Tag Archives: Album Reviews

“A RATTLESNAKE COVERED IN GREASE” CALLIOPE’S ALBUM DEBUT @ LINNEMAN’S MARCH 29th 2013

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callipoeWith Opening Day less than a week away and spring on the horizon, the time has come for bands to begin peaking out with the recorded results of their winter hibernation. The year of the snake has just begun and the promise of new recordings from Milwaukee groups like Midnight Reruns, Catacombz, Castle Thunder and hopefully many, many more, is a reminder of what lies ahead in an incredible summer. Tonight at Linneman’s Riverwest Inn, Milwaukee’s Calliope will start the release train with the their self-titled debut album, along the support of Animals In Human Attire and The Zelda Routine completing the three ring spectacle and something NOT TO BE MISSED!

Recorded in a 3-day stint last September under the ears of Milwaukee Veteran Mike Hoffman, Calliope set the band up in the family cabin of lead singer/organ player Al Kreamer and did most of the recording live. Together with Victor Buell IV on guitar, John Larkin on Bass and Eric Gornoll on drums, they played as a band, capturing the raw power of their live performances. I saw them for the first time at Yield a few weeks back and was stupefied. They play so tight but also were able to keep the music loose, never skipping a beat and pushing the performance straight through to doomsday. There is an influence of Blue Cheer, The Sonics, Frank Zappa, The Pretty Things, The Doors, Alice Cooper or any of the more grandiose garage or psychedelic Rock and Roll groups of the late 60’s and early 70’s giving Calliope’s sound darker narrative roots. But more importantly, the music begs for live performance interaction, easily lost in multi-track recording’s infinite possibility. The old, “F-it, let’s do it live,” camaraderie of the blues with a fuzzy psychedelic twist that transcends the influence into something fresh.

The dynamics of the album functions like a live performance, keeping your ear fixed to hear the movement within the songs and the flow from song to song. Leading with this new kind of future blues in the first few tracks, including the prevailing guitar riff and harmonica drone of the single ‘Miller City Blues.’ The “black as sackcloth” dirty funk of ‘La Catalina’ and driving guitar hook of ‘Blue Ribbon Boogie,” turning straight into the jazzey instrumental other world of tracks like “Penitent Man,” and “Rising Water,” the latter featuring Kramer on Saxophone in the groove an extended solo section. Progressing to dissonance in the guitar riff and vocal harmonies of ‘Wild Eye,’ and an almost raga drone feel of ‘Woodland Stomp’ that switches 180 degrees to more electric bluegrass mid-song. It’s all here. Apocalyptical crusades, screaming call and response sections, subtle vocal harmonies, a bit of crunchy guitar echo and even a “Happy Song” wrapping up album to play the band off at the end of the performance. It is an album that will require many listenings and never lose the unrestrained energy occurring in the live performances captured in those 3 short days of recording. This is a band to see to in 2013, this is now.

Show starts at 9. Linneman’s Riverwest Inn, $7 cover that includes a CD. Dig It. Dance.

Calliope’s video links:

Official Music Video: Miller City Blues

JS Online Sound Check: Woodland Stomp

Twitt

A TAKE ON “GREAT IDEAS IN ACTION” BY ARCHIE POWELL & THE EXPORTS

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Archie Powell and the Exports new album “Great Ideas in Action” was recorded at The Mystery Room and Howl Street Studios (both in Milwaukee), and has a “special thanks” section in the album jacket where they thank over 20 people, Canada, and “ALL OUR FRIENDS AND FAMILIES/ ANYONE WHO HAS EVER LET US CRASH ON THEIR FLOOR, COOKED US A MEAL, BOUGHT US A BEER, SHOWED US AROUND TOWN OR DANCED AT A SHOW/YOU”.  This kind of sentiment of unabashed gratitude to everyone they know, or have ever partied with is a very refreshing one, and makes them a rare combination OF talented and humble.  

Their new album “Great Ideas In Action” has the thematic element of insanity with obvious references to this in songs ranging from “I Need Supervision”, “Crazy Pills”, and “Shooting Spree”.  The whole disc comes across as almost a concept album playing off the adage of “the definition of crazy is doing the same thing over and over again expecting a different result”.  This along with underlying themes like impatience, conformity, and the repetitive nature of life this album paints a picture worthy of a “One Flew Over the Cuckoo’s Nest” comparison.  I really believe that this album’s larger goal is to discuss how difficult it is to remain sane in the ever increasingly crazy world. 

