beachsloth
Beach Sloth
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A playful, humor-based rap rolls through on the MC Type’s “John Wayne Gacy.” Like a standup gone hip-hop, the entire track is chock full of references. The verses cascade, giving it a delirious glee. Even the samples that anchor the sound have that same sense of glee. The production emphasizes the goofy with the shaggy dog tale that emerges throughout, feeling like a call-back to Das Racist’s stoned, bleary-eyed verses. He holds nothing back because the song demands it. After all, he has no filter, and the world is better off for it. Catchy to its core, the music embraces the hook, and he has a poppy quality at a steady pace.
The fanfare that punctuates the atmosphere has a celebratory style from the beginning. Bass rumbles through, helping to tie the whole track and extend this concept of the absurd. Going for a mellow tempo, he gives the piece a sense of muscle by packing every single second with an endless stream of references. Unwilling to simply go for a single approach, he takes shots at literally everyone and everybody. The evolution of the sound is slow and subtle, letting the cyclical meditative aspect feel like a party that’s gone on for hours, and everyone is finally having a great time. He ties it all together for the final stretch, ending the track on a high note.
The MC Type goes for a drunken, hazy sound on the warped, weird sound of “John Wayne Gacy.”
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A powerful song sung out of hope, SHIV goes for an acoustic folk splendor in “Wishing.” This piece is for the meek who shall inherit the earth, from the ramshackle rhythm to the confidently strum guitars. The intimacy of the sound works to the message’s benefit. Words are chosen carefully for maximum impact. In a world full of pain, suffering, and inequality, the piece is a snapshot of this moment while showing what people ideally desire. Melodies have a crispness, and they let the intimacy of the sound feel like they are speaking directly to the listener.
The guitar starts the journey on a subdued note. From this soft open, things start to pile up. Additional detail focuses on this world and all its problems. Optimism rests right at the core of the piece, a cautious one. While there is a sense of despair at what the world embodies at this exact moment, the song grows steadily. Much like an idealized world, a better place, this does not happen in a moment. A degree of hope in the future helps to guide the song along. Percussion has an emotional cadence, nicely dovetailing how the song becomes more confident. With each reiteration of the theme of wishing upon a star, the message shifts from a plea to something more robust, that of a demand, and all of this is conveyed exclusively via tone.
“Wishing” is crystal clear, as SHIV points towards a better world.
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Sirenblue is an exceptional surrealist storyteller with the strength of “Hit Like and Carry On.” Much attention is paid to the lyricism, which feels like stream-of-consciousness poetry mixed with fractured narratives. The arrangements further highlight the completely unusual world that we are living in, with commentary on the debilitating nature of social media and the crippling sadness of that dopamine rush from interaction; it all ties together. Instrumentally, it is wild as they refuse to be pigeonholed.
A whole slew of influences enters Sirenblue’s psychedelic sound. Mercury Rev’s approach can be felt as this dreamy aspect mixed with anxiety feels very in tune with their style. Some of the more esoteric lyricism has the dusty Western twang of the Meat Puppets in their prime, for the songs are incredibly catchy, and the group certainly knows how to sculpt a good hook. With a stylistic variety, the album draws from the warped and disorienting work of Wilco’s “Yankee Hotel Foxtrot.” These reference points add to Sirenblue’s strong, inherently classic sound, though they craft a unique aural universe that feels ideally suited for the zeitgeist.
The shuffling beats and discordant piano open the album with “Out of Here” before they explode with activity. A sprawling track with driving rhythms emerges on the sheer struggle of “Empty.” “Echo Chamber” implores the listener to leave a place where everyone agrees, to break free of being surrounded by yes-men. On the powerful “Live a Lie,” defiance emerges from the atmosphere, as there’s a pining desire to break free finally. Everything comes to a head with the breakup of “Obsolete,” with the song desperately searching for meaning.
The bluesy licks of “Is This It” sound like a long-lost Strokes song, complete with beautiful keyboard work underpinning the message. Propelled at an unreasonable speed is the sorrowful and aptly titled “Lonely.” “At Night” stumbles through a whole slew of different genres, with tempos brought almost to the breaking point. Neon-hued synthesizers on the song's edge help make it one of the album highlights. Reflective to its core is the strange lullaby of “Pieces,” where a meditative quality hovers over the entirety of the track. Everything gets stripped back on the raw intimacy of the spacious elegance of “Maybe.” Effortlessly tying together all that came before, the gorgeous “Follow Your Heart” closes out the album.
