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”

Nathan Walton & The Remedy (Album Review)

Nathan Walton has had quite a journey in the last year. With a voice that Lionel Richie described as “a cannon,” he earned a golden ticket and became one of the Top 60 American Idol contestants during their 2020 season. After a wild ride with so many talented up-and-coming artists, the drive to record a new record kicked in as the world began to shut down. Rallying the troops in his new touring band, The Remedy, he hit the studio at Third Coast Recording Company with engineer Kevin Kozel to craft his latest release!

Fans of classic rock will love the variety found on this record. Each tune carves out a little slice of rock history, and it’s clear that Nathan Walton’s influences, groups like Bob Seger, Rare Earth and Grand Funk Railroad, are helpful guides when sculpting original works for a larger studio band. The album unfolds with some soulful vocal harmonies and punctuated moments from the full ensemble in “Love You Like Mad.” The repetitive bed of keys sounds throughout, with the song transitioning into wailing, passionate lead vocals and anthemic crowd singing. “Devil’s in the House Band” adds some classic rock riffage and a powerful layer of organ to kick things up a notch, letting The Remedy shine bright. “All Too Much” feels like the band has shown up to the venue, kicked in the door, and started a night of magic, showcasing Nathan’s higher vocal range and guitar prowess. “Winter” shifts vocal focus to Nathan’s right hand frontwoman, Shelby Andenno, with Nathan showcasing his ability to lead with guitar, vocals, and songwriting. “Bare My Soul” was the first single to drop from the record, and it’s a funky rock vibe that is guaranteed to get your festival-attendee-toes tapping. It’s filled with features, from the wah-laden clavinet sound to another strong guitar solo to the many horn stabs and shrieking high tones from the saxophones. “Come Back to Me,” starts with just piano and voice, giving Nathan the space to set the mood. It’s a tune that was carried for miles around the country, was co-written by keyboardist and collaborator Colin McCorkle, and was his audition piece for American Idol, so the depth of emotion carries so strongly throughout. Mason Villo performs a strong sax solo and there are some beautiful string parts from cellist Max Morrison and violinist Mike Prokopchuk.

“Show Me the Money” rockets back into the unabashed rock territory, slamming the drums around some forceful guitar riffs. That “cannon of a voice” easily soars with such a powerful backing accompaniment. “Sick” is the second track to feature Shelby front-and-center as she sings about a toxic love that needs a remedy. If the cure is saxophone, then you have Caleb Elzinga to thank for being the “resident doctor of choice saxophone solos” on this track. Perhaps it is the following track, “Lover,” that helps to heal the wounds of the previous tune, pairing Nathan and Shelby in a great duet. “Flood” is soaked in that gritty Southern rock, oozing the blues and steeped in soulful vocals. Nathan’s slide guitar solo carves a moment of attitude and personality and is a great moment on this record. Shelby returns to sing her final entry as a frontwoman on the record on “Always Be Lonely,” a tune that allows her to open up and shine for one final, featured moment. “Hi Anxiety” feels different right away, picking up the speed and surrounding a repeating bass line with a hypnotic texture of piano and different stringed instruments sound. The way the tune builds, adding layers and zoning in on lyrical phrases, allows for an anxious feeling as the tune constantly remains unresolved, as if to mimic the fact that anxiety for many isn’t a one-and-done emotional state. “So Bad” closes the album with one final farewell from The Remedy, with Nathan giving yet another strong number to leave listeners thoroughly satisfied.

What Nathan Walton & The Remedy means for someone like Nathan Walton is a new foundation to stand tall. Many have gone to American Idol, several people have even claimed the title crown, but many more still are lost, uncertain of what is next for their career after experiencing a national spotlight. To coordinate The Remedy during a pandemic where every schedule is blank but every budget is strained while putting out a solid record is easily a cause for celebration. This record gives listeners a real taste for what Nathan brings to the table: soulful, rock-filled songwriting that invites you into the The Remedy family to feel energized and alive. For a moment, you’re shredding that guitar solo or ripping that sax solo right along with the band in your bedroom, eagerly awaiting the time when you’re able to join in on the powerful energy of a live show. This is a band you’ll want to keep in the car with you for that uplifting burst of spirited music making, taking the full impact of Nathan’s voice and the messages behind it. Keep an eye on this band for future touring dates, they just might be the cure you’re looking for in your concert experience!

Support Nathan Walton!
Website: https://www.nathanwaltonlive.com/
Facebook: https://www.facebook.com/NathanWaltonLive/
Instagram: https://www.instagram.com/nathanwaltonlive/
Twitter: https://twitter.com/nathan_9_walton
YouTube: https://www.youtube.com/channel/UC-BT3x_hKEuUmgYvbU9rp6g
Spotify: https://open.spotify.com/artist/0DFWAeLQDZBy9BuiUtpt5H?si=uYxa6R3CSSyJDAulN5rSRQ

Album Credits:
Voice/Guitar/Songwriting: Nathan Walton
Vocalist: Shelby Andenno
Keys: Colin McCorkle
Bass: Doug Watkins
Percussionist: Scotty King
Sax:: Caleb Elzinga, Jace Fredricks and Mason Villo
Trumpet: Austin Jacob
Lap Steel Guitar: Justin Wierenga
Cello: Max Morrison
Violin: Michael Prokopchuk

Recorded, Mixed and Mastered at Third Coast Recording Company by Kevin Kozel

Songs From My Room - Olivia Vargas (Album Review)

Olivia Vargas has worked hard over the past few years to make a name for herself in the Michigan music scene. As a songwriter and singer, she regularly delights audiences on stage and online with her various collaborative vocal projects and with her band August. As an educator, she works with private students and church ensembles alike, passing on the knowledge gleaned from her performing and academic experiences. She crafts soulful moments that merge skilled artistry with a desire to connect with listeners on vulnerable subjects. For 2021, Olivia has released Songs from My Room, inviting guests into a space that has been her creative muse for the past year in quarantine.

The album starts with “Midnight in June,” a previously released single that I wrote about in another blog entry that you can check out here. To summarize, the tune started out as a college composition project reflecting on a trip she took to Scotland, with the song later enhanced and finalized with the additional vocals of frequent collaborators Theresa Redmond and Marissa Peak. It’s a wonderful intersection of artistry and storytelling that sets the tone for the rest of the EP. “Limited View” focuses on the tunnel vision that comes from dealing with anxiety, the problems overwhelming the passions and the world shrinking to few spaces of comfort. Olivia mentions that she “wrote this song in January of last year when I was at my lowest point. It felt as if anxiety had completely consumed me and was controlling my life. It was all I could think about and I was struggling so much with how to get myself out of the spiral I was falling into.” This somber tune offers a glimmer of hope: there must be more to “this limited view.” Each repetition of the phrase emphasizes her efforts to actively combat these incessant worries.

With a lilting, sparse piano accompaniment and soft vocal harmonies, “The Letter” tells the story of discovering a letter during a move from a love interest long in the past. When she began to craft the song, she “knew the piano that was going to accompany it had to be simple and sit on the edge of happy and sad, some sort of melancholy. I wrote the harmonies quickly as well and modeled them after what I imagined a string section would sound like. There is nothing fancy about this song, but it lets the storyline speak for itself and that’s why I love it so much.” The emotions are palpable in this story, reminding of good times detailed in writing and the pain of love lost so unexpectedly. In a modern day landscape of social media praise and rampant social anxiety at presenting one’s self to the world, “What Would It Feel Like” articulates feelings of insecurity while searching outward for approval. “Some days I wake up and try to channel the version of Olivia that practices self love completely. It doesn’t always last long, but I’m getting better and better at finding her.” This minor waltz gives the tune almost a cinematic presentation, accented with vocal harmonies and building up to the final statement of “so give it up and let it go for today.” To close the album, “In Matters of Morals and Heart” emphasizes love and community over the many organized efforts to deny others the right to a happy life. After finding out about Terry Gounda’s story in the Catholic Church last year, Olivia wrote about how she “was losing hope in humanity and I was tired of the hypocrisy and political statements from every side of the argument.” It is a song that seeks to motivate positive change and recognize those in your sphere of influence that you can protect and support.

This EP really delivers on a blend of intimate storytelling and distinct compositional expression. Each tune has its own character, it’s own time frame, and its own moment of cathartic expression from Olivia. She has treated so many listeners to experiences with other groups, but to invite listeners into her most private space to hear some of her most vulnerable thoughts is a huge undertaking for an artist, in spite of how easy it might appear on the EP from Olivia’s piano playing and effortless vocal delivery. There isn’t a moment of wasted space with so many subjects to cover and feelings to parse, and it makes for a strong listening experience. No doubt with how things are trending in Michigan for the music scene, audiences will be invited into Olivia’s room for many opportunities going forward!

Support Olivia Vargas!
Bandcamp: https://oliviavargas.bandcamp.com/
Instagram: https://www.instagram.com/oliviavargasmusic/
Spotify: https://open.spotify.com/artist/50eCjvz8969pR8OSCDyehf?si=Ps0CU8ANQpK7_EZ0cmWNlQ
August: https://www.augustthebandmusic.com/

Album Credits:
Vocals, Piano, Songwriting: Olivia Vargas
Vocal Harmonies: Theresa Redmond & Marissa Peak
Production/Engineering: Bailey Budnik

Midnight in June - Olivia Vargas (Single Review)

Many folks know singer, songwriter, and pianist Olivia Vargas in the Grand Rapids music scene for her soulful pop arrangements around her instrumental and vocal prowess in August. Since the band was first put together, they have released one full length album and one self-produced EP, showing the band’s ability each year to collaborate under all sorts of circumstances and produce compelling tunes. Now, she has recorded a new album of music, Songs From My Room, to chronicle her creative time spent in quarantine while continuing to find ways to collaborate with her closest friends. The road to this album’s release begins with her latest single, “Midnight in June.”

Originally written for a college songwriting class as a compositional challenge from Aquinas College professor Paul Brewer, this tune reflects a trip to Scotland she had taken over the summer. In a recent Instagram post, Olivia details that she was picturing “when I was walking up the cobblestone path to the beautiful historic castle at the top of the hill” when she started crafting the storyline for this tune. She went on to describe how only after three years and with the additional vocal harmonies from Theresa Redmond and Marissa Peak (both collaborators with August) did she feel that this tune was ready to be shared with the world.