If you need more evidence for the aforementioned themes look no further than the carefully constructed lyrics.  All the way from the more apparent references to insanity like: “what you really want is to keep your right to remain insane”, “its such a freak show you might pull it off although I don’t think so”, and “I need my privileges taken away”; to the more subtle “you know what they say about Rome these things take time” and “keep your head above or be subdued, you know you are halfway dead no matter which you choose”.  The wonderfully accessible writing will draw you a little bit deeper with each successive listen.
 
The music kicks one song into the next with a very driven pace due to the percussion from RJ Export (drums) and Adam Export (bass).  The more delicate musical elements are wonderfully interwoven by Ryan Export (keyboards) and Archie himself. I’m going to take a moment to mention that none of the band members have the last name of Export, and while I’m at it Archie is not really Archie either (his name is Nick).  Having seen them less than a week ago at Record Store Day, I also want to share that Archie sings into a microphone stand that has a normal microphone and a telephone receiver attached for those occasions where a rougher sound is desired.

This whole album kind of makes me think of Archie in the midst one of his angsty rants, that is seen all the way through this album, wearing a straight jacket in the middle of a padded room just freaking out.  An image I probably got from their music video for Crazy Pills watch it here. I’d like to think that it was intended by the band, but at very least you are going to be listening to the album looking for that image. With an album that isn’t just satisfied with catchy lyrics and poppy cords but intent on sending an overlying message, Archie Powell and the Exports have made a product that is sure to reward listeners no matter if they wanted content or carefree enjoyment.

Twitt

OLD AMERICAN JUNK “HOME” ALBUM REVIEW

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 If someone asked me to say one sentence to describe Old American Junk’s LP “Home” I would say this: Home is 10 songs and 42 minutes of Americana that injects style and energy and peaks with euphoric results in songs like “Vagrance”, “Runaround Man”, “Infinite Game”, and “Save it For Another Time”. And if someone asked me to write more than a sentence I would write this:  Old American Junk serves up a very tasty slice of Americana along with a side of crisp vocals and delectable jams almost good enough to eat, but you don’t eat it you listen to it here, but I digress.

Old American Junk is a band out of Madison and includes the musical styling of Shane Hardwicke, Tim Patterson, Drew Hicks, and Aaron Zepplin.  Shane Hardwicke is listed as a honorary lifetime member of the Cool Waters Band. I only add this because Cool Waters Band was one of the favorite bands of the flocks of hippies I went to school/ hungout with in Stevens Point the better part of a decade ago, so he has been making music for a while now and it shows.  Old American Junk has musical influences that include CSNY, John Denver, Blues Traveler, The Grateful Dead, and Bob Dylan. 

The mature cadence that Shane Hardwicke uses to deliver Home’s wonderfully crafted lyrics draw you along as the album is blotted with colorful songs that paint a picture of the idea of home through imagery of wandering and traveling as it contrasts to the comforts of, and longing for that place we call home. The use of the of the keyboards in songs like “Runaround Man” sets the tone of the music right off the bat giving it an almost Dr. Teeth and the Electric Mayhem feel, and I hope you know I intend that as the most sincere compliment (see the video here). Moving Right along, the album also prominently features the Harmonica and slide guitar giving it a twangy feel that would feel at down south. No matter where this album lands it is sure to find itself at home. And if someone asked me when is Old American Junk playing their next Milwaukee show I would have to tell them I don’t know, but I’ll be there!

Check out Old American Junk’s website to get the new album, see tour dates and much more!

Twitt

THE MIDWESTERN CHARM’S FULL-LENGTH ALBUM REVIEW

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The first time that I saw The Midwestern Charm play was last summer on an impromptu road trip to Green Bay with my mom to see two of our favorite Milwaukee bands. Despite only hearing a couple songs at the tail end of The Midwestern Charm’s set, I was impressed & made it a point to look up them up a couple months later and was pleasantly surprised to find out my friend Jonathan Ferrer was producing their new album at Mystery Room Studios. Already familiar with Jon’s production level via his band Ikarus Down, I was curious to see his collaboration with Charm’s more country-tinged brand of rock.