Done with dignity, Sirenblue delivers a stately, gorgeous, kaleidoscopic atmosphere with “Hit Like and Carry On.”
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A rage and fury reigns supreme with Electric Peace’s “Shoot Me.” The old-school style has a bluesy gone psychedelic aspect. Instrumentally, they embrace this wild weirdness. Guitar work is fuzzed-out beyond belief, with a distinctive, Chrome-like edge that cuts to the bone. Keyboards wail through, and the drums are beaten almost to death. Word choice reflects an unhinged attitude, no longer wanting to adhere to societal norms. Lots of energy runs through the experience, with the album working best as one pleasing, cohesive whole. They go for a genuinely refreshing misanthropy; there’s no compromise here.
The arena-filling ways of the opener and title track, “Shoot Me,” sets the tone for the rest of the experience. “Prince of Death on the Freeway” has a driving rhythm that underpins the narrative, letting the song careen unpredictably. Economic grooves pulse through the sheer strength of “Motorcyclist Down,” where the track offers many fantastic layers that pop with color. In “Scar for Life,” their vocals take on a haunted quality, allowing the right degree of muscle to anchor the sound. Things slow down on the hallucination of “You Hear Them Coming,” where the song feels like you’ve taken the brown acid and fallen into a nightmare. “Ding Dong the Witch is Dead” has a spirit akin to that of the Doors. Gorgeous vamps soar towards the sky with “Every Night I Pray to God that I Die.” Chugging through and closing the album off is the feral “I’m a Fly - RAW.”
Electric Peace embraces a brutality of sorts on the confrontational chaos of “Shoot Me.”
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A genre-less epic ride through a vast sea of sound, pvkeslvt are faithful navigators charting newfound terrain in “I Will Never Die.” Stylistically, they do whatever they please. Their ability to seemingly jump between different approaches is defiant, almost punk-like in its execution. Deep house, industrial, raves, dub techno, psychedelic rock, they do it all and do it well. Volume is a given, as this is a force of nature to be admired. They go from the early Nine Inch Nails style to the dreamy, surrealist landscapes of the Future Sound of London at the peak of their powers. Best of all, they give these pieces enough time to execute a fantastic finish.
Throbbing techno starts the adventure with the aptly named “welcome.to.pvkeslvt.” A moody post-punk ethos on “ADMIRE” helps to imbue it with a cutting edge that only grows as the song progresses. “STUPID GRL” mixes the fragile and fraught, with the sound offering soft respites within the gargantuan layout, touching upon some of Fuck Buttons’ distinctive dynamic and rock-based ethos. Wolfgang Voigt's vibes adorn the classically inclined “wrath.of.god.” Prickly stabs give “DANCE IN MY GUN” an unhinged sense of urgency. Even more brutal comes the sheer cutting speed of “EVERYTHING IS DEAD.” “the.great.ecstasy” presents a reflective stance, offering an experience that feels almost mystical. By far, the highlight comes from the theatrical expressiveness of “VOICELESS.” Rhythms are brought to the absolute breaking point as “I WILL NEVER DIE” features hyperactive arpeggios that make the track pass by in a delirious blur.
pvkeslvt delivers a finely sculpted series of chaotic currents with the sheer force of will that is “I Will Never Die.”
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Xilla’s “Devil’s Dice” wakes you the hell up. The urgency of their message has a razor-sharp focus. Neatly tying together aspects of metal, post-rock, and hardcore, there’s a ferocity here. At certain moments, it feels like Xilla’s ready to rip your throat out. Volume is a given as an intensity requires a physical wall of sound approach. Underneath this vortex is an authentic driving rhythm, the track that needs to be blasted while screaming down the highway. Like usual, their vocals opt for a commanding presence, holding nothing back, and the lyricism seems entirely on point. The production adds to all of this, and there is a crystal clarity to the track that highlights their uncanny ability to create an earworm from the most unlikely of places.
