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!

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

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

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”

As Am I. So Are You. - As Am I (Album Review)

In West Michigan, you may have heard of Jorge Sanchez Quizena in the rock and DIY music scene. From his organizing charity concerts to supporting artists in Be Conscious Studios with live performance recording and streaming, he is a die-hard fan of the Michigan music scene and does everything in his power to see folks having a good time and having their needs met. They also facilitate podcast-style interviews with performances, an experience I had firsthand as a performer back in March. As a musician, he performs with As Am I, a band that released their first, self-produced record in the last few months to put their brand of hard rock out into the community in an EP called As Am I. So Are You.

Each track on the record showcases a different aspect of their sound, whether it’s driving rock choruses or quieter, simmering sections. The record feels like a live set from the band, with an ebb and flow that feels like you’re catching them opening a night at a rock club. Right away, the opening track “Compass” drives some energetic rock riffs complete with a guitar solo. “Come Down” keeps things riding high with some feel-good riffage that is reminiscent of Black Label Society mixed with some metalcore styles. “Four Letter Word” focuses on the fickle feelings of love with the catchy chorus hook of “Love is a four letter word.” The album takes a second to breath with “Goodbye,” dipping in and out of heavier sections with quieter moments. “Know Your Place” has a contrasting intro from the other songs on the record that catches your attention, with hits that slowly build to the climax, a moment that no doubt hits hard in a live setting. “Lakes” is a track centered around meaty blues riffs that don’t overstay their welcome, and the closing track “What Would You Say” leaves the listener on a different energy to how the album started, letting you exhale as it winds to a close.

What this album is for As Am I is a definitive starting point, and it points to a great foundation to have as a group. Being self-produced, they can continue to hone their skills as engineers and take their experiences with other artists into future studio projects with the band. Because they help young artists with streaming and online content, they’ll be able to creatively display the band online in music video and concert clips alongside quality, streamed concerts. And you know with Jorge Quizena’s positive, supportive vibes, you’re in for a fun concert experience whenever As Am I hits the stage to throw down on some riffs. All in all, this album speaks to the start of a great addition to the up-and-coming rock musicians in the Grand Rapids scene that can also be helpful and supportive in so many avenues of the music industry!

Facebook: https://www.facebook.com/asamitheband
Instagram: https://www.instagram.com/asamitheband
YouTube: https://www.youtube.com/channel/UCVok0ZtDmmHl2u5I0sDQH7g
Spotify: https://open.spotify.com/artist/38nlq6husNgAZPpEFYrw5I?si=R6Vr7ZJQS5usLt6ssezArQ

Everywhere I Roam - Sean Miller (Album Review)

Sean Miller has embodied music from an early age. He grew up taking piano lessons and has traveled as a percussionist at the Percussive Arts Society International Convention (PASIC) and the Society of Ethnomusicology (SEM) among his achievements in high school ensembles. This Petoskey-born artist then taught himself guitar, drawing from players like Gregory Alan Isakov and John Mayer alike. With his guitar skills, he then began performing around the state with this group, The Real Ingredients, while also exploring solo avenues with his first demo recordings in 2018. He has also recorded songs with Katie Larson (The Accidentals), opened for artists like Brotha James and Seth Bernard, and has even performed private showcases at the Folk Alliance Regional Midwest (FARM) convention in Grand Rapids. Now, for 2020, Sean Miller recently released his debut album, Everywhere I Roam, and it is a true testament to his upbringing in music and the many journeys he has already been on as an artist.

Right away, listeners are taken to his hometown with “Couldn’t Make This House A Home,” a tale of young love, big dreams, and the pain that comes from someone close moving away. The instrumentation is kept simple to let the lyrics shine, with guitar, bass and drums supporting. “Fly On” longs to find his lost love while trying to travel around, hoping that the stars or some hand drawn maps will guide him. With “Canned Peaches,” the instrumentation builds so beautifully to support his lyricism with strings and organ, giving some warmth to a nostalgic song about family memories. All in all, it is probably my personal favorite track on the album due to how naturally everything is put together. “Phone Call Smiles” reminds you that wherever you are, you are always a phone call and a pleasant conversation away, and the tune has a beautiful back and forth between Sean and guest vocalist Lara Fullford. The title track picks things up, with spirited tales traveling “these Midwestern roads” from “Madison to Kalamazoo.” The album then rounds out succinctly with “Man On A Roof,” an emotional tune that highlights Sean’s vocal range and guitar skills, and “Oh Red Star,” a song that almost begs for the audience to clap and sing along in celebration.

Everywhere I Roam may be Sean’s stories to tell, but the words ring true in many of our lives. We all seek love and community, we love to briefly travel back to fond memories, and we’re always searching on life’s journey. Each track puts you in a time and place, stirring up those feelings of when life had simpler meaning and times with your friends seemed like they were endless. There is a feeling of nostalgia that drives the narrative in this album, and it plays out like sonic comfort food. Whether you’ve put in as many miles driving around the Midwest or if you’re looking for some feel-good music, Sean Miller’s debut album centers around his honest delivery, heartwarming stories, and solid roots in the Michigan music community. 

Website: https://www.seanmillermusic.com/
Facebook: https://www.facebook.com/seanmillermusic
Instagram: https://www.instagram.com/seanmillermusic
YouTube: https://www.youtube.com/channel/UCLTt3cTRqMxBhWcTeXyBuWA
Spotify: https://open.spotify.com/album/1VdHBG84tTFLWVORPMIa2H?si=Ssa0rrWvSM-xnigxAsMUKA