The final product was released on April 20th, a three year long journey for the band, filled with more than the usual slew of hiccups & roadblocks. The album seems like a journey in itself, a collection about love & loss, from one end of the emotional spectrum to the other, from romantic declarations to the flirty & upbeat to bitter breakup songs. When I spoke with lead vocalist & guitarist Connor S. La Mue, he said it was strange to put out an album of songs that he wrote three years ago, as the lyrics represent how he felt then not now. To me this actually makes the music more interesting, a sneak peek into someone’s mind at a very different point in their life, akin to opening a time capsule of a not so distant past that seems like ages ago to those who experienced it.

The Midwestern Charm is made up of Connor S. La Mue on vocals and guitar, lead guitarist Ryan McCrary, Ryan Gracyalny on drums and bassist Steve Sampson. The band was formed in 2009 in Oshkosh where all of the members except for Gracyalny live. Their name is fitting to the honest, down home nature of their sound, an mish-mash of alternative, roots rock and folk. Despite the recent album release, the band is looking ahead to the future and plans to follow up with an EP of newer songs later this year, obviously knowing that the way to stay successful is to stay progressive. Their next show is tomorrow night at Linnemann’s Riverwest Inn with Ikarus Down and Tim Schweiger & TMM. Here’s my take on some of my favorites off their thoroughly enjoyable debut full-length album.

Tracks two and three (Movin’ Out and Never One For Dancing respectively) really feel like one long song, the ending and opening notes blending seamlessly together. Movin’ Out is upbeat, punctuated with classic guitar riffs and a perfectly placed vocal harmony while the drums and rhythm acoustic guitar maintain a folk vibe that just skirts the border of country. The vocals are so energetic that it’s easy to miss out on some of the snarkier lyrics like “You went out of your way, to rain on my parade.” Almost three minutes in, the last guitar riff of the song sounds and without skipping a beat, the next track starts.

Smoothly transitioning into a slightly slower song with a more bitter tone, Never One For Dancing clearly paints the picture of a past love that ended badly, signified by darker lyrics “You are not sorry, just cut me down again. And there’s this hole in my chest that’s getting so large…and so fucking hard…to fill.” La Mue’s delivery of these powerful words perfectly conveys the emotion felt behind them, with his band backing him up, their chords and harmonies also portray the sadness here. The song ends on a hopeful note though, with the ending lyrics, “That’s what I needed….set me free.” I connected easily with the song (as I imagine others will) as I know all too well that when someone really hurts you, it’s almost easier to move on, as the betrayal is blatant.

When We Were Young is a slower, nostalgic ballad that reminisces on good times of the past, sprinkled with the euphonious sounds of a pedal steel (played by Matt Keon on the album) in the background, one of the most beautiful instruments to listen to, used prominently in folk music. The guitar notes are deliberately picked and delicate whistling can be heard, both accentuating the wistful vocals and stripped down tone of the song.

Track nine is Keep Me Warm and gets closer to pop-country than the rest of the album to my untrained ears. Twanging guitars and flirtatious lyrics such as, “Maybe I should go to New York. Where I can spend my time looking for a fine, little gal to spend my nights with.” emphasize the cheerful mood, keeping it fun and lighthearted. Featuring two guests, Ian Olvera on organ and Matt Keon on pedal steel again, their contribution never takes away from the band members, it only highlights them.

Better Days once more uses whistling in the background to solidify that rural, folky vibe present in the entire album, as well as several vocal harmonies that expand the scale and scope of the song. The rhythms of the song are so bluegrassy and buoyant that you can’t help but whistle along as you sway from side to side. This song showcases yet again The Midwestern Charm’s ability to mix sugary melodies and vocals with sharper, fiery lyrics, with each balancing the other out, sweet and sour. Clever words like “So when you’re done, impressing everyone…I hope you realize your goddamn mistakes. And when you preach, what you believe, don’t you ever think of me, no.” not only proves the band’s talent at songwriting but at conveying honest, true feelings.

All in all, the entire album is well put together, emotionally driven and never gets too country or too pop, always maintaining a folk-rock vein and laid back attitude that is so very indicative of the welcoming personality of the Midwest. Connor La Mue told me when he gave me the CD that if he could say the album is one thing, it’s definitely heartfelt and I can’t help but agree. Produced by the band & Jonathan Ferrer, mixed by Landon Arkens of Blast House Studios & mastered by the ever talented Justin Perkins of Mystery Room, this debut release has its own unique sound and I personally can’t wait to hear more from this talented group of musicians. Grab a copy at any of their live shows or download it on ITunes, Amazon and CDBaby, trust me, you won’t be disappointed. Check out their website or Facebook page for updates and don’t forget to swing by Linnemann’s tomorrow to hear them for yourself!