The reference points cover a vast terrain. Due to the sheer size and velocity, nods to early Pantera can be felt throughout, giving it an edge. Much more on the heavier side of things is the sheer unhinged presence of Deafheaven, as, like Xilla, Deafheaven can find lovely melodic beauty in the most unexpected of places. Bringing the whole thing home is Can's searing expansiveness, with the track's duration giving it a hypnotic, almost transcendent approach in certain moments. A genuine, tender heart is beating at the core for all the blasted beats and distorted guitar riffs.
Not a moment is wasted as they get right into it. From there, they make sure that it has this colossal presence. They let this sheer wave crash over the listener, crushing them completely. They also explore some new territory here, as the guitar work has a shoegaze aspect. By allowing a degree of noise and chaos into the mix, the vocals gain that additional yearning that the lyrics demand. Within these many different layers, the journey has an inherent charm. With multiple listens, the true nature of the piece becomes apparent, as the feeling of risk, uncertainty, and determination help to propel the rest of the work forward in this fierce, fiery fashion.
“Devil’s Dice” cuts to the bone, with the full-on attack of Xilla’s guitars matched with an equally powerful rhythm section intended to knock you right out.
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An idiosyncratic singer-songwriter effortlessly embodying a slew of different styles, Catlea makes every genre their own in a profoundly personal, satisfying way. By way of Cincinnati, they have adopted a series of lovely vignettes covering the emotional spectrum from heartache to heartbreak. Their voice effortlessly meshes with a slew of approaches, going from angular EDM to highly intimate, acoustic guitar-driven pieces that feel like the listener is in the room with them. They go for a hallowed, respectful tenor to their powerful, awe-inspiring voice.
The production team behind them speaks to the strength of their vision. Upon first listening, the strains of their lineage start to come into focus. Producer Jason Boshoff is responsible for making the pieces sound this good. If his name is unfamiliar, then those he’s worked with can speak volumes more. Immediately upon first listening, I was reminded of Rufus Wainwright, whose wit, humor, and grace are similar to how Catlea conducts themselves. Like Wainwright, the vision is unique, and their distinctive imprint has such a gorgeous cinematic ethos. Furthermore, Boshoff has also worked with Ed Sheeran, a beloved international singer who has been extraordinarily influential and whose music remains an essential traveling companion anywhere I go. I find Catlea’s work to be hypnotic in the same way because they blend the contemporary and classic aspects of pop, both the dance aspect, which is popular right now (hurray, finally!) alongside a 70s Golden Era of the singer-songwriter movement.
Outside of the production, there’s the sound itself. The angles have a careful, calm cadence to absolute bombast over beats. With their quieter moments, there’s a similarity between Catlea and the near-whispered poetic lyricism of Jessica Pratt. Catlea’s voice has that same sense of unmistakability. Simply put, no one else sounds quite like Catlea; it is like they are singing only for you, which is a tricky feat to pull off. With some of their louder, more electronic-driven works, a personalized effect draws from Glüme’s autobiographical yet mysterious work. Indeed, even some melodies, rhythms, and distinctive sonic architecture occupy a similar space. A highly tasteful utilization of styles of the hyper-modern and traditional, classical thoughtful pop song nods to Jon Brion’s “Meaningless” debut solo album, complete with little flourishes that reveal themselves upon multiple listens.
“Like Me” starts with crystal clarity. The three years spent in the studio have paid off. Beyond the apparent power of her voice is the equally assured guitar playing she employs throughout the work. Relatively understated, they effortlessly work alongside the rest of the band, ensuring each element reverberates within a vast space. From their native spot in the heartland of the US, there’s something very lived-in about the song. Listening to it feels like hearing a distinctive cadence that appears chiseled out of granite, giving it this inherently timeless tenor. I am 100% here for this, as it feels like mapping out a previously unknown space.
On the flip side is the immense industrial might of “Chemicals (feat. STAR SEED).” The danceability of this track is infectious. Here, they show a strength to conquer the tech overtones of the mix. For all the heaviness of the chords, which have a Kerri Chandler-like regality, there’s a pining, yearning spirit. Aspects of this go for an 80s retro-futurism that touches upon the sheer visceral impact of the Weeknd’s output with a sharper, more cutting, and geometric edge.
