / Mule / Mandolin)
Rob Compa (Electric Guitar / Composition)
Shawn Lettow (Electric Bass)
Brandon Proch (saxophone / auxiliary percussion / EWI / support vox)
Max Brown (pedal steel)
Samuel Ephland (Drums / Percussion)
Terrance Massey (Trumpet)
Caleb Elzinga (Saxophone)
Jack McDonald (Upright Bass)
Jay Jay Ross (Support Vocals)
Carrie McFerrin (Support Vocals)
MC Friendly (Raps)
Joe Sturgill (Audio Engineer)
Kevin Kozel (Audio Engineer / Producer)
Jake Lashenick (Album Art)

How Are You? No, Really...How Are You? - Eli Kahn (Album Review)

If you’re a gigging musician in the Midwest, chances are you’ve heard of Eli Kahn. This South Bend native is a household name in indie music, from hybrid guitar virtuosity to improvisational loop-sculpting to a distinct artistic presence with such recent collaborative projects like the optical illusion installation at Pier Park. For 2021, listeners are treated to a new collection of tunes from Eli, ones that capture a lo-fi beat aesthetic through hours of writing, multi-instrumental performing, and home recording and engineering. How Are You? No, Really...How Are You? is the best example of Eli Kahn at his most genuine and creative.

Right away, you feel the hours of production in every nook and cranny with the tune “Acceptance,” a sonic unfurling of thematic sounds listeners can expect to enjoy throughout the record. This tune feels like when you pull into your driveway after a long trip and you’re resting on the patio; it feels like home. The lush guitar sounds dotted with subtle percussive textures makes this tune a warm welcome to introduce the record. “Lost in the Sauce” cooks up a delicious stew of tape-hiss, bubbly pocket piano, and reverb-laden drum sounds that are a beautiful sum of its parts, much like a good sauce. Sure, you can pick out the spice blend and maybe even the types of tomatoes used in this Ragu, but every mouthful is a moment to sink into. “Take a Walk on the Mild Side” picks things up with a more active bassline to kick off the groove and the warm, R&B/Soul harmonies keep things light and positive. “Pushing Thru” has this cool pairing of electric guitar and bells for the melody that stands out so clear from the lush accompaniment of oscillating synth blips and expansive pads. The harmonization between the guitar and synth serves as a great high point without taking away from the mood of the overall tune, showing an attention to songwriting as much as production. 

“Stepping into the Unknown” serves as a dreamy transitional song to then open up into “(In My Dreams We) Levitate,” which features Last Gasp Collective member and in-demand West Michigan cellist/emcee/producer Jordan Hamilton. The acoustic guitar riff, hypnotically staying the same throughout the tune, pairs so beautifully with the additional string expressions, it’s a standout for me on this record and begs to be paired to film. “The Reawakening'' starts with some much-approved warbly guitar and bass, with the tune opening up to blend acoustic and electric sounds on a descending melody that is guaranteed to get stuck in your head. The title track feels like someone checking in, calming things back down with the soft plucks of a kalimba against smooth guitar lines. “Ripples on the Water” somehow sonically details that feeling of letting a river take you downstream and allowing your senses to delight in the scenery and sounds of that perfect summer day. The ending even feels like reaching the lake this river would empty into, settling the current and treating you to a beautiful view of the open water. Finally, “Cosmic Garden” leaves listeners with one parting gift: a catchy melody nestled in a comfortable soundscape. 

What Eli Kahn has done with this record cannot be overstated. He has successfully blended his influences into original songwriting, borrowing elements from various muses that are made unique by his careful attention to detail. Every inch of this record is filled with something to enjoy: layered percussion backbeats, dreamy synths, spacious guitar accompaniments, and a cohesiveness that is palpable throughout. Equal parts nostalgia and cinematic expression through a sharpened tool set of instruments and production, this release shows Eli firing on all cylinders. If you’re looking for the perfect music to vibe to this summer, Eli has you more than covered!

Support Eli Kahn!
Facebook: https://www.facebook.com/elikahnmusic
Instagram: https://www.instagram.com/elikahnmusic/
Patreon: https://www.patreon.com/elikahnmusic
Spotify: https://open.spotify.com/artist/02NVKuJEatxb1WGtWwJofa?si=C5414OJXS2eJsuxAN-dELw
Bandcamp: https://elikahnmusic.bandcamp.com/
YouTube: https://www.youtube.com/channel/UCu9ooSnD_pztigrNJAlwGgQ
Soundcloud: https://soundcloud.com/elikahnmusic

Album Credits:
Produced/Engineered/Written by Eli Kahn at The After Ours Spot
Mixed by Kevin Kozel & Eli Kahn at Third Coast Recording Company
Mastered by Ian Gorman at La Luna Recording & Sound
Strings on "(In My Dreams We) Levitate" by Jordan Hamilton
Beat Programming on "Cosmic Garden" by ECSO

Acoustic version of “Ripples on the Water”

Piece by Piece: Piano Patterns #1 (Pop Snacks), Winter, and Recital Highlights

On March 29th, I happily joined some of my fellow music school peers in a performance various works composed by Richie Arndorfer for his recital. Everything from solo piano to mixed-instrument chamber ensemble is included, and it served as a great display of Arndorfer’s growth at GVSU, especially since it followed his senior oboe recital (which I was also happy to participate in by accompanying him on Winter’s Passed by Wayne Barlow). In this article, we will focus on the story behind the works for solo piano I performed, because crafting a piece is much more work and thought than can be expressed in a program note. 