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Twitt

TWEED FUNK ALBUM RELEASE AT SHANK HALL ON 5/11/2012

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Tweed Funk Serenades with “Love Is”

On May 11th, Wisconsin’s R&B/Soul artist of the year, Tweed Funk, released its sophomore album, “Love Is”. The release concert was held at Shank Hall, on the lower East Side.

Older folks sat at tables, docile and waiting for the show to start. I sat at the back bar, overlooking the dimly lit floor and stage. Beside me was a graying man, wearing a blue polo and corduroys who grinned and spoke with a beer soaked breath. When he wasn’t trying to take the bartender home, he’d pat me on the back or shake my hand. He was telling me that I’ve got to get down to Kenosha and check out this car dealership.

I thought I was spending a night with my friends’ parents. I was sure it was going to get a little awkward. But what’s better than being part of something weird? Being part of something funky.

I was becoming a citizen of the Tweed Funk Nation.

To see as many highly talented people in one band is rare. You know you’re witnessing something masterful when its delivery is made to seem so effortless. Which explains why Tweed Funk has only been a band for two years and has gained international radio play, booked renowned venues like the House of Blues, won a WAMI and released a second album like “Love Is”.

Tweed Funk’s “Love Is” is a luxurious ten-track ride. It ignites on its first track, “Fine Wine,” moving with swing rhythms, JD Optekar’s rocking guitar riffs and solos, horn and sax accompaniment, and keys.

Its subsequent tracks shift into the slower tempos of the blues. These tracks showcase Smokey’s vocals. Along with the band’s rhythm, Smokey’s voice is both powerful and smooth. It’s hard for the listener to follow these sounds and not close their eyes and sway their head.

This album is spacious, holding room for all of its members’ skills, like “Smooth Taste” and “All Over You,” which highlights the addictive percussion of Marcus Gibbons, and the walking, slapping, and sliding of bassist Donnie Mac.

“Love Is” ends with the track “Sex Machine,” drawing upon the sounds of James Brown for its vocals. It shows the luxury characteristic of timelessness, or classic quality that comes with sampling one of its genre’s gods while still pulling away with the band’s sound of its own.

With this being only its second album, Tweed Funk shows no signs of losing momentum. That’s why I urge you to visit their site, check out their new album, and hear why they’re at the top of their genre in Wisconsin. It’s the next best thing to seeing them live and becoming a member of the Tweed Funk Nation yourself.

 

Twitt

IKARUS DOWN “FRICTION” ALBUM REVIEW

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Local band Ikarus Down recently released their new album “Friction” and Local Playlist is hosting their official album release show this Saturday at Cactus Club. The band is made up of lead singer/rhythm guitarist Jonathan Ferrer, lead guitarist William “Ryan” Gardiner, bassist Patrick Masimore, drummer Daniel Langkammer and keyboardist Nick Brenneman. An excellent representation of their unique sound, “Friction” should catapult Ikarus Down to the forefront of the alternative-rock scene in Milwaukee and beyond.

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(from left) Patrick Masimore, Dan Langkammer, Jonathan Ferrer, Nick Brenneman and Ryan Gardiner

Faulty starts us off strong, the piano notes taking the lead with ambient guitar sound in the background, building up to more obvious tones. Two minutes in, the vocals and guitar take the lead in a short breakdown with echoing vocals providing a perfect contrast to the higher, faster guitar notes. The technique is used again later with a short guitar solo that blends into the lyrics finishing out slowly & succinctly.

The next track, Naughty Little Vixen, is a bit louder, with the guitars, drum & bass coming in heavy & hard. This is an epic song that speeds up and slows down at all the right places, building up the tempo and suspense with difficult melodies and darker vocals. It has something for everyone and really displays the talents of this group of musicians. Check it out for yourself here on YouTube.

Call Me Luck slows it back down, with the piano & guitars accompanying the vocals with a more symphonic sound in the background in the beginning of the song. Nick’s wife Fernanda sings on the chorus, her voice hitting the higher notes pleasantly, fitting in with Jon’s pleading lyrics. A somewhat sad song, it still maintains a sweetness that moves you.

Up next is Where Do We Go, picking the tempo back up, again displaying Ikarus Down’s unique ability to blend slow with fast, soft with loud, without sounding indecisive. The guitars and bass combine to create a full sound that mirrors the lively mood of the song.