The tune starts with piano, setting the mood and foundation for the story to begin. Colors dance off cobblestone, a town bathed in blue, thoughts of a conflicting love that lingers in spite of the physical distance apart. All the while, Theresa and Marissa perfectly match Olivia’s timbre and phrasing, enriching the harmonies and adding an added layer of emotion to the lyrics. Sections of the tune are distinct, each one complimenting the character found in each piece of the narrative as the accompaniment progresses. It’s a beautiful blend of artistry and storytelling, soaked in a soulful serenade from three talented collaborators.

This is a wonderful start to an album that no doubt Olivia is eager to share with everyone. There are sure to be more collaborators, and with the helpful production skills from Bailey Budnik (drums for August) alongside crisp photography work from Loren Johnson, this record is being presented in true quality, West Michigan fashion. Check out the links below if you want to support Olivia and buy/stream her new single.

Bandcamp: https://oliviavargas.bandcamp.com/track/midnight-in-june-2
Facebook: https://www.facebook.com/profile.php?id=100009079749502
Instagram: https://www.instagram.com/oliviavargasmusic/
August’s Website: https://www.augustthebandmusic.com/ 

Music for the Film Invisible Hand - Heavy Color (Album Review)

Art tends to be perceived as a burst of inspiration from a creative mind, something that is impossible to codify with words and easier to demonstrate than to dictate. For those who create art, there are clear prompts and channels that help focus an idea into a finished product. The inventions of broadcast radio, television, movies, and now streamed video content on various platforms have opened up a new avenue for those who can craft functional artistic experiences, blending their sonic toolset within an organized timeline. Heavy Color has done great work in this aspect with Music for the Film Invisible Hand.

The title does a succinct job of explaining the function of this album, a soundtrack to the award winning independent film Invisible Hand, a film produced by actor Mark Ruffalo and directed by Melissa A. Troutman and Joshua B. Pribanic. The film centers around a legal case in Grant Township, Pennsylvania where a community gave rights to the surrounding nature to help defend it from a company wanting to pollute the wildlife with their developments. Heavy Color does a phenomenal job providing music that rewards passive and detailed listeners alike, as it serves to underscore the film’s narrative while serving up delectable bite-sized pieces of ear candy. 

“Fog” kicks things off with a hypnotic, rhythmic texture pulsing with warm swells, easing you into the full album experience. “A Theme for Grant Township” almost feels like a sunset in the Saharan Desert as African inspired interlocking percussive ideas cut through layers of synth sounds as a guitar plays simple, delay-filled melodies overtop. “Persistent Efforts of Nature” lays a beautiful, sparkling bed of synthesizers to accompany some improvisatory saxophone. “The Water Protectors” centers on a low drone colored by atmospheric string and flute textures. In “Two Serpents,” there is a wonderful minimalistic pattern that drives the tune while drum hits accent critical moments and acoustic instruments are enhanced to add to the atmosphere. A cello expressively plays overtop a swirling texture that is dense enough to feel like one sound but mixed in such a way that you can pick out individual layers before they are blended, almost like dropping pebbles in a pond.

“A Corporate State” changes the mood in such subtle ways through the use of distortion, creating a timbre change that feels cold and industrial. “Song for the Water” flows effortlessly with the vocal textures and deep synth pads. “Theme for Capitalism” sounds like the engine of the industrial workforce, using mallet percussion and clicking, airy sounds with persistent energy. “A Theme for Standing Rock” stands in sonic solidarity with those who came together to try and protect clean waters from the impending sludge of corporate progress. “Permissible Harm” opts for a darker, grittier tone using grating harmonics and brassier instrument sounds to detail the underlying messaging with this cold legalese. “A Mockery” compliments the previous tune’s mood with a more simplistic, pleasant arrangement of harmonies and layers. “A Change in Color” shifts you into outer space before melting into  “Theme from Invisible Hand,” a cinematic piece that opens up to a rich palette of colors and textures. To close the album, “Cross Currents” ends the emotional arc established by the previous two pieces,  stripping away layers to focus on flute interplay and splashing in tasteful accents.

The work that went into this soundtrack cannot be understated. Heavy Color crafted a compelling listening experience that captures the sonic exploration and quality production that they are known for through the functional lens of complimenting a documentary film. Also, with the recent addition of a vinyl print to the presentation of this album, listeners can absorb every nook and cranny of this film score in whatever preferred method they desire. There is also a hope that when they return to the stage, these songs will accompany their meditative electro-acoustic experiences. Check this album out, watch the film, and appreciate the time and detail it took to craft this release!

If you want to support this group on their current venture, consider purchasing a ticket to the virtual festival, “An Afternoon of Curious Music,” which streams on Outermost.stream on March 21st! This festival features new music from Heavy Color as well as Curious Music artists Amanda Berlind, Bjarni Biering, Kate St John and Neill MacColl, Wobbly, Tim Story and Hans-Joachim Roedelius. 

Liner Notes:
Drawing inspiration from nature, Heavy Color composed much of the score for winds, strings and voice, something of a departure from the dense electronic approach of their previous releases.  Joining Cohen and Woldenberg on Music for the film Invisible Hand are Patrick Booth (Clarinet, Bass Clarinet and Soprano Saxophone), Mike Savina (Electric Guitar), Wesley Hornpetrie (Cello), Jeffrey Niemeier (Violin and Electric Violin) and Estar Cohen (Vocals)

I Am Not a Virus - Jordan VanHemert (Album Review)

For many folks in West Michigan who have sought to learn or experience jazz music, Dr. Jordan VanHemert has been recognized name in the area in recent years. A graduate of Central Michigan University, the University of Michigan, and the University of Illinois Urbana-Champaign, he is well-versed in music performance and education. He currently works for Hope College as the Assistant Professor of Music Instruction in Jazz Studies and saxophone. For 2020, Dr. VanHemert’s life in the area was filled with challenges, from Hope College shutting down due to Covid-19 to dealing with visceral moments of racism as an Asian-American due to the origins of the virus. Taking in the scope of a worldwide pandemic, fractured political climate, and global protest movements through his creative lens, he has crafted an artistic statement to combat the hatred he has faced in his latest record, I Am Not A Virus. This 8-track album features the Jordan VanHemert Quintet, which includes his colleague, Adjunct Professor of Jazz Studies and pianist Lisa Sung, Western Michigan University graduate student bassist Kazuki Takemura, Central Michigan University professor and trumpeter Rob Smith, and University of Wyoming Percussion Area Coordinator Andy Wheelock. Jordan, Lisa, and Kazuki all share in the experiences of being an Asian-American in 2020, one that is fraught with navigating tense social interactions based on misinformation and racist rhetoric. Rob worked with both Jordan, and Andy at CMU, and Jordan and Andy both pursued doctorate degrees at the University of Illinois. Their collective knowledge and comradery built from studying and working in jazz academia combines to create a wonderful listening experience around a powerful message.

Jazz saxophone legend Wayne Shorter was once quoted as saying "Play and write music the way you want the world to be." With “The Path Ahead,” Jordan makes this statement right away, channeling his emotions felt from so many injustices this year and focusing it toward a brighter tomorrow. The tune builds from one note, with a certain gravity to the mood of the composition that reflects the times we are in as a country. There is a gradual elevation of energy that feels like each note chips away at the forces standing against progress. Each player is sonically introduced through their own dedicated solo spotlight. Lisa Sung sits patiently in the tune’s form, building off of simple motifs into increasingly larger phrasing ideas that flow overtop the accompanying texture. Kazuki Takemura’s solo makes use of added space from the ensemble, with some wonderful low end lines. Jordan confidently strides into his improvisation, showcasing a range of bebop vocabulary in his phrasing and an intensity that gradually builds. Rob Smith follows with simple phrasing that again grows into a more complex solo that shows his masterful command of the trumpet. Andy then closes with a drum solo over a rhythmic accompaniment, playing with time and phrasing with effortless delivery. 

After such a powerful opening number, things cool off to reflect the beautiful colors of fall in “Autumn Song.” The tune is a moody waltz, ebbing and flowing to reflect the changes that occur to nature during this season, something Jordan looks forward to every year when staring out his office window. Jordan starts soloing right away, gliding effortless across the form with some fast phrasing that plays around with time. Rob Smith follows suit, showing both range and a variety of phrasing ideas from the frenetic to the fashionable. Lisa drives forward in her soloing with colorful chordal movement paired with lead lines that dance around the ensemble accompaniment. Kazuki settles in the pocket for a grooving bass solo, leading right into the gradual settling of the group to end the track, much like leaves falling gently to the earth.

What follows next is the title track of the album, “I Am Not A Virus,” which Jordan wrote as “a response to the age of COVID-19 racism against Asian-Americans and our perpetual foreigner stereotype—that when people look at us, they always see foreigners, no matter how long one has resided in the United States.” The tune starts off with a powerful energy that resonates with the fury of someone who has been in constant combat the entire year. The head of the tune shifts from angry to resilient, with every member expertly transitioning between the two moods. Rob Smith cuts through the backing texture in his solo, emphasizing and exploring the vibe of each accompaniment style in the form. Jordan takes the baton from Rob’s solo and rockets forward with a bebop-fueled expression of his frustration, fear, and resolve to triumph over hate. Lisa flies around the piano with a powerful force that lands firmly each time the two-chord phrase comes around, followed by a grounded solo from Kazuki, an act of solidarity with two Asian-American collaborators following Jordan. There is a brief moment where Lisa plays a melodic figure that is echoed by the band before transitioning to a final solo from Andy that matches the intensity of his collaborators.

In another act of solidarity with the oppressed, “Justice for the Unarmed (BLM)” swings hard and doesn’t mince words. It’s a tumultuous wave of sound that demands your attention, much like how the voices of the BLM protest movement have broken through the noise of everyday life to be heard on a global scale. It specifically focuses on the rage felt from the unjust murders of George Floyd, Ahmaud Arbery, and Breonna Taylor. Art reflects one’s environment, and 2020, for all of its insanities, had been a tumultuous environment to try and reflect. You hear it in the pace of the tune, the fastest on the record, mirroring the speed these stories reached a worldwide audience. You hear it in the musicianship, pushing just hard enough to create a robust texture while also taking liberties in free expression to further have this tune stand out from the list. To compliment the audio, there is a video of the studio recording juxtaposed with imagery and videography from various nationwide protests. Rob kicks things off with a fiery solo, Kazuki carries the torch into a solo that flies around the range of the bass, followed by Jordan’s blazing improvisation accompanied only by Andy’s energetic drumming to emphasize the sound of one voice heard over the crowd of opposition. The wave of sound crashes into the final statement, giving listeners a succinct moment of activism meeting artistry.