  

The first piece I performed on the program was one previously premiered at Die Bibliomusik in the fall of 2014, with additional performances at GVSU’s Student Recital Hour and a recording made for Arndorfer’s graduate school portfolios. Piano Patterns #1 (Pop Snacks) was constructed during one summer night when he had drank “way too much coffee” and proceeded to play piano for the next 4 hours. With this extra burst of energy, he set to performing only on the black keys for the majority of the session. The work capitalizes on the piano’s half-pedaling technique and the fact that amidst a constant pattern of sixteenth notes the performer can naturally highlight the changes in the repetition. This short work sparks delight in the audience, taking a couple minutes to express a cheerful, simple pattern that changes over time in true minimalist fashion. 

The next piece I played on the program was titled Winter, a piece broken up into three distinct movements for solo piano, all detailing different aspects of this particular season. It was first arranged as a trio for oboe, vibraphone, and violin, with each movement based on the concept of light, focusing in on a particular spectrum, including infrared and ultraviolet.  Once the parts were work-shopped with the instrumentalists involved in that trio, Arndorfer decided to explore other possibilities in arranging the music. At his oboe recital during the same evening, these movements were premiered as an arrangement, titled Spectroscope, for vibraphone, two violins, clarinet, and oboe. However, when set to piano, it begins to take on a different appearance than the trio or quintet arrangements, prompting Arndorfer’s decision to shift the themes to those involving elements of winter. What also worked well was the inclusion of a projection related to the piece that was created by GVSU alumni and composer John Jansen. This visual element paired nicely with the music, changing to match the different themes of each movement.

The first movement, frigoric, is based off of the original trio arrangement of Spectrum, and it details the mood during a day blanketed lightly by snowfall. The steady, walking pace of the piece expresses the imagery surrounding a snowfall in nature or a quiet village. For performers and listeners alike, it is about indulging in the subtle changes found in the harmonic progression and delighting in imagery found in the piece. With the pedal held down for the majority of the piece, it serves to accent the natural acoustics of the piano and really create a wash effect with the different harmonies. 

The next movement is a fast flurry of notes detailing a violent snow storm. The work is titled Hyperborean, named after the mythological Greek race that lived “beyond the North Wind” in a perfect land modern historians observe to be somewhere around the Arctic Circle. One can imagine the storm as a sort of barrier to the lands the Hyperboreans occupy. Originally titled Infared for the trio arrangement, this movement pushes the harmonic “wash-effect” shown in the first movement by speeding up the tempo and the frequency of harmonic changes. This triple-meter, driving harmonic engine has piercing attacks on high and low ends of the piano that act as markers for moments of change in the piece. The notes in the piece were pulled out of a numeric system Arndorfer drafted to find a unique way to construct a piece. Each of the twelve pitches has a number, starting on number 4 with the note “C.” The number dictates how many repetitions of the note can occur in the rhythmic engine, offering a compositional device for focused, creative limitations. The work flies by, requiring great energy from the performer and not allowing the listener to grab onto anything musical for too long, keeping their interest in spite of the blatant dissonances that come up from constantly hammering different chords with the sustain pedal down. 

Unlike the previous movements, he first arranged Ultraviolet into a work for solo piano. Now entitled We Sat Around in a Torpid State, it is a piece I premiered at one of the Die Bibliomusik permutations last fall. This was also the first movement written to highlight different aspects of winter, prompting the other movements to be tailored to this idea. Following a fast, loud, dissonant piece, this movement is slow and lethargic, showing the hibernation that accompanies winter. The piece takes advantage of the piano’s ability to create distinct timbres through sustaining long chords in a higher register, capitalizing on the frigid sounds that liken to the icy landscape found during winter. For the performer and audience member alike, it is a piece that freezes you in time, relieving the tension of the previous movement. The natural reverb found in the body of a grand piano paired with focused changes in the harmonic progression, drawing out each change with the sustain pedal held throughout the piece. Paired with a fitting projection of a light snowfall by a park bench placed in the woods, one can easily place themselves in that landscape, seated on that bench indulging in the elements of nature. 

