tag:blogger.com,1999:blog-32443864387958970732024-03-13T03:29:36.296-04:00Groping Towards GraceAn all-encompassing site. Features music reviews of every possible stripe, fiction, poetry, non-fiction, anything really.
We often accept submissions from and feature other writers. Unknownnoreply@blogger.comBlogger141125tag:blogger.com,1999:blog-3244386438795897073.post-79908042093613264032021-03-11T03:21:00.006-05:002021-04-21T03:07:39.450-04:00Snitch - a short story<p> </p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Snitch<o:