A marriage of the two different aspects, the soft and loud, are brought together in “Love Isn’t Enough.” There is a mixture of the two, like a Rosetta Stone, of all the styles they have taken on and explored. The ear for melody has clarity. Within the song, the dynamics of what a relationship means and the failures that happen for various reasons come through. The piece's refrain, that love cannot be enough, has such sorrow behind it. Going for a trance-like pop quality, the song recalls the soft, airy electronica of Cut Copy. From the steady beat to the ambient washes, there’s a gauzy aspect to how the themes seem to evolve slowly.
The universality of the sound has led to 11 singles released internationally, receiving tens of millions of listens across a plethora of platforms. From Cincinnati, they’ve had their singles produced across countries and even continents. Much of this is due to the strength of their talents, which can be seen from Bucharest to London, both places I’ve traveled to and lived in. I can understand why the distinctive lyricism would so enrapture people. They give away a little while keeping a part of the spirit just beyond reach, like on the periphery of the sound. Arrangements and the poetic verses are puzzles for the listener, ready to be deciphered. By doing this, the songs have a grandeur, resulting in multiple listens to appreciate the nuance of their lyricism fully.
Spending all these years with such an approach towards music has allowed them to realize their strengths. Over a half-decade has passed since they entered the musical world, starting with their first single, “Breathe Away.” As that starting point, which is more dance-centric, they have created a flourishing, thriving artistic vision. Their YouTube channel has shared these aesthetics, allowing a listener to do more than hear but understand what kind of visuals should accompany such a sound. Indeed, they’ve created this whole universe, an artistic endeavor that completely absorbs, resulting in this fantastic environment. Sounds bounce off each other; the songs work together to chart an individual’s experience with relationships and their complications, whether good or bad.
Catlea is a rare find, a soulful singer who speaks to the zeitgeist with lovely, thoughtful lyricism and whose message lingers long after the music has ended. Theirs is a spirit in high demand yet remains tragically in short supply.
However, with their upcoming album “Language Barrier” out later this year, thankfully, that supply increases, if just by ten songs. “Like Me” has already dropped, and the follow-up single “Lying” is out on April 26th.
https://open.spotify.com/artist/3MKB5HGt7ZcprzEZt4BxMV?si=0DtrhI9AQhqvRfNSd74XEw&nd=1&dlsi=324206100d7245c5
https://www.instagram.com/catleacreates
https://music.apple.com/us/artist/catlea/1471128578
https://catleamusic.com
https://soundcloud.com/catlea
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The Bruce Lofgren Group - Earthly and Cosmic Tales
A postmodern pop blended with chamber classical gives the Bruce Lofgren Group a unique cadence on the leisurely “Earthly and Cosmic Tales.” The arrangements in the right light touch upon the sheer brilliance of Stereolab’s introspective style. Further along, they go for an approach that recalls the Penguin Café Orchestra. Lots of different layers are neatly woven together as graciousness is shown within the melodies. Rhythms go for the natural, and the pacing has an inherent charm that makes each element shine. Throughout the album, an entire narrative takes shape, all without saying a word.
The soothing tenor of “Summer Passage” sets the tone for the album, evoking awe. “Fields Of Praise” has lovely, lilting strings that pop with color. A whimsical approach runs through the strength of “Wind Rider.” On “String Theory,” the piece goes for a contemplative ode, with the meditative nature of the work cycling through with graciousness. Chilled-out vibes rush through the gorgeousness of “Tripsy,” where a midcentury party atmosphere reigns supreme. Gingerly walking about “Orange Crate Art” features a genuine skill. Like a summer evening outing, “Red Shift” has an ornate, sophisticated sensibility that ties it together. Vibraphone rings out into the distance on the neat jam of “Creepin’.” A Beach Boys fervor radiates throughout “Spend The Night.” Gorgeous cadences tie together with the fantastic, low-key “Desert Flower.”
“Earthy and Cosmic Tales” shows the gorgeous interplay of the Bruce Lofgren Group in delivering a robust and powerful sound that reverberates, giving a living, breathing space.
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Haas Company – Galactic Tide, Featuring Andy Timmons Vol. 1
Hass Company delves into wild, feral energy with “Galactic Tide, Featuring Andy Timmons Vol. 1.” The interplay on the album has an inherent fierceness cutting to the absolute bone. Unhinged power flows through the guitar as a screaming classic rock psychedelic romp smashes its way through everything. An array of different genres are woven together. Funk, the blues, classic rock, and more are brought into the fray. Without saying a single word, the tracks chart a heavy path. Volume is an absolute must, for this wall of sound physicality feels pitch-perfect.