  

Overall, Richie Arndorfer’s compositional recital was a success! Aside from the piano works performed, there were a great display in compositional ideas presented. Taos, Waiting, a piece for oboe, clarinet, viola, and percussion, conducted by Arndorfer, kicked off the program. The combination of various unresolved harmonies with alternating sections of frantic runs and meditative moments of calm displayed a great range in his compositional style, making use of different instrument combinations to create some great musical moods and moments. “Basket Case,” a duet for marimba and vibraphone, focuses on reading music fixed to a literal basket that gets rotated over the duration of the performance, offering new musical combinations for the performers involved. Another unconventional ensemble piece presented was the Meijer Bag of Mystery, a piece that has expanded in variety, ensemble size, and has improved with each performance at Die Bibliomusik, Student Recital Hour, and the Hour of Mystery event dedicated to this work and other Aleatoric pieces. It features a mixed ensemble of flute, oboe, tenor saxophone, marimba, vibraphone, violin, viola, electric bass, and tuba, with Arndorfer conducting the group through a variety of compositional techniques. Using different player parts containing musical motifs set to a number, a literal Meijer bag filled with numbers to draw at random, cued transitional material, and recalled memory snapshots fixed also to numbers (using “Sound Painting” techniques), this piece displays a huge range of creativity. It’s very spontaneous and filled with variety, including cues to use extended techniques and to discuss different topics between ensemble members and to the audience. The final piece, Hydrogenated Oils for solo marimba, shows the great aspects of 12-tone writing that can flex one’s compositional muscles while being well-received by a general audience.

Richie Arndorfer owned March 29th, both on oboe and as a composer. The difficulty and variety in his performance recital shows his proficiency on the instrument, while his composition recital program shows his imagination in arranging and scoring works, his desire for collaboration, and his delight in the unconventional. When the video/audio becomes available, it will definitely be posted on this page for your viewing pleasure, and I highly encourage you to check it out! 

To read a little more about Richie or some of the other events described, check out these links:

Composer Feature: https://dutchersnedeker.wordpress.com/2014/11/29/student-composer-richie-ardornfer-solo-piano-works/

Die Bibliomusik: https://dutchersnedeker.wordpress.com/2015/02/16/die-bibliomusik-series-at-mary-idema-pew-library/

Brad Fritcher + Trois: The Year of the Architects

This album is out finally on bandcamp in digital AND Physical CD format! This album is a collaborative effort from everyone in the Brad Fritcher + Trois as well as St. Cecelia for offering the funds necessary to record, Michael Crittenden at Mackinaw Harvest Studio for all of recording and engineering time, and Nick Pennell for his great artwork. It is a testament to our progress as a group and a dedication to all of the musicians we have met and worked with in the past year as well.

The album was recorded in a 12 hour session between December 11th - 13th and features all original music:

Foolin' - A track I wrote and entered into ArtPrize 2014 that was "drafted" on a long car ride when I sang the melody to the tune into my phone. At a later date I fully worked it into the tune that would end up on the album.

Claey - A tune co-written by Brad Fritcher and myself during a manic, coffee fueled session that ended up with the slowest grooves on the album. Brad initially had the head to the tune written, and I helped flesh out the harmonic structure to his satisfaction. As Brad stated, "Claey is based on someone we've all known at some point in our lives. Was created under the influence of a large dose of summer humidity, doubled Americanos, live broadcasts and Esperanza Spalding."

Casper - A tune that sort of combines two keyboard influences in my life: Chick Corea and Robert Glasper. The initial feel to the tune had a Chick Corea vibe to it, but when the melody began to take shape the feel shifted towards something similar to what the Robert Glasper Experiment would do.

Jaga Jammin' - A tune I wrote while being inspired by a Norwegian group called "Jaga Jazzist," who combines elements of rock, jazz, and classical with their large ensemble to create this distinct fusion of styles and influences. I liked some of their odd meter compositions, so I tried to write an odd-meter groove to build a tune with for the group.

Must've Forgotten -  is a reharmonization of Lee Morgan's "Ceora" after studying the rhythms of Thelonious Monk and melodies of Ornette Coleman. It's a form meant to have strong voice leading through moments of cohesiveness and/or destruction.

Movement - Movement is a conversation between Logan Richardson and Bach. This track on the album has the only instance of overdubbing, specifically the added synth sounds and some of the trumpet improvisations.

Mind the Gap - A tune by our bass player, Ryan Wallace, that initially started with the bass line and was worked into a tune from there. It is grounded on a repetitive rhythmic figure and speaks to his early musical influences found in the "Tony Hawk's Pro Skater" video game series, where players were often told to "mind the gap" while completing certain skateboarding challenges.

Listen/purchase the album in digital and CD form at this link: https://bradfritchertrois.bandcamp.com/releases

Check out other performances of tracks on the album here: Live @ The Book Nook: [embed]https://soundcloud.com/dutcher-1/jaga-jammin-live[/embed] Localspins Live Radio Broadcast: [embed]https://soundcloud.com/localspins/local-spins-live-with-brad[/embed] Blue Lake Public Radio Live Broadcast: [embed]https://soundcloud.com/brad-a-fritcher/sets/brad-fritcher-trois-blue-lake-fine-public-radio-2014[/embed]

Soundcloud

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