After a string of emotional, intense compositions, there is time for stillness and meditation found in “Moment.” Like the title suggests, this ballad focuses on being present and in the moment, soaking in the environment around you and remembering to center yourself around healing elements. This tune feels like a rejuvenating wellspring for listeners and the musicians alike, with beautiful interplay between Jordan and Rob starting off the tune, with Jordan improvising throughout before he leads the tune out as a soloist. Following this ballad, “Sea of Tranquility” submerges your senses in an ocean of lush, expressive harmonies. Regarding this composition, Jordan mentioned that he wrote this “shortly after seeing the movie Interstellar. I remember thinking about how small and insignificant our human lives are—just a blip on the continuum of eternity. It makes our problems feel so small that the only response is to live in peace and harmony together, which is the emotion I wanted to portray in this composition.” Jordan’s solo streaks across the soundscape like a comet through the night sky, colorful and bright while painting a reflection on the water. Kazuki takes an intimate solo that befits this calm, measured tune, and Rob Smith improvises on muted trumpet, shaping a wonderful tone for a softer approach to his improvisation. Everything builds so beautifully to the end as if to signify a grand moment, only to taper off into the distance, like the cresting of a wave settling into the shore.

To close the album,  “아리랑 Arirang Interlude” seamlessly threads the previous composition into the next, a Korean traditional song arranged by Jordan called “아리랑 Arirang.” “Arirang expresses what it means to me to be Korean-American. In its jazz reharmonization, the piece is distinctly an American interpretation, yet I have preserved the distinctly Korean melody. The arrangement closes with the saxophone and piano interpreting the melody of 아리랑 Arirang in a much simpler harmonization based on the idea of 한 (Han), or a deep emotion of longing. Not only is this the mood of 아리랑 (Arirang), but it is this emotion—difficult to express in Korean or English—which brings the entire album together.” This track truly is a connecting thread for the record with Jordan’s Korean-American background, his passion for music education, and his skills as an arranger/performer with this reharmonization and interpretation of this Korean melody. The ending is beautifully expressed, emphasizing the resilience in one’s celebration of culture and artistry. 

For many artists, 2020 was a year that will go down in creative history, from the detailed accounts of protest movements to the criticism of those in power and those who seek to react with hatred and anger to moments of peace and unity. Jordan VanHemert’s work on this record cannot be understated, from conception to navigating COVID restrictions in rehearsals and recording. It’s an album that feels like a collective experience, with every artist cathartically enjoying the normalcy and joy that comes from making music during these challenging times. Cultures are celebrated, musicianship is expressed in full display, and the voices of the disenfranchised are heard through everyone’s artistry on this record. If you need an introduction to Jordan’s work or if you’re looking to add a great Michigan art piece to your collection that reflects this past year, you owe it to yourself to check out this record!

Pre-Order “I Am Not a Virus” here: https://www.jordanvanhemert.com/i-am-not-a-virus

Album Credits:

All tracks composed by Jordan VanHemert unless otherwise noted. 

1. The Path Ahead

2. Autumn Song

3. I Am Not A Virus

4. Justice For The Unarmed (BLM)

5. The Moment

6. Sea of Tranquility

7. 아리랑 Arirang Interlude (Korean traditional, arr. by Jordan VanHemert) 

8. 아리랑 Arirang (Korean traditional, arr. by Jordan VanHemert)

I Am Not A Virus Personnel:

Jordan VanHemert - saxophone

Rob Smith - trumpet

Lisa Sung - piano

Kazuki Takemura - bass

Andy Wheelock - drums

Recorded at Hope College Studios on July 16 and 17 by Drew Elliot

Mixed by Drew Elliot

Mastered by Rich Breen, Dogmatic Sound

Album Art by McCoy Khamphouy of Digital KoiFish Studios

Book On A Shelf & Something In The Air - Jury Folk (Single Reviews)

Jury Folk is a Grand Rapids-based rock outfit that incorporates elements of funk and folk into their sound. I have enjoyed viewing guitarist/singer Mike Terpstra and guitarist Scott Breakiron at their Founders Open Mic performances, and the full band on their last, self-titled EP really brought the songs I heard to life. In spite of the hurdles of 2020, this group found their way to the Social Recording Company in southeast Michigan near Detroit to focus on some new material that reflects their perception of the world around them. Working with engineer Jake Rye and including drummer Peter Terpstra, they took two songs into the space to flesh out and track: “Book On A Shelf” and “Something in The Air.”

“Book On A Shelf” starts off as an upbeat rock tune, coloring the guitars with a little bit of grit and a cooling reverb to balance out the texture. Michael waxes poetic about society, and how folks try to fit in and out of the places they grew up in. “‘Book on a Shelf’ can be about an array of things. The song was written about my connection with growing up in a big family and going to a big church. It’s about appealing to the society that is or how we see society through our eyes (i.e. our perception of who we are supposed to ‘follow’ or what is the ‘norm.’ Looking back on all of it, I see it as ‘wasted time,’ which was the original title of the song.” Each time the phrase repeats, the perception of a new chapter gives way to the same old story, one that is shelved among the many narratives we try to change in our own stories. The EP shifts into “Something in the Air,” a song that feels like an anthem to counteract the feelings of 2020. It speaks to the unifying, unspoken forces that bring folks together to tackle any sort of challenge. Michael explains that “‘Something in the Air’ is about the change in tides and moving forward or moving on, letting go and pushing through, knowing that what you have is all you need and that you can find hope in the darkness.”

These are two strong singles from Jury Folk, and it speaks to their work behind-the-scenes over the past few months. Each tune has its own character adding to the band’s overall sound, one that straddles the line between indie darling and budding touring band. Each one lifts your spirits higher and compels you to join in the celebration of life and song.

Album Credits:
Mixing/sound engineer: Jake Rye at Social Recording Company
Mastering: Mike Cervantes at The Foxboro
Drums: Peter Terpstra
Guitar: Scott Breakiron
Vocals/Guitar/Piano: Mike Terpstra

Instagram: https://www.instagram.com/juryfolk/
Spotify: https://open.spotify.com/artist/4eLuFGaVl7hAYMba1CFCX0
Apple Music: https://music.apple.com/us/artist/jury-folk/1472911762
Soundcloud: https://soundcloud.com/juryfolk

Retrospect EP - Aviations (Album Review)

When drummer James Knoerl and guitarist Sam Harchik started writing together at the Berklee School of Music in Boston, they were soon joined by vocalist Adam Benjamin to debut Aviations’ first album, Declaration of Sound, in 2012. In the years that followed, guitarist Eric Palmer, bassist Werner Erkelens, and pianist Richard Blumenthal would join to round out the project’s live band and future studio endeavors. After years on the road and a brief hiatus, they returned with their fleshed out metal sound on The Light Years, an album that took their refined songwriting and paired it with the years of experience each member had creating and producing on their instruments and as a unit. All the while, their fan base continued to grow and eagerly latch on to every aspect of their distinct combination of stylistic influences. Now, in the midst of a pandemic and spread across multiple cities, the band has come together to release Retrospect, an EP that looks back to moments along their journey as a group with rose colored glasses. (I might take that out)

There are three tunes, two of them with added instrumental tracks, that make up this release and draw from their first two records. Right away, the EP kicks off with a classic from this group, “Nineties Nine Ties,” their debut single as a band. There is a distinct fullness to these instrumental parts this time around, shaped and polished with a combination of newer gear and mixing techniques. There is an underlying confidence to this tune, a feeling of delight in treading familiar ground with the wisdom of hours spent in studio sessions and on tours while growing as performers, producers, and recording artists. There is a power behind the riffage this time around that elevates this tune to new heights, with a clarity to their guitar and bass tones that helps distinguish dissonant chord clusters with thick harmonic layers. The familiar breakdown, all the while shifting meter, hits harder with added swells and electronic stutters. The tune ends with a vocal reprise of the chorus overtop bass and drums, driving the song right to the final expression. 

The next track, “Outliers,” is such a wonderful upgrade from the original recording that shows just how far the band has come. It feels like a wave of sound, something you’d want to hear live with a crowd of fans eagerly awaiting this 11 minute opus. Piano and synth lines glide overtop meaty bass and guitar riffs as thundering drums drive the track forward. Vocals soar, threading the thumping riffage and cementing the collective sound with an emotional delivery. The middle instrumental shifts from a technical display to some truly mean breakdown riffs, opening up to a chaotically layered build that abruptly shifts into some truly cinematic orchestral sounds. This whole tune feels like a celebration, showcasing each band member among a diverse texture of ambient soundscapes and stellar musicianship as they collectively revel in a powerful moment of artistry. 

Taken from their most recent full-length album, “Two Days” is acoustically reimagined with the band performing the track live. Distorted guitars are swapped for acoustic tones, sticks are traded for brushes, and an intimate listening moment is shaped throughout the track. This tune ebbs and flows, building and opening up to a wonderful guitar counterpoint paired with glistening piano, warm bass, a soft patter of drums, and heartwarming vocals. One moment in particular stands out from the original recording, when the opening riff is re-contextualized with new harmonies that keep looping towards the end of the track. This moment is such a beautiful expression from a band whose genre is normally perceived one-dimensional, with each member showing maturity in  their music-making and in their time together as a band. 

If this is your first time listening to Aviations, this record serves as a launching point for their future endeavors and a great time to jump on board their fanbase. The subtle changes to the songwriting from their previous iterations are a delight to long-time listeners while easily dazzling curious newcomers. From the dynamic range of the instrumentals to the emotional expressions from each artist, this record shifts from an intimate living room concert vibe to a full-production explosion of sound and color. It’s no small feat that this band continues to collaborate, and Retrospect is a beautiful moment of reflection and celebration that is a joy to experience. 

