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!

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