“Leather Pajamas” have a stately muscle; they waste no time racing into it. By far, the album's highlight is the vast, adventurous aspect of “1979,” which incorporates so much into the space, allowing the experience to sprawl. Drums feel gorgeous as they pummel everything with “Good Lieutenant.” Tapestries come through with the sheer tenor of “Stockholm Syndrome” as different guitars soar towards the sky. With the mournful aspect of “Ballad For Andy,” the song spools slowly and meditatively. Athletics have the power to be seared into the mind with the bombast of “Magic Log.” Nice jazzy licks in “Galactic Tide” feel gorgeous. “Tower Of Babel” has a space rock element, wafting into the sky. Synthesized aspects of the work and the saxophone finale end the album with “Arrow Of Time.”
“Galactic Tide, Featuring Andy Timmons Vol. 1” holds nothing back, as Haas Company goes completely unhinged with their attitude.
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A swinging sense of togetherness rolls through the Heard Eye’s high-energy “Funkalypse.” Tight arrangements adorn the album’s duration. Vocals have a crystal-cool reflection. Songs work together to create a cohesive, fully realized whole. The Heard Eye keeps the listener on their toes by engaging with various sounds. Lavish displays of colors come through to lend the songs that extra punch. Grooves roll through with tremendous grace, and he brings funk alongside a driving rhythm in a fantastic way. Further along, he brings a hint of psychedelic rock to give the album a dreamier quality.
Horns start things up with the right amount of fanfare on the bluesy “Say It With The Night.” A southern twang with Louisana heat pops on “Do Whatchu Be.” “Boomerang” has expansive power and features an undue amount of swagger. Guitar riffs weave together as “Job Growth” has a playfulness. Pure determination in “Free Everybody” has a communal feeling. Excellent physicality and it feels gorgeous with “Mr. Grifter.” Going for a glam rock flavor is the 70s nostalgic hue of “Always Now.” “Tornado” embraces a Latin flair into the sound. Bossa Nova married with rock gives “Bahia Amor” an extra flair. The highlight comes from the incredible title track, “Funkalypse.” For a fantastic unspooling finale, there is the sheer bombast and beauty of the closer “Vimana,” where they incorporate many instruments into the mix.
The Heard Eye goes for a warm, inviting sound on the profound “Funkalypse.”
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Relentless Pursuit - Mechanisms Of Destruction
Salvation is not achieved with stasis, and Relentless Pursuit proves that with sheer determination on the intense, piercing vision of “Mechanism Of Destruction.” For the sad and forsaken, they find strength with the help of a higher power. Love, hope, and optimism are respected through careful word choice. His vocals have a guttural cadence, and the low-end bass rumbles serve tremendously well with the wall-of-sound approach he takes with the riffs. Drum machines beat on, demented and delirious, trying to race forward to emphasize the sense of utter chaos further. When all these elements combine, they choose a careful approach, a full-scale onslaught against sin. Pleading for forgiveness, this dramatically different approach towards rising above temptation is highly memorable, with vocals sometimes touching upon a chant-like cadence set in a metal-strewn assault.
The sheer wreckage and inditement of blind faith in technology touches upon the Luddite impulses of William S. Burroughs. When Burroughs wrote, “Smash the control images. Smash the control machine.” it is doubtful that he ever dreamed in his most vivid nightmares of our crippling dependence on technology. On the more music-oriented side, there’s a paranoid ethos mixed with a genuine desire to rise above this world that recalls Godspeed You! Black Emperor’s harsh critiques of the world, alongside glimmers of hope for a better one. Some of the heavier moments suggest Rodan’s frantic, feral energy and a need to escape. Indeed, escapism is essential to survive this, and it is to Relentless Pursuit’s strength they can envision something better than this.