Track five is Notice, the most “pop” on the CD, with an upbeat piano intro that gives way to Gardiner’s guitar almost growling in contrast to the sweet notes. With a catchy, cheery melody that will get stuck in your head for days, the keys and guitars really complement each other, appealing to a broad audience.

Friction features a harmonica intro that leads into wistful vocals. Drums and effervescent guitars in the background support the next harmonica breakdown, which is accompanied by eerily beautiful cello notes played by Peter Thomas, who was also featured on Ikarus Down’s self-titled EP. The guitars come in strong and distinct the rest of the song as Ferrer belts the lyrics out, helped out by Gardiner on background vocals. It works perfectly as the title track, summing up the mood of the album.

Next is Loose Soul and it starts off with a bang. Intense guitar riffs blur at lightning speed with an almost folk-y tone, vocals keep pace, throbbing drum beats maintain rhythm in the frenzy. A song you cannot help but dance to as it begins quickly and never lets up, the band members definitely all had a great time making this song and it’s obvious, not only on the album but in their live performances too.

River Romance is a change of pace, a whimsical duet sung in a combination of French & English. Ferrer is joined by Clarissa Joan Anderson, Gardiner’s fiancé, whose sweet voice is euphonic & breathy. Accompanied only by Ryan on acoustic guitar, the brief interlude is playful & romantic.

The next track, Keep, is a dynamic jam that starts with the drums establishing the beat until the guitars transition in, speeding the rhythm up. Using multiple effects adeptly, the guitars sound slightly gypsy-like in their tone. The song is perfectly constructed, with each instrument becoming more prominent or more subdued at all the right points. A dramatic guitar solo by Gardiner makes it impossible not to head-bang along when he rocks out, building up to a climax when the rest of the band comes in to repeat the theme from the beginning.

Bone of Contention is more of a laid-back track, the music relaxing a bit, featuring the vocals most prominently. The composed vibe eventually gives way to more aggressive guitar & bass, ending on a riff.

Confidence starts off with a spooky tone, atmospheric guitars wailing in the background & soft vocals the focal point for the first two minutes. The pace speeds up a bit & the drums come in, guitars & bass become more pronounced. A short breakdown highlights Jon’s voice as he gives it his all in the chorus. Then the tempo slows back down again, with the ethereal quality of the intro repeating itself, as the song deliberately fades out.

In the final track Float Away, the piano is featured prominently, leading into the first lyrics. With a minimalistic approach, the music slowly diminishes, leading you to believe the song is over. But in true fashion, the momentum picks back up & ambient tones turn to louder, more pronounced rhythm & guitars. After a brief breakdown, the music fades out for real and the end of a great album has come.

I wanted to wrap up the review by giving huge props to the production quality present on “Friction”. Jon Ferrer & Ryan Gardiner did all of the engineering and recording of the songs themselves, an extensive undertaking, with tremendous aptitude. Justin Perkins from Mystery Room Studio mixed & mastered the album, stamping his characteristic flair and attention to detail on it.

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Poster designed by Jonathan Ferrer

Be sure to catch Ikarus Down, I’m Not a Pilot and The Delta Routine at the “Friction” Album Release party Saturday. $10 cover gets you access to these great bands and a free copy of the album. Hope to see you all there to experience “Friction” live! Your ears will not be disappointed.

Twitt

FRESH CUT COLLECTIVE, “RE-FRAME (PART 1)” ALBUM REVIEW

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There are times when music seems to reach right out and grab you by the ears, demanding your attention. As soon as I hit play on Fresh Cut Collective’s new album, “Re-Frame

(Part 1)”, that’s exactly what happened. This highly anticipated album is set for release this Friday, March 30th at the Miramar Theater, and though I’m familiar with many of the tracks from their shows, having the chance to listen to the album straight through is quite

a privilege. Pay attention, fellow music fans, because Fresh Cut Collective is about to blow your minds.

Perhaps the thing I was most excited to hear with this album was the way it was recorded. Our current digital recording world allows music to be fine-tuned to the point of

perfection. While this seems like a good idea in general, sometimes we listeners lose a bit of the connection that musicians share when playing live. FCC is such a charismatic band and the energy they create during live performances encapsulates the audience; resulting in a fun, high energy dance party atmosphere. With such talent, a digitally recorded album certainly wouldn’t be a disappointment, but the band recognized the opportunity to give more to their fans with a different recording technique. This album is a live, in studio analog recording and it’s the perfect way to showcase the FCC sound.