Album Credits:

Aviations is...

Adam Benjamin | Vocals
James Knoerl | Drums
Sam Harchik | Guitar
Eric Palmer | Guitar
Werner Erkelens | Bass
Richard Blumenthal | Piano

Written & Performed by Aviations
Drums Engineered by James Knoerl
Guitars & Bass Engineered by Sam Harchik
Piano Engineered by Richard Blumenthal
Vocals Engineered by Adam Benjamin

Produced by Sam Harchik
Mixed by Adam Bentley & Sam Harchik
Mastered by Ermin Hamidovic of Systematic Productions

Album Art and Band Photo Design by Sam Harchik
Band Photography by Lee Delulio

Facebook: https://www.facebook.com/AviationsBand/ 
Instagram: https://www.instagram.com/aviationsband/ 
Twitter: http://twitter.com/AviationsMusic 
YouTube: http://youtube.com/aviationsmusic 
Bandcamp: http://aviations.bandcamp.com/ 
Spotify: https://open.spotify.com/artist/6dW9mkTQTr10cm2Lv4pPuY 
Press Kit: https://www.presskit.to/aviations 

Justice for the Unarmed (BLM) - Jordan VanHemert Quintet (Single)

In another powerful act of solidarity with the oppressed, “Justice for the Unarmed (BLM)” swings hard and doesn’t mince words. It’s a tumultuous wave of sound that demands your attention, much like the voices of the BLM protest movement have broken through the noise of everyday life to be heard on a global scale. It specifically focuses on anger felt from the unjust murders of George Floyd, Ahmaud Arbery, and Breonna Taylor. These lives live on through the many pieces of art that have come from these traditions, from murals to pieces of music. Art reflects one’s environment, and 2020, for all of its insanities, has been a tumultuous environment to try and reflect. You hear it in the pace of the tune, the fastest on the record, mirroring the speed these stories reached a global audience. You hear it in the musicianship, pushing just hard enough to create a powerful texture while also taking liberties in free expression to really have this tune stand out from the list. To compliment the audio, there is a video of the studio recording juxtaposed with imagery and videography from various nationwide protests. Rob Smith kicks things off with a fiery trumpet solo, Kazuki Takemura carries the torch into a solo that flies around the range of the bass, followed by Jordan VanHemert’s blazing improvisation accompanied only by Andy Wheelock’s energetic drumming to emphasize the sound of one voice heard over the crowd of opposition. The wave of sound crashes into the final statement, giving listeners a succinct moment of activism meeting artistry.

*An excerpt from a full review publishing with the album release in 2021

You Are The Light - Jamie Brackman (Album Review)

As the Grand Rapids music scene continues to change and adapt with the development of the city, songwriters within its boundaries will continue to tell their stories. Whether it’s solely focused on the region or reflective of the global population, there are musicians eager to communicate their thoughts and emotions with audiences hungry for authentic experiences in a sea of targeted Facebook ad campaigns and Amazon trying to sell you a dishware set because you used dish soap too close to your Alexa. Cut to Jamie Brackman, an artist whose travels have landed him in Grand Rapids and who immediately injected himself in the scene through the Founders Open Mic on Tuesdays (where I first met him). Within the Grand Rapids area, West Virginia, and Pennsylvania, he has performed with many different artists and projects, pairing his experiences on the road with the passionate drive to collaborate with those he meets. He recently released his debut, self-produced album, You Are The Light, to tell tales of love, community, and even sprinkling in observations about the world around him, from the concerned to the inspired.

The album kicks off with “Killing Time,” where Jamie articulates that feeling of knowing you’re on a journey and moving forward, but in this moment you feel like you’re just killing time while trying to figure out the next step. It features drums and a shredding guitar solo from frequent collaborator Jared Tuitel, who can pull out staples from the guitar legend catalog on a whim like “Cliffs of Dover” (Eric Johnson) and “Glasgow Kiss” (John Petrucci). “Lying Tongue” slows things down slightly, describing the emotional exhaustion that comes from trying to find love in a new companion and realizing their sweet words are toxic and the love they receive is not then returned. However, “Wicked Ways” then flips the perspective, where Jamie sings of someone wanting love but knowing they have to get over his “wicked ways” and acknowledge that there are issues to address. “Love You and Leave You” feels like a resolution to these two previous songs, where Jamie and guest vocalist Amy Love sing about not wanting a relationship to feel so fleeting. Each verse is sung by a different singer too to help emphasize each perspective. “Waiting on a Friend to Call” has an emotional vocal delivery from Jamie while the band remains consistent in its expression, as if the instrumentation was the feeling of waiting and his words were breaking through the fog. Probably my favorite track on this record is “Little One,” as it’s an intimate duo with light instrumentation that has a nostalgic quality to it. The lyrics reassure a little one that “you are not alone,” which brought back memories of parents, teachers, and friends all reminding me that during difficult points in life that I have folks who care about me. The instrument heard is a mini 12-string guitar travel guitar, which adds just the right acoustic character to the mood of the tune. Amy returns for guest vocals alongside Julia Janowski. After nestling in the warmth of this homely tune, “My Home” and “The Mountain” speak to education through observation about the American landscape, detailing problems in different regions and highlighting the severity of the environmental impacts of so many corporate business decisions. On “My Home,” we hear area composer Joshua Kohns contributing some wonderful tenor guitar and on “The Mountain” we hear some wonderful native flute and synth sounds from Keith Molyneaux (Living Artisan).  The final three tracks pierce the darkness of the previous tunes with some distinct, catchy songwriting. “You Are The Light” focuses on someone who literally can brighten another person’s day by walking into a room, resolving all of the relationship turmoil earlier on the record. Amy and Julia lend their voices to the narrative and Jared returns to play drums. “Beginning of the End” builds into an energetic rock tune with the positive outlook that in spite of all of the problems, it is the beginning of the end to those issues. Julia joins in this chorus of positivity while Stephen Nichelson makes an appearance on drums this time around.  And finally, “Veins” ties everything together, with Jamie declaring that he “does this shit cuz it’s in my veins” alongside Julia and Joshua for one last time.

With You Are The Light, Jamie Brackman makes it clear where he stands on a variety of subjects. Love can lead to lies and heartbreak, but there is always that one person who can instantly brighten up your life again and lead to better times. America is full of great people and places, but is marred by the history of mistreatment of its people and environments. Recognizing that there are problems is the first and healthiest step to taking action, and the album’s title presents a call to action: YOU are the light! Keep an eye out for this artist as he pops up around Michigan, black acoustic guitar in hand, and be open to engaging his warm, friendly spirited colored by his travels and experiences.

Album Credits:
Jamie Brackman - Songwriter, Guitars, Vocals
Jared Tuitel - Lead Guitar (Track 1) and Drums (Tracks 1 & 9)
Amy Love - Vocals (Tracks 4, 6, & 9)
Julia Janowski - Vocals (Tracks 6 & 9-11)
Joshua Kohns - Tenor Guitar (Track 7) and Lead Guitar (Track 11)
Keith Molyneaux - Native Flute & Synth (Track 8)
Stephen Nichelson - Drums (Track 10)

Produced by Jamie Brackman at Stoney Mountain Studios
Additional Mixing by Jared Tuitel
Additional Production by Joshua Kohns

Support Jamie Brackman:
Website: https://jamiebrackman.com/
Facebook: https://www.facebook.com/jamiebrackmanmusic
Instagram: https://www.instagram.com/jamiebrackman/
YouTube: https://www.youtube.com/user/brackmanjm
Bandcamp: https://jamiebrackman.bandcamp.com/
Spotify: https://open.spotify.com/artist/1clTmUHymXwmlVb6GcrfR2?si=_TLyK89RROGDiIAuQ_WQRA

Heaven - Sarena Rae (Album Review)

Sarena Rae is a gem of a singer and performer, someone who I’ve gotten to know over the past couple of years through events with BlueWater Kings, where she is involved as a singer and emcee on events, and through various projects, like the West Michigan cover of “The Chain” that was tracked at Third Coast Recording Company in Grand Haven and performed live at The Jammies XXI earlier this year. She is a kind-hearted spirit that loves to interact with others on and off stage, sharing her vocal prowess and life story with every performance. For 2020, she has brought together some of the area’s finest musicians to realize her first EP, Heaven, to tell her story through three distinct, powerful arrangements.

Right away, the album starts to groove with “Caught in Between,” a song that lets you sink into a soulful backbeat while hearing Sarena explain living life between two worlds as a biracial individual. As a biracial man myself, I can empathize with her lyricism when she explains how she feels compelled to bridge the social gap between white and black friends and feeling pulled between two identities that American media depicts as “cultural norms” for different race groups. There is a section in the music that adds wonderful tension, shifting to a more active harmonic progression that abandons the expectations set in the beginning of the tune, almost mimicking the struggle depicted in the words. Terrence Massey (trumpet), Caleb Elzinga (tenor sax), and Aaron Hettinga (trombone) provide some great horns in this moment, punctuating the change in mood with their horn stabs. All the while, Robert Pace (bass), Joe Hettinga (keys/engineering), Kevin Kozel (guitar), and Scott Pellegrom (drums) hold down the groove with expertise and ease, showing their strengths as studio musicians. On “Fatherless,” Sarena opens up about her childhood, navigating life in a single parent household and wondering what she could have done to drive her father away. Rather than leaning into the sadness by reflecting it in the accompaniment, the tune is set to a Motown-style ballad in a major key, as if to musically reassure the listener that she has learned to reconcile these past transgressions in her home life and move forward with a renewed sense of self and who can reciprocate her unconditional love. Throughout this tune, we also hear supporting vocals from Avalon Cutts-Jones, Clarence Xavier, Taurean Pruitt, three individuals who work effortlessly together, blending the strength of their background in live performance and a gospel upbringing. Finally, we hear some beautiful choral arrangements washed in reverb on the title track, “Heaven.” The way this track is engineered in particular yields a spacious, warm environment for the chorus of Sarenas to inhabit as a message of faith and healing is delivered. What is especially wonderful about this track is that it keeps the vocals as the focal point, only adding in piano and tambourine to make great use of space and subtle markers within the song’s overall progression. It is a wonderful ending to three distinct experiences on this EP.