Mournful piano and strings open “Fortress” before the sound is tested in eternal flame with a fiery cacophony of noise closing it out. “Nirmata” emerges with a steely-eyed gaze, and the drum machine has a frantic urgency that compliments the guitar work. A ceremonial dance on “Automated Catastrophe” takes the concept of the apocalypse and transforms it into a view of how we’ve destroyed ourselves through technology, demanding the machine to be killed. Guitars duke it out on “Artificial.” Brutal headbanging post-hardcore in “Internal Hesitation” grinds things out. Classical flourishes offer some hope for “Malfunction.” Spaghetti Western meets doom metal gives “Modified Reconstruction” a distinctive Earth-like quality. Holding nothing back, everything gets burned to cinders with “Reason Beyond All Comprehension.” Walking through desolation comes the hesitantly hopeful “End Wave.” “Unending Convergence” closes the album with one final punch to the gut and a glimmer of light in equal doses.
Relentless Pursuit has a sheer intensity and unflinching honesty in “Mechanisms Of Destruction.”
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Samm Musick delivers a powerful, inspirational message on the stunning chamber country cadence in “Land of Dreams.” The storytelling here is exceptional as he draws from a lifetime of experience. Pop, country, rock, and folk figure prominently in the mix. His voice serves as the very heart of the entire experience. Words are selected with care as he describes a life lived so fully. For the journey, there are elements of romance, regret, ambition, and loss, tying them together in this gorgeous way—a crystal-clear production results in the atmosphere glistening with such radiant bliss.
The wide-open, orchestral approach draws from the chamber country of Lambchop, as there’s a tasteful, stately grace to the way the rhythms and grooves develop. It has majesty, and this inspirational tenor adds to the sound’s message. Further along, the sheer scope of the experience and the number of instruments brought into the fray draw from the grandeur of Fleet Foxes down to the honeyed vocals that cascade over the whole trip. There are nods toward Iron & Wine’s whispered, hushed reverence in the quieter, more intimate moments. With all these reference points, Samm still creates a unique sonic universe that is distinctly his own.
“18 Days” starts the album and sets the tone for what follows. Contemplative poetry runs through “Anastasia.” The lovely slide guitar on “Beautiful To Me” makes the song one of the album’s highlights. A muscular, driving rhythm rests at the core of the spacious “Running on Empty.” Physicality reigns supreme as “Kentucky Roots” has a triumphant quality. “Girl from the North Country” expands out into the infinite. Samm gorgeously builds up “Make It Out Alive” gorgeously, " blending folk and rock. On “Land of Dreams,” the piece unspools gently, slow-movingly. Stripped down to the essentials is the affectionate “Be My Love.” Low-key with grace, “Timberline” has a pastoral quality. His acoustic guitar playing on “My Old Kentucky Home” has so much warmth. “The Widow” features an undeniable mournful quality, with the opening vocals haunting. A sense of overcoming is the power of “Head Above The Water.” The communal quality of “Traveler’s Moon” feels reassuring. Going for a traveling quality is the adventurous geography of “The Wanderer.” With sheer power is the razor-sharp focus of “Turnin’ of the Tide.” Pure playfulness unspools out of “By Way of Sorrow.” “What I Left Behind” ends the album with a sense of looking back before moving on.
“Land of Dreams” presents a stark image of determination, with Samm Musick’s message of overcoming any obstacle giving the album an undeniable hopefulness.
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Dave Schumacher & Cubeye - Smoke In The Sky
Chilled out and laid-back, Dave Schumacher and Cubeye create an elegantly executed atmosphere with “Smoke In The Sky.” The horn work gives the album a robust flavor. Due to the tactile percussion, the rhythms feature a Latin flavor, going a little outside the usual. The production adds to the majesty, for a crystal clarity feels genuinely profound. Best of all, the arrangements have such depth, allowing for multiple layers to collide yet retain an airy disposition. It is hard to pull off, yet the group does so with ease, as every player is ideally placed to implement this thoughtful strategy.
Grooves start the sound on a high note with the careful buildup of the opener and title track, “Smoke In the Sky.” “You Know It’s Wrong” has gorgeous piano chords. The drum kit is replaced with more unconventional means while retaining that stylish coolness. Saxophone begins “Caridad” with a virtual celebration coming into the fray, allowing great joy to burst onto the scene. On “(No More) Smoke In The Sky,” they slow things down, letting every flourish reverberate. “El Dilema de Chegüi Metralla” lets things rip and get particularly wild. Basslines roll through with ease on “Cal Massey.” “Walk Spirit Talk Spirit” lets a swinging mood take hold. “Poinciana” ties everything together in this glorious way, with a fantastic journey that feels modern and classic at the same time.