The fun begins with “DaDa DaDa”, which is the perfect way to get things going. The beats lure you out of your seat and Kiran’s vocals are both fluid and articulate. This is Fresh Cut Collective’s way of telling you to get ready for an awesome auditory experience.

And you better be ready to dance when “Bangy Bangy” comes in next. If you haven’t yet learned this dance, you better start practicing. Perhaps what I love most about this track (aside from the fun, upbeat tempo) is that it transports me to FCC shows where I can enjoy watching the band have as much fun on stage as we’re having in the audience.

“Creeping in the Jungle” has a smooth, melodic vibe, and while it’s slightly slower tempo than the songs that precede it, it certainly maintains the funky groove of the album.

This song provides a great transition into “Ding Dong Bong”, which has one of my favorite displays of Patricio’s talent on keys. If I had to describe this song in one word, no doubt that word would have to be sexy.

If you haven’t yet heard “Let Go” (featuring A Biz and Dana Coppa), then you’ve certainly been missing out. This song has a great video that the band shot last summer; along with

some “lost footage” that is well worth watching. I really feel that this song is a great

representation of who Fresh Cut Collective is: a group of great musicians combining their unique individual talents in a celebration of the mutual love of their craft. The result is this fabulous album that we fans get to enjoy.

“Everybody to my left, say HEY!” Just try to listen to “Errybody Get Loud” and not start moving. Again, this song is reminiscent of all the fun they always provide for us. I know I’ll be the person you pass on the road enjoying my own, mobile dance session. The album rounds out with “Go Flash”, another smooth groove, and concludes with “The Source”, an instrumental gem. FCC certainly don’t need to prove their talents (and I don’t know how a listener couldn’t be impressed by this point), and this is the perfect way to conclude such a great album.

Having the opportunity to enjoy this sneak peek before the release is one of the many reasons why I’m so grateful to be a part of Local Playlist. It’s bands like Fresh Cut Collective that allow Local Playlist to be what it is in the first place, and I’m lucky to be able to share in all the excitement. Go to the release party, get your copy of “Re-Frame (Part 1)”, and get your groove on, friends.

Twitt

500 MILES TO MEMPHIS W/DIXON & THE CACTUS BROTHERS AT THE MIRAMAR 3.19.2012

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Cincinnati’s 500 Miles to Memphis made a one-off stop  in Milwaukee at the Miramar Friday to very little fan support. Coming off an extensive fall 2011 Midwest tour, the band has paid considerable dues in harnessing an area fan base, but this night proved otherwise, which may have been due to the venue along with some lackluster promotion.  In this writer’s eyes, lap steel player David Rhodes Brown salvaged the show. His playing somehow bridged the gap between cowpunk and power chord alternative rock, and added needed musicality to the overall sound. Without David, this band simply loses any hint at a country sub genre. Milwaukee native and 500 Miles’ bassist Noah Sugarman kicked off their set on acoustic guitar with some originals of his own to the delight of small audience. Check out their website at www.500mtm.com.

Milwaukee openers the Cactus Brothers made a stronger run at alt country than the headliners. Even without a soloist, brothers Brian & Mike Kasprzak cruised through their Hank Williams 3 influenced originals, all while looking the part, and then payed homage to Hank himself with a great version of “Straight to Hell.” Seems 500 Miles’ David Rhodes would fit in well with these guys. Check them out on Facebook or see them Thursdays @ Tonic Tavern in BayView.

Twitt

Review of Scott Hlavenka’s album “Thursday Weather”

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Scott Hlavenka’s bass lines help lay the foundation to the funky sounds we groove to when we listen to Fresh Cut Collective.   And on guitar in the Milwaukee Hot Club, his skillful hands help bring Django Reinhardt and gypsy jazz to life.  In addition, Scott’s work as a solo artist further exemplifies his musical talent.  “Thursday Weather” was released in 2008 and has a great pop feel with distinct jazz undertones that is certainly worth listening to.

With music so easily accessible now, a person can pick and choose what songs they add to their repertoire and like an artist they know little about.  This is dangerous because it allows some people to make an album consisting of one or two hits and multiple ‘fillers’ that are rarely worth a listen.  I have to be able to enjoy an album in its entirety before I add it to my play list, and “Thursday Weather” fits this requirement.  It kicks off with the song “Thank You Everyday”; my personal favorite and one you might have heard on 88.9.  The first few acoustic licks are clean and rhythmic and set the tone for this upbeat song, and Scott keeps things interesting with tempo changes and a bit of soloing on the electric guitar as well. 