If Heaven is the first time you’ll be hearing Sarena Rae sing, then you are in for a wonderful experience. She’s open to sharing her life’s story with the listener through different, memorable song arrangements on her debut release, which is a bold step for any artist to take. The support from the Michigan music community is apparent in those she interacts with off-stage and the roster of artists included on this record, from gospel music singers to jazz horn players. She is also spreading her joyful attitude and love for others in the different side-ventures she explores as well, from modeling sportswear to mentoring students to educating college boards on issues focused on race. Sarena Rae is definitely poised to make an impression on the greater Michigan community with her talents and passionate drive, so dive into this EP, follow her exploits online, and keep an eye out for when she rolls into town with a talented band of musicians in tow to support her powerful voice!

Album Credits:
Terrance Massey - Trumpet
Caleb Elzinga - Tenor Sax
Aaron Hettinga - Trombone
Robert Pace - Bass
Joe Hettinga - Keys
Kevin Kozel - Guitar
Scott Pellegrom - Drums

Supporting Vocalists on “Fatherless” and “Caught In Between”:
Avalon Cutts-Jones
Clarence Xavier
Taurean Pruitt

Engineered by Joe Hettinga at Third Coast Recording Company

Follow Sarena Rae:
Listen to the album: https://sarenarae.hearnow.com/
Facebook: https://www.facebook.com/sarena.chandler
Instagram: https://www.instagram.com/sarenaraemusic/
Twitter: https://twitter.com/sarenarae7
YouTube: https://www.youtube.com/channel/UChv1Z-rr0GkE-qTyGaZxheg 
Spotify: https://open.spotify.com/artist/4jIbYLmJt0P12tl6DtAz25?si=9xxEDM2PRSGIZ_1FgChqJQ
iTunes: https://itunes.apple.com/us/artist/sarena-rae/id593129399?ign-mpt=uo%3D4 

Reckless - Deerfield Run (Album Review)

Deerfield Run is a Grand Rapids-based blues rock band that sprinkles in a bit of country flare for an infectious blend of music and storytelling. I first heard of them through their bandleader’s appearances at the Founders Taproom Open Mic sessions on Tuesdays, where I was treated to his great voice and lyricism paired with a kind, warm-hearted personality. Bandleader/Guitarist/Songwriter Alex Austin is joined on full band concerts by the talents of Justin Dore (Big Dudee Roo) on guitar, Matt Kuczynski (The Car Boys) on bass, and Mike Kanoza on drums. Over the past few years, they have built a following in West Michigan through various live shows with artists like The Barbarossa Brothers, Nicholas James and The Bandwagon, and Seth Bernard while winning over audiences with their songwriting, musicianship as a band, and honesty in showcasing their craft.

With their latest release, Reckless, the band shares tales of love and heartbreak, from old flings that have lingering emotions to new love that turns the page and writes a new chapter in that person’s story. The record kicks off with a spirited tune, “Out of the Blue,” that tells of a man walking away from love in an unexpected manner in a classic rock style, complete with driving organ, some interacting lead guitar lines and solos from Alex Austin, and guest vocals from Dan Rickabus (The Crane Wives) and Nate Wagner (Big Dudee Roo). “Denver” slides in some country, taking the listener on a cross-country road trip to Denver where a couple takes a chance on new love, both putting it all on the line in the hopes that their journey is just beginning when they reach their destination. There are some wonderful guest vocals from Emilee Petersmark (The Crane Wives) that allow for each character in the story to be voiced by a different singer. Guitar and xylophone (provided by Dan Rickabus) are paired in a distinct melodic moment, and the tune has a very catchy hook for the chorus that stays with you long after you’ve listened that almost feels like a Blues Traveler song. The title track, “Reckless,” tells a tale of youthful recklessness while trying to find love in a small town until a new love changes his life for the better. There is a great songwriting moment when the song shifts mood and energy around the word “changed,” adding some weight to the lyricism in the storytelling. Emilee returns for another wonderful guest vocal contribution and Justin Dore rips a solid guitar solo.

“Grafton” is the name of a small town that a heartbroken lover escaped to (maybe even from the last song), and he writes letters to his former sweetheart while trying to fight the feelings he still has for her. The lyrics show that no matter how far away you might physically get from an old love or life, the emotions and memories will close that gap in an instant. Justin Dore provides another great solo and Justin Wierenga (Michigan multi-instrumentalist) layers some warm pedal steel lines overtop.  “Do I Know You?” drives forward with a sound that is reminiscent of a band like Heart, pairing some Spanish flare to the song’s country-flavored rock and featuring a slide guitar solo from Alex Austin alongside percussion from Dan and vocals from Emilee. Our heartbroken lover has now found some new folks in a crowded bar in a new city, asking so many questions to try and navigate these feelings of heartache around so many new faces he can’t fall for yet. “Gypsy Sun” dips again into the Blues Traveler vibe with Alex’s vocal characteristics and range, sounding like John Popper in his higher register and with some of his phrasing. Wierenga returns for some great pedal steel work, weaving melodies around the lyricism. Now in the story, this scorned lover feels his heart wandering, never settling down and always looking to move with the rising of the sun. “Too High A Price” yields a nice compliment to the previous song with a more somber mood, emphasizing the heartbreak that is felt at the lowest point in the narrative. Justin Dore’s solo on this tune is layered with some tasty guitar tones, especially leading up the emotional high point at the end, and Emilee once again shows her vocal skills. “Break A Good Habit” has such a great vibe, highlighting that feeling of letting go and having a night free of burden and full drinks. Life batters you with so many emotions and asks that you remain intact, so to have a night to indulge and let loose, emphasized in this song, can be a healing experience. Alex provides a wonderful guitar solo on this track as well. “Weight On Me” feels like those moments on a long, late-night drive where you’re just left with your own thoughts, with dreamy textures on the verses and a build-up moment that includes an “alarm” sound that adds some beautiful tension, or weight, leading up to a climactic release. Finally, “Wheels” starts off with a lush chorus of singers provided by Alex and Dan, warm and understated against the main vocal starting the narrative. When these lyrics “hit the road,” the band gets moving and more upbeat, growing in presence until the final guitar solos interact with Emilee’s vocal expressions and end the record on such a strong high note.

With every tune on Reckless, you get a window into what makes Deerfield Run such a compelling Michigan band to experience. There’s an honesty to the storytelling, detailing love that’s often messier and more nuanced than what you can express on a Hallmark card. Each track places you in various settings with strong lyrical imagery set against solid instrumental accompaniments. The rock’n’roll flare blended with the heart of some down-home country makes for some great musicianship on display, and the guests chosen on this record fit perfectly with the group’s already tight sound. Alex Austin proves that he is such an effortless songwriter, storyteller, and bandleader with every word and note on this album. Keep an eye out for this group once things open up for shows more frequently, there’s no doubt they’ll be keeping busy and connecting with audiences around Michigan again very soon.

Follow the band:
Website: https://artistecard.com/DeerfieldRun
Facebook: https://www.facebook.com/deerfieldrunband
Instagram: https://www.instagram.com/deerfieldrunband/
YouTube: https://www.youtube.com/channel/UCPABlnlscGiNBJUM3HAexqw
Spotify: https://sptfy.com/5bZt
iTunes: https://itunes.apple.com/us/artist/deerfield-run/1296666386?ign-gact=1

Album Credits:
Alex Austin - Guitar, Vocals, Songwriter 
Justin Dore - Lead Guitar
Matt Kuczynski - Bass
Mike Kanoza - Drums

Guest Artists:
Emilee Petersmark - Vocals (Track 2-4, 6 and 10)
Dan Rickabus - Vocals (Tracks 1, 10) and Percussion (Tracks 3, 9)
Justin Wierenga - Pedal Steel (Track 4, 5-7)
Nate Wagner - Vocals (Track 1)

Ben Zito - Recording, Mixing, and Producing at Centennial Sound
Samuel Peters - Mastering at La Luna Recording & Sound

All Figured Out - Derek Brown and The Holland Concert Jazz Orchestra (Album Review)

Derek Brown is no stranger to innovation on the tenor saxophone. Already a recognized, proficient player, he took the “slap-tonguing” saxophone technique to new levels of virtuosity with his “beatbox sax” style of percussive playing. Combine this with circular breathing and an expansive vocabulary on the instrument, and he has no limit to the length of tunes he can play or the variety of ideas he can articulate as a solo artist. His talents for arranging around this multi-layered performing approach have been critically acclaimed by outlets like NPR’s Weekend Edition, Jazziz Magazine, and Downbeat Magazine, and his videos all across the internet have received millions of views to compliment his Billboard charting status as a professional creative.

For 2020, Derek Brown has returned to his Alma mater, Hope College, to continue his inventive work, further expanding on his beatboxing saxophone style through new compositions arranged for large ensembles for his upcoming third release, All Figured Out. He takes time to arrange, chart, rehearse, and record a live, in-studio concert with a host of musicians that make up the Holland Concert Jazz Orchestra, a group directed by Dr. Jordan VanHemert, a current professor at Hope College who also works with the Hope College Jazz Arts Collective. There are also members of the Holland College Orchestra and the Brazilian Drumming Ensemble, adding a variety of sounds and textures to Derek’s compositional tool set. There a host of talented artists that are easy to recognize, from established band directors like trombonist Mark Wells (East Grand Rapids High School Band Director, Big Band Nouveau, Grand Rapids Jazz Orchestra) to respected young professionals like drummer Madison George (WMU Jazz student, multiple award-winning group Lushh, Earth Radio) and organist Clif Metcalf (Hammond endorsed artist and current Hope College student). With such a clear level of experience between all of the ensemble participants, Derek crafts an exciting variety of tunes to take his solo act into the “featured soloist” territory of artistry.

Right away, the album opens up with “Prelude,” a lush expression of different sounds that highlight the instruments you’ll hear on the record while also introducing you to Derek’s strong presence as a band leader and personality as a performer. “Human Error” is the first, full composition on the record, centering on some strong saxophone work flowing around a syncopated bassline. The tune features solos from Derek, guitarist Lee Heerspink, and Madison George before ending on a high note that pushes towards the next track. “Again” feels like thematic material pulled straight from a 70’s sitcom, grooving with such an upbeat flare that is just begging for TV syndication. Alto saxophonist Dr. Jordan VanHemert weaves in and out of rhythmic and melodic ideas sourced from the bebop jazz lexicon, pacing his ideas to great effect with his use of chromaticism and melodic phrasing outside of the tonal center. Derek Brown takes full advantage of the his skill sets on the saxophone, from flowing bebop jazz lines to squealing high notes to percussive slap-tonguing expressions, all with the infectious confidence to elevate the ensemble.  “A Simple Gesture” shifts things into a fun, spirited half-time groove that kicks off with a beatbox sax solo from Derek to enthusiastic applause from the in-studio audience. His musicianship and phrasing shine on this number, and the songwriting makes great use of space and rhythm in how the ensemble accompanies each soloist. Mark Wells starts through a bluesy solo with powerful low brass flare, followed by Derek’s solo highlighting his virtuosity behind the range and articulation of his instrument, and wrapping up with pianist Andrew DePree, who sits comfortably in the pocket while throwing out some bluesy licks, perfectly compliment Derek’s more active soloing. These moments make for a wonderful demonstration of the Michigan talents sourced for this record. 

“Vantage Point” is a tune that plays around with the compositional idea of passing harmonic and melodic material between the different ensemble sections. From this initial idea, the tune then opens up to some soulful organ playing and solo trading between Clif Metcalf and Derek. There are a couple wonderful moments where only a few instruments are left playing and the rest of the ensemble is clapping, allowing a shift in the dynamics, textures, and providing a softer starting point to then grow into the climax of the tune. The title-track, “All Figured Out,” shows Derek’s singing abilities, speaking to that constant pressure in society to be all-knowing, when in reality everyone is still learning and growing. Clif Metcalf returns for a solo, showing his phrasing chops with some choice blues licks and gritty chordal work. There is also the addition of a lyrical, bluesy solo from alto saxophonist Tim Grieme, who studied jazz in West Michigan with Dr. Jordan VanHemert, currently attends GVSU and is a member of the In The Blue Jazz Ensemble. Derek’s solo in particular plays off of the arrangement well, setting up some trumpet hits with his percussive slap-tonguing on one of his passes. “The Pursuit” feels like speeding down the Autobahn until your car takes flight to the skies, with rich ensemble textures soaring to powerful high points that include some wonderful string layers from the Holland Concert Orchestra. The “break-in-the-clouds” moment definitely appears when the tune opens up for interacting saxophones solos between Derek and tenor saxophonist Caleb Elzinga (GrooveGround Music, Blushing Monk), who is a recognized live and studio saxophone musician and has been a regular collaborator with Derek since Derek moved back to West Michigan. Derek lays down a beatbox accompaniment for Caleb to soar over, showcasing his ability to keep the momentum in his solo ideas while trading lick for lick with Derek’s fluid motion. Right before the end, Madison George sneaks in an energetic solo that plays off of the rhythmic backbeat of the accompaniment before driving the ensemble home to the end of the piece. 

“Hoping for The Best” further elevates that feeling of joy that permeates this entire album, expressing a delight in making music with so many individuals and hoping for everyone’s mutual success along the way. Derek’s soloing throughout plays around with developing his slap-tonguing ideas alongside the bass line while also cutting through the accompaniment with fast-paced melodies and powerful high notes. The album ends with “The Good Fight,” a tune that features The Brazilian Drumming Ensemble at Hope College in some key spots, both as a standalone group and within the full ensemble. This arrangement features a lot of what makes this album so great to listen to: interlocking rhythmic ideas, an ebb and flow to the how layers and textures get introduced and when they disappear or evolve, exploring other sounds and genres (when it abandons a mixed meter accompaniment for a bluegrass-style pulse), and involving so many different instrument sounds and genres. The track ends with Derek’s final sax note soaring into the stratosphere, offering one final expression to an album packed full of wonderful listening experiences.

Derek Brown really outdid himself with All Figured Out. To take something so inventive and place it within a larger ensemble context really showcases his ability as a performer, arranger and composer. Whether it’s playing rhythmically with “beatbox sax” vocabulary, gliding across the jazz history books with his bebop language, or effortlessly expressing musical ideas alongside so many great Michigan collaborators, Derek has shown his ability to take his playing prowess and writing skills into new avenues. It’s an intersection of fleshing out a technique into concrete compositional ideas, involving a community around his Alma mater to emphasize his education and roots on the instrument, and crafting memorable moments for performers and listeners alike on every tune.. This is a new staple in the modern big band catalog and deserves all of the attention and programming!

Album Liner Notes:
All songs composed/arranged by Derek Brown and performed by the Holland Concert Jazz Orchestra unless noted:  

1. Prelude  
- Featuring members of the Hope College Orchestra  
2. Human Error  
- Solos: Derek Brown, Madison George  
3. Again  
- Solos: Jordan VanHemert, Derek Brown  
4. A Simple Gesture  
- Solos: Mark Wells, Derek Brown, Andrew DePree  
5. Vantage Point  
- Solos: Derek Brown and Clif Metcalf  
6. All Figured Out  
- Vocals/Lyrics: Derek Brown. Solos: Tim Grieme, Clif Metcalf, Derek Brown  
7. The Pursuit  
- With members of the Hope College Orchestra. Solos: Derek Brown and Caleb Elzinga, Madison George  
8. Hoping for the Best  
- Solos: Derek Brown  
9. The Good Fight  
- Featuring the Hope College Jazz Arts Collective and Brazilian Drumming Ensemble. Solos: Derek Brown  

The Holland Concert Jazz Orchestra 
Director-Jordan VanHemert  

Alto 1- Tim Grieme ; Alto 2- Charlie Jordan; Tenor 1- Bill Bier/Tommy Pancy; Tenor 2- Caleb Elzinga ; Bari- Mike Hamann.     
Trumpet 1- Shawn Nichols; Trumpet 2- Austin Hunt; Trumpet 3- Keith Walker; Trumpet 4- Rick Holland.     
Trombone 1- Mark Wells; Trombone 2- Aaron Hettinga; Trombone 3- Logan Vanderlaan; Bass Trombone- Adam Graham.   
Guitar- Lee Heerspink; Hammond Organ- Clif Metcalf; Piano- Andrew DePree; Bass- Liam Coussens; Drums- Madison George  

The Hope College Jazz Arts Collective  
Alto Sax- Houston Patton; Tenor Sax- Elijah Maxwell; Bari Sax- Patrick McGeehan; Trumpet- Daniel Wade; Trumpet- Will Zywicki; Piano- Leah Reinardy; Bass- Clif Metcalf; Drums- Carlos Flores  

Members of the Hope College Orchestra  
Violin I- Anna Janowski; Violin II- Lian Robinson; Viola- Abigail Finnegan; Cello- Elizabeth Bachwich  

Hope College Brazilian Drumming Ensemble  
Director- Dr. Christopher Fashun  
Anna Janowski, Lian Robinson, Elizabeth Bachwich, Ryan DeWitt, Samantha Mattingly, Emma Wayland 

Recorded Feb 21-22, 2020 by Drew Elliot at the Hope College Recording Studio 
Mixed by Drew Elliot  
Mastered by Black Belt Mastering 

Website: https://derekbrownsax.com/
Facebook: https://www.facebook.com/derekbrownsaxophone
Instagram: https://www.instagram.com/beatboxsax/
YouTube: https://www.youtube.com/user/beatboxsax

Derek Brown & The Holland Concert Jazz Orchestra

All Figured Out Album Cover (Click the Image to Pre-Order!)

Check out some of his solo beatbox sax videos below:

Awake - Evan Wouters (Single Review)

Support the Kickstarter for this project!

Multi-instrumentalist and frequent collaborator, Evan Wouters (WOOTS), has returned with a new single from his upcoming album release, a tune called “Awake.” While the production side of the single is similar, with folks at Third Coast Recording Company like Joe Hettinga and Black Ops Studio like Collin Pompey, there are some additional members to the patchwork of collaborators. Now, we see banjo player Michael Bont (Greensky Bluegrass) working with returning collaborators Mark Lavengood and Jack McDonald. For those who thought they understood the full vibe of this project from his first single, “Home,” there is a lot more to how Evan Wouters operates as an artist.

With “Home,” listeners were treated to a relaxed, rock vibe that included a full band with some guest performers. It was a song you could imagine enjoying on a summer evening, beer in hand as you sit on your front porch and take in the sunset. With “Awake,” hear a tune with more of an acoustic, folk/bluegrass/Americana vibe, which is more than fitting for the included talents of Mark Lavengood and Michael Bont. Gone are the drums, with the rhythmic feel coming from the muted picking of the mandolin, banjo, and guitar alongside the thumping of the upright bass. The lyricism points to us as members of a society being told to follow our passions and dreams in spite of a world that can’t seem to agree on what success means. There are featured solos among a steady pulse from the accompanying instruments, moving the song right down the tracks like a train headed for the station.  Evan Wouters’ vocals are on full display, showcasing more of his range and abilities as a singer that sits comfortably even in this genre shift.

“Awake” highlights the fact that Evan Wouters cannot sit within the framework of one presentation. He’s a creator that loves sounds and instrumentation from other genres. He’s a collaborator that wants to find creative ways to work with musicians he respects without it feeling forced. If there is any indication of his versatility as an artist, it would be these two singles back-to-back. This gets me excited as a listener to hear what other stories he has to tell and what ways he wants to tell them, drawing in an audience of storytelling fans that love to hear the many tales someone has to tell.

Single Credits:
Evan Wouters- Arrangements, Composition, Vocals, Lyrics, Guitars, Mixing, Editing
Michael Bont - Banjo (Greensky Bluegrass)
Mark Lavengood - Mandolin, Dobro (solo, Fauxgrass, formerly of Lindsay Lou & The Flatbellys)
Jack McDonald - Upright Bass
Joe Hettinga - Mixing, Editing (Digital Tape Machine/May Erlewine/The Ollam)
Collin Pompey - Mixing, Editing, Mastering (Lazara)

Recorded at Third Coast Recording Mixed and Mastered at Black Ops Audio
Artwork: Jeff Tenenbaum and Evan Wouters

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

Rides Again...For The First Time - Justin Wierenga (Album Review)

Justin Wierenga is a MIchigan multi-instrumentalist that welcomes change and fuses the current with the classic in beautiful ways. It seems like only yesterday that I was reviewing his previous release, Walking Like He Knows Something, for WYCE’s New Music Monday column. That record mixed elements of folk, ambient sounds, and even heavy, rock riffs to showcase his fearless approach to creating music. Now, with the constant acquisition of vintage gear combined with modern aesthetics, Justin Wierenga has released his first self-produced, concept project called Rides Again...For The First Time.

As Wierenga describes it, this album is “a sonic tale based around a steel player in the late 40's that accidentally slips into an alternate dimension on tour. Each track follows his return home.” This structure for a record is right up his alley to deliver something cohesive and unique. The journey begins with “Howdy,” a tune pulled straight out of a Western film that feels like walking into a dusty town, sizing up the folks in the town square. The ending of this tune almost feels like the traveler’s vehicle is speeding off into the distance. This makes for a great transition into “Leaving Town,” where a blend of space-infused guitar and pedal steel harmonics provide colorful textures with jangly, metallic notes in a recurring melody that ties everything together. “Strange Feeling” shows the traveler stopping at a roadside gas station that doesn’t seem quite right, and Wierenga expounds on this idea by using reversing audio effects and increasing tempo shifts. “The Night Drive” introduces what I assume to be the kantele, with new thematic material to compliment the feeling of traveling for long stretches at night. “Cigarette Burn on my 400” slips and slides in the dark until the morning breaks with “Eggs and Coffee,” where the upbeat guitar and major tonality refreshes the traveler’s spirit as they are enjoying a warm breakfast at a roadside diner. “Mountain Pass” reminds me of my travels with Wierenga supporting Mark Lavengood on our Colorado tours, with hypnotic, tapping guitar patterns capturing your attention similar to the beautiful mountains we would see out of the tour van windows. “Flat Tire” abruptly changes the mood with bluesy slide guitar, much like how a flat tire pulls you away from the comforts of traveling. Luckily, those problems were quickly fixed, and the traveler is “Back On The Road,” picking up momentum as he merges back onto the road. This intrepid adventurer runs into “A Strange Light,” indicated by the swelling rumble of the pedal steel through different effects pedals. Aliens are heard in “This Is How We Communicate,” with lap steel string harmonics and fluttery picking sounds floating around the occasional bass line that bridges the disparate sounds (almost like reaching common ground in a conversation). Once the two entities come to an agreement, or “Understanding,” the time-travelling musician glides through the decades in “Flying By” and excitedly comes home in “The Return.” Once settled, the traveler slaps some bass to get the party started in “Back Home,” but also carves out some time for “Reflection” (quiet moments on the pedal steel) before returning to the stage in their proper timeline in “Live Again.”

It’s always refreshing to hear an artist enjoying the process of creating new art, and as a friend of Justin Wierenga I can hear the delight in exploring different sounds and textures within this concept record. He has been a faithful sideman to many, and to hear that same level of versatility and care put into his own music is always motivating and refreshing. If you’re down for a sonic narrative that blends the traditional elements of Country Western with inventive implementation, this album serves that in spades. If you’re curious about the type of equipment, his Instagram page is a great source for gear demos around his playing!

Album credits:
Justin Wierenga - Guitar, Bass, Drums, Kantele, Pedal Steel Guitar, Dobro, Mandolin, Producer, Composer, Engineer, Mixing

Anthony Emery - Mixing and Mastering, Cover Photo

Website: https://justinwierenga.weebly.com/
Facebook: https://www.facebook.com/justinwierenga/
Instagram: https://www.instagram.com/justinlwierengamusic/
Spotify: https://open.spotify.com/artist/5gRNa9Hfuq1w4BNpdbZzyN
Bandcamp: https://justinwierenga1.bandcamp.com/

Kairos - Brother Gabe (Album Review)

Gabriel Green, aka Brother Gabe, is an artist born and raised in East Michigan. On his latest album, Kairos, you can hear his work on a variety of instruments, as a singer, lyricist, songwriter/arranger, and a producer, serenading listeners in true R&B/Soul fashion with a collection of songs about love and its many forms. "Happily Ever Now" kicks off the album with some great, positive vibes, describing a new love that makes you want to settle down (not happily ever after, but now!) and includes some great verses by Asaka the Renegade. Then, "Catch the Time (Interlude)" describes the connecting thread for every track on the EP, explaining how "kairos" means "the quality of time," which pairs great with songs about people connecting in passionate love. "Kairos (What is Time?)" hits the listener with a gospel-influenced ballad, complete with a soulful layer of vocals and horns while asking "What is time to a love that's timeless?" To compliment the ballad, the following track grooves hard with "Let Me Say," which layers so many tasty little pieces of ear candy layered above some interacting vocals, begging someone to let him say how much he loves them. The breakdown at the end of this tune is a great moment too, milking that groove even further with some great harmonies. "Crossroads" feels like a 90's ballad taken straight from a Boyz II Men catalog, with a couple asking if they can rebuild trust after one of them has been unfaithful. There are some great lyrics, like "let me throw myself at the mercy of the court of your heart" and "all is fair in love and war except crimes of passion." The final track, "Crazy," ends the record in a celebration of being head-over-heels in love with a girl he reconnected with that he met at a party years ago. It's that tale we all have of running into an old crush, except this version of the story has an insanely catchy chorus with call-and-response backing vocals!

For those of you who love adding a single to a playlist or taking in solid, small album releases you can sing along and groove to, Kairos delivers that in spades. Brother Gabe spends every moment on the record delivering memorable experiences, from interwoven layers of instruments and vocals to infectious hooks that have you singing long after the album stops streaming. For fans of R&B, Soul, Neo-Soul, Jazz, Hip Hop, and Gospel, you'll hear so many familiar sounds and something new every time you play the record. Brother Gabe strides confidently into the spotlight with this release, showing that whether he's in the band or behind the production, you're guaranteed to hear something well-crafted that feels great!

Facebook: https://www.facebook.com/gabriel.i.green
Twitter: https://twitter.com/GabeGreen_MPS
Instagram: https://www.instagram.com/brother.gabe/
YouTube: https://www.youtube.com/channel/UCjA0KpTiKXs0lN15GQxkdxQ
Spotify: https://open.spotify.com/album/74ejj5bYe0Y4yQQegCKv46
Apple Music: https://music.apple.com/us/album/kairos-ep/1516863437?uo=4
Tidal: https://tidal.com/browse/album/143686225
Deezer: https://www.deezer.com/us/album/152477622

Let Love Light the Way - Seth Bernard (Album Review)

Seth Bernard is a household name in Michigan for many wonderful reasons. As an artist, he has built a reputation for honest music-making driven by the overwhelming need to spread love, environmental awareness, and progress throughout the land, often joining forces with artists like Dan Rickabus (The Crane Wives), Jordan Hamilton (Last Gasp Collective), and empowering others to spread their artistic messages through the creation of the Earthwork Music Collective. As a cultural worker and community organizer, he created the Earthwork Harvest Gathering, a Michigan-favorite among the dozens and a truly inviting space for all music-lovers to enjoy and perform on the Earthworks Farm. As an activist, he created Title Track, a non-profit organization that focuses on “engaging creative practice to build resilient social-ecological systems that support clean water, racial equity, and youth empowerment.” All of these things combine to make up Seth Bernard’s passionate creative process, distilling his hope in the world and calling others to join in celebration of what we can achieve as a community. His music is an honest reflection of his life and opinions, and those emotions are front-and-center in his new release, Let Love Light the Way.

Right away, the album kicks off with “Keep Waking Up,” an uplifting song that greets the morning with a love that motivates you through the day. The title track follows, extending a hand to those who seek to better the world now that we’re all allowed to roam more freely. “One Song” emphasizes community, a place to rest and know you’re surrounded by people you can support and feel supported by in your journey. “Sandman’s Dust” focuses on “sweepin’ up the Sandman’s Dust / makin’ heavy dreams that won’t blow away,” offering encouragement to trust those around you to achieve even your loftiest goals. With “Who You Are,” there is a strong emphasis on seeking time for others and building them up, even in the current state of the world that demands all of our time and energy. As if to compliment this song, the following tune, “First Snow,” paints a scene of the vivid colors, changing of the seasons, and when folks are starting to slow down and really cozy up with one another. “White Pine” pairs the metaphor of a tree, starting small and growing tall, with recognizing someone valued in a community, looking to them for shelter in the storm we “find our hearts in.” The most upbeat tune on the record, “All This Time,” fuels the fire within to really examine how and what we spend our time, since we can’t “take our best shot” when we’ve passed on and there’s so much we can do with our time. Again, fitting almost into a narrative, “People Rise Up” rides this motivating wave to give a call-to-action to the people of the world, knowing we can do things together as one people. As if to sum up the whole album and everything that resonates so strongly with Seth Bernard’s personality and drive, the tune “2020 Vision (Big Love)” centers on love countering the many ills of this world, even being grateful to live through these times of progress. To close the record, “When You Leave Home” gives one last bit of wisdom as we all leave our homes, looking to the positives of the future and leaving the listener feeling supported by Seth’s honesty in his mission.

If you couldn’t tell, Seth Bernard is a one-of-a-kind human, radiating love and light in every stroke of the guitar and lyric put to melody. This album, born from a time of great stress for many, gives a pathway towards feeling empathy for your fellow man, encouragement to take positives steps in your journey, and solace in the fact that there is a community around you eager for you to succeed. You feel the integrity in his speech, the warmth in his kindness, and the resolve in his pursuit of a better world that seeks to better the environment and one-another. Sink into this album, it is guaranteed to put you in better spirits and motivate your journey.

Website: http://www.samuelsethbernard.com/
Facebook: https://www.facebook.com/eggsbernard
Twitter: https://twitter.com/EggsBernard
Instagram: https://www.instagram.com/samuelsethbernard
YouTube: https://www.youtube.com/user/EarthworkMusic
Spotify: https://open.spotify.com/artist/2j44KrGNbCbIF77MafUOPi
Patreon: https://www.patreon.com/sethbernard
Bandcamp: https://sethbernard.bandcamp.com/album/let-love-light-the-way
Soundcloud: https://soundcloud.com/sethbernard

Earthwork Music: https://earthworkmusic.com/
Title Track: https://titletrackmichigan.org/

Album Credits:

Martin, Kalamazoo, Harmony, Gretsch, and Epiphone acoustic guitars, Fender bullet bass guitar, Airline lap steel guitar, Harmony tenor guitar, Harmony mandolin, Fender Rhodes, Porto Organ, Casio SK1, Yamaha R -15, Yamaha PSS-190

Played, recorded, and mixed by Samuel Seth Bernard at home in quarantine March-May 2020

Mastered by Ian Gorman at La Luna Recording and Sound

Cover art and graphic design by Will Thomas

Another Bulb Burned Out - Bedroom Ceilings (Album Review)

Since 2017, Bedroom Ceilings has been a group centered around the indie rock sounds crafted by Dean Chittenden and Ben Steer. With this new release, Another Bulb Burned Out, there are many new elements at play for the project. The concept for this record focuses on the “listener twiddling with their radio dial, flipping through channels, wondering why experiences pass by so quickly.” Part of this collaboration comes from his relationships with the crew at La Luna Recording & Sound, where the engineering team has the previous experience of working with him. Another key component is the ever expanding arsenal of performing artists at Dean and Ben’s disposal, who all have strong voices on their respective, contributing instruments. The culmination of these efforts over two years has resulted in this wonderful album, a group effort around an interesting, layered narrative for a concept album. Part of this review will be personal thoughts around the songs, but I will also intersperse Dean’s own words on the project.

First of all, the sound on this album is described as “genre fluid,” keeping things open to different sounds and sonorities in the instrumentation and song structures around the lyrics. They describe the sound as strongly influenced by artists like Bright Eyes, Margot & The Nuclear So And So’s, and King Krule while also including a broader range of instruments than previous albums with grand piano, upright bass, trumpet, flugelhorn, and lap steel. When I read this, I think of the sounds from these artists expressed within the Bedroom Ceilings project while also enhancing their writing textures through the expanded ensemble. Already, we have an interesting concept that could have simply been the sole focus of the session, and to have a narrative thread makes the organization that much stronger within the finished product.

Dean describes the main character as “stuck in a difficult mental state, and feels undeserving of success. Life has deceived him by making him believe that happiness is a deus ex machina.” So throughout, there are moments detailing depression where happiness is this last minute interjection, seemingly unavailable until the last possible second. The record starts off with “Spotlight Station,” a patchwork of audio recordings with a piano track playing underneath that sounds like someone cycling through conversations and life moments on a radio. It then moves into “Well-Designed Robot,” which sounds at first like a demo where the songwriting is walking the band through the song with little interjections from the other band members.  It then moves to the full band, introducing the first concept of “failure and frustration in the lyrics ‘another bulb burned out, the light escaped as quick as that second.’” The shifting tempos almost sounds like the main character snapping into feigned happiness, a function that has been hardwired into how he presents himself in spite of the underlying emotions.  Then, with the tune “Grace is Articulate” we hear Jake Kalmink on lap steal as Dean tells the story of a simpler time in childhood, where his grey world was colored by Grace’s imaginative drawings. The first released single from the record, “Spring Grass,” shows that “our character begins to make positive changes and break the cycle, no matter how dejected and depressed he might feel.” The emotional state of the protagonist is further emphasized in the track “Journal: A Dream,” where the pairing of vivid imagery in nature also parallels his emotional states (i.e snowflakes taste like freedom, blood moon push and pull the tides my heart mimics the motion).

There is a shift in the narrative on the track “Time Traveler,” as “he is bitter about the mold that society imposes, but has finally achieved control of his life - and now wishes to share it with others.” The lyrics in this tune have the vivid imagery of how confusing it must feel to travel from the past to now and see tiny screens dictating our interactions, emotions, and chunks of our culture. Through hard work, seeking love and humanity in his surroundings, the main character’s triumph is felt in “Clairvoyance is Never Simple,” describing the stark contrasts between his own ability to feel love and value within himself while trying to extend that self-love to someone else who still sees themself as a “seashell” while surrounding by a beautiful beach. Then, there is acceptance and peace found in the “Une Sortie D’urgence,” understanding that it’s easier for some to embrace the cold, unfeeling nature as “it’s safety in my fingertips,” and “he concedes that the struggle for balance and intimacy will last a lifetime.” (Bedroom Ceilings Bandcamp Page)

This album was a surprise to me beyond the simple fact that I don’t typically know what I get when presented with the “Indie” music labeling. As someone who dabbles in writing in a “genre-fluid” style, there are definitely less restrictions on how things should sound or songs should be structured. Still, there is a cohesion between the compositions that are shaped by the narrative, a poetic web of emotional states and relatable circumstances. It’s no wonder why tracks like “Clairvoyance is Never Simple” or “Spring Grass” already have over 15,000 Spotify plays, because there is a clear emphasis on humanity and how we all have our different, yet shared experiences.  It’s a personal journey for many, and Dean does a great job examining his own life and how he can distill it into something impactful.

Facebook: https://www.facebook.com/bedroomceilings
Instagram: https://www.instagram.com/bedroomceilings/
Twitter: https://twitter.com/bedroomceilings
Bandcamp: https://bedroomceilings.bandcamp.com/album/another-bulb-burned-out
Spotify: https://open.spotify.com/artist/0OmooGfDBBU2Gj3QqCeoiX

Album Credits:
Alex Tobin - Lead engineer/ Producer
Nick Pasquino - Co-engineer/ Uncle Franc
Ian Gorman at La Luna Recording & Sound - Mastering/ Venue

Alec Klinefelter (Patty PerShayla & The Mayhaps) - Drums/ Percussion/ Group vocals
Eric John Boyea (Funkle Jesse) - Lead guitar/ Tear-jerking solos
Koty Schoenberg (Conrad Shock + The Noise) - Bass on "Journal Entry: A Dream"
Jake Kalmink (Further Closer, The Stooge) - Wailing Lap steel on the softies
Drew Mayhew - Upright Bass on the softies
Brandino Proch (The Brandino Extravaganza) - Drums on "Journal Entry, Clairvoyance"
Sam Kenny (Emma Loo & Sam) - Trumpet/ Flugelhorn on "Spring Grass"/ Best attitude
Maggie Heeren - Co-engineer/ Harmonies on "Grace is Articulate"

Midwestern Swing - Hayes Griffin (Album Review)

Hayes Griffin is a talented Michigan artist that I personally got to know through being involved with WYCE as a contributing writer and from visits to play for Local Spins segments at the same station, where he was station manager at the time. That being said (for full transparencies sake), I kept hearing from so many of my fellow colleagues that I had to check out Hayes’ duo project with folk educator/virtuoso Nate Roberts, and upon listening to their album, Unadorned and Commonplace, I was treated to some wonderful musicianship in some great tunes. I then come to find out that he’s an educator, runs his own publishing and education platform, studied contemporary improvisation at New England Conservatory (a school I almost went to for my Masters), and has toured with artists like April Verch (fiddle virtuoso) and NewTown around the country. His background is in jazz as much as it is in bluegrass, so you know he knows his way up and down all kinds of stringed guitar instruments. My interest in Hayes’ work on his upcoming solo debut is at its peak, which is why I’m happy to have been given an advanced copy to check out. Hayes Griffin captures the iconic Western Swing style and merges it with his Midwestern sound for a new listening experience.

This album is put together like a great set, full of high and low points, a great use of instrumentation with the key guest performers, and a careful attention to giving the listener room to breath and relax in between upbeat tracks. “Cruel Love” kicks things off with an upbeat Texas swing tune, juxtaposing a cheerful sound against the story of being broken up in a relationship. “I Hear You Talkin’” kicks off with a fun intro with harmonized guitar lines, rolling into a lyrically catchy tune that includes a great fiddle feature. “Booger Woogie” rockets forward with some good-ole-down-home chicken pickin’ from Hayes, with winding melodies and some expert guitar work, just in case you forgot “who yer talkin to!” The guitar work continues strong with some great soli lines in “I’ll Be Here Waiting.” For anyone feeling like they’re putting a ton of work into a craft only to not see results, “Losing Tread” captures that feeling in the lyrics. Things slow way down for an instrumental tune called  “Standale Stomp” and then followed by “Blue Is the Way That I Feel,” a sad tune that is colored by slide guitar. “Jazz Me Blues” starts to pick things up, with some fast acoustic and electric guitar licks showcasing Griffin’s varied and honed guitar skills. The following tunes are set up for pick-me-ups after so much blues, with “7.18.15” slowly building overtime to a refreshing ending and “If No News Is Good News” highlighting the benefits of a break from the stresses of the news. The album then closes with an intimate listening experience on “The 11th Hour” with a focus on solo guitar and a final, joyous jam with dual guitars and fiddle sharing the spotlight for the melody on “Dime A Dozen.”

Hayes Griffin’s debut release is filled with wonderful listening moments, and you don’t necessarily have to be a Texas swing super fan to enjoy the record. The emotions range from light-hearted to reflective, from dance numbers to relaxing moments. It’s an album that thinks about all parts of the concept, rather than merely bundling disjointed singles for another round of sales. The musicians he is able to recruit are top level, including Joe Wilson (Steppin' in It, The True Falsettos) on lap steel, Quinn Griffin on vocals, Tim McKay (Fauxgrass) on bass, and Jeffrey Niemeier (Fauxgrass, Saltbreaker) on fiddle. This record feels like living through history, dusting off your boots and pulling up a chair to share in life’s ups and downs, all while dazzling you with stellar musicianship. There is a strong respect for Texas swing, whether it’s a tasteful rendition of classic repertoire or an original tune that blends so seamlessly with the covers. For fans of Hayes Griffin, this will no doubt be a welcome addition to your catalog. For new fans, this is a great album to get familiar with how he works as a skilled performer, arranger, collaborator, and writer. Midwestern Swing is a testament to education, collaboration, and being true to the source material while adding his own personal flare.

Pre-order the record here!

Website: https://www.hayesgriffin.com/
Facebook: https://www.facebook.com/hayesgriffinmusic
Instagram: https://www.instagram.com/hayesgriffin
YouTube: https://www.youtube.com/hayesgriffin
Education/Music Services: https://btlmusicnotes.com/