Dave Schumacher and Cubeye deliver a profoundly soothing, serene sense of meditation with “Smoke In The Sky.”
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Benji Kaplan - Untold Stories
Benji Kaplan proves to be an exceptional guitarist with the gleeful “Untold Stories.” His work feels vibrant, tapping into a long tradition of gorgeous expressiveness. The nods to Antonio Carlos Jobim’s mixture of jazz and folk feel just right. Rhythms form out of these explorations. A focus on melodic expressiveness endears the sound to the listener, showing how close jazz and folk traditions are, an often-overlooked part of both traditions.
Elegant gestures abound on the stately grace of “Untold Stories,” where the theme reiterations loop around, constantly returning stronger. “Xaxado em Alegria” feels drenched in pure sunshine. The chords have a bluesy speed on the reflective “Oblivionism,” as the shifts feel unpredictable. Breezy with the radiant guitar work is the pastoral “Streams Hills and Forests.” “An East Side Story” echoes into the infinite with a tender, romantic tone. Fragile “Choro de inconsistência” possesses a sense of longing, with the song evolving in a low-key, sensitive fashion. Subdued energy pours out of “Illusion’s Waltz.” Confidence emerges out of the galloping groove of “Stride and True,” with the song going for this sense of eternity. With a spark of the unexpected is the sheer attitude of “The Vigilante,” which closes the album off.
'Untold Stories' is a testament to Benji Kaplan's skill. It presents a polished production that still captures the raw intimacy of a stripped-down, bare-bones approach. This unique balance draws the listener in, creating a connection to the music that is both immediate and profound.
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California ™ - feat. Les Fradkin - Come Fly To Fall In Love
California ™ - feat. Les Fradkin offers a nostalgic trip back to the classic cadence of the West Coast on the sun-filled “Come Fly To Fall In Love.” A psychedelic variant of “I Left My Heart In San Francisco,” an art-pop flavor, comes through. His voice rests right in the heart of the sound, helping to guide the rest of the piece along. The guitar has a powerful cadence, and a surf-rock vibe adorns the work. Indeed, it has a timeless stance, refusing to follow specific trends. The rhythm has a laid-back aspect. Layers are filtered through a wild, kaleidoscopic array, and there is something deeply comforting about how it comes through.
The song starts strong. From there, the rest of the piece has a buildup that feels long-forgotten. His style draws from rock’s earlier days, as it has this nostalgic tinge to the word choice. Throughout the journey, he brings the listener along to look back on what was and what can be. While nostalgic, he continues to have hope for the future, allowing for a graciousness to take shape, continuing to the gorgeous finale. Melodies have an inherent richness behind them, helping to emphasize the sheer lyrical strength. He has an imaginative approach to how the song grows, almost like in a dream.
“Come Fly To Fall In Love” has a timeless tenor, with California ™ - feat. Les Fradkin shows a true knack for storytelling, going for a romantic tenor.
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Gary Palmer - Movin On
With a lyrical approach to the saxophone, Gary Palmer embodies a crystal cool on the excellent “Movin On.” Funk, rock, jazz, and pop merge. The song has a laid-back, reflective stance that continues throughout the track. By allowing so many different elements to interact, what happens is a layered, nearly psychedelic approach. Vocalizations on the periphery of the piece add to the communal quality. Swirling about in a delirious haze, a playfulness exists within the atmosphere, from the gorgeous keyboards that intertwine to the rhythm that remains slow-moving in its gait and downright luxurious.
A quiet opening begins the song. From there, the rest of the piece comes into the fray with such careful consideration. The shift from instrument to instrument gives the track a conversational approach. Lots of the song has this dialogue, bringing aspects of keyboard and saxophone talent into the fray. For the journey, it remains primarily vocal-less. With the mellowed aspect, it has a graceful gleam. By sidestepping trends, the song has a classic spirit, as if it could have been from anywhere in the last several decades. They engage in this gracious attitude, as the song has some infectious hooks that harken back to Miles Davis’s funk-laden explorations of the 70s; the crystal clarity and sense of play are stunning to behold, from beginning to end.
The funky, sinewy sound of “Movin On” shows Gary Palmer at the peak of their powers, with a multifaceted tour-de-force.
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