“Nice to Meet You” strolls in next with an easy flow and positive vibe.  Like all of the tracks, it tells its own story while still maintaining the cohesive sound of the album.  This song plays to those familiar feelings of attraction and anticipation we experience in a budding relationship.

The album progresses to “In Between” which continues to deliver a laid back groove without being monotonous, and moves on to “Gracefully”; a sufficient word to describe Scott’s playing throughout the album.  I always enjoy the honesty that good acoustic playing provides since its feeling is expressed without alterations.  The addition of some electric guitar and keys helps to maintain a full sound through slower songs like “Forgiveness” and “Undiscovered Fantasy.”

The tempo picks up again in “Perfect Place”, and again, sufficient execution of time changes keeps things interesting.  “For You My Love” continues the ride on a great beat and Scott’s jazz influence seems especially evident in both tracks.  A harder-hitting guitar solo that sits on top of a great bass line are an unexpected, yet pleasant surprise in the latter half of the song “Dennis”.   This comes at the perfect time as the album nears the end.  “Amani” is an instrumental piece with a more traditional, finger picking style that is a short and sweet conclusion to the album; or so I thought until I recently discovered an untitled track at the very end. If you haven’t yet had the pleasure of experiencing Scott’s gypsy jazz, this last song will give you just a little taste. 

When I find bands that I really enjoy it’s always a treat to hear other things that they’ve done.  With someone like Scott who’s involved in multiple projects, it’s especially interesting to identify how one thing can influence another. I hope to hear more solo work in the future in addition to Fresh Cut Collective and Milwaukee Hot Club.  If you’d like to hear his solo work live then make sure you’re at the Local Playlist launch party on February 18th.

Twitt

REVIEW OF 10 PACES, FIRE’S “LAKES REFRACT, LAKES REFLECT”

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10 Paces, Fire is a local band made up by young, Milwaukee-bred musicians Jon Taglienti (Bass), Andy Wambach (lead vocals, guitar), Todd Johnson (lead guitar) and Jeremy Treuden (drums).  Already on their 4th EP release in three years, this band fills a niche in Milwaukee’s music scene that is a bit more “underground” if you will, emotional hardcore. In fact, they could be categorized into many different genres as was apparent after I listened to their latest release, “Lakes Refract & Lakes Reflect”. This is my first time writing about a band that I have not yet seen live so this was a chance for me to challenge my music-journalism knowledge…

While 10 Paces, Fire at first listen is easy to peg as emo due to Wambach’s striking vocal similarity to such frontmen as Patrick Stump (Fallout Boy) and Chris Conley (Saves the Day), their style merges with more experimental post/math-rock, the diversity displayed well on “Lakes Refract & Lakes Reflect”.  The EP was released in December 2011 and while there are times that you can hear the production quality could be a bit better, it’s enjoyable nonetheless  & those little nuances remind us that this is local, independent music.

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Reflective...as are most of their lyrics...

My personal favorite off the release, “62”, is a jam that displays Wambach’s vocals the best in my opinion. A little early Fallout Boy, a bit Jimmy Eat World, combined with an experimental edge reminiscent of Moonlit Sailor, it’s the most “pop” of the EP, while still maintaining that indie vibe so that you don’t feel guilty for enjoying it. The snarky, angsty lyrics are sometimes screamed but Wambach’s voice can handle it, never sounding strained, holding just the right amount of emotion.

“Wahl & Boates” starts off sort of dreamy but about a minute & 30 seconds in, the drums come in strong, transitioning into the trippy guitar melodies that occupy most of the song. Like most of the release, this song jumps to different moods & tempos several times and keeps you interested.

This progressive style is also evidenced on “You Used to Be Mel Clark”, a song with reflective  lyrics, focused on better times past. The vocals capture the nostalgia behind the words, however almost the entire last two minutes of the song strips them away to reveal the instruments and the talent of the band members playing them. It almost feels as though that whole section is abstract & absent-minded, allowing the listener to make up a story behind the song and get lost in the music.

All in all, “Lakes Refract & Lakes Reflect” is worth picking up so check out 10pacesfire.bandcamp.com to download this and any of their other releases. I’m personally looking forward to seeing 10 Paces, Fire play live in the very near future and as always stay tuned to localplaylist.com for any upcoming show dates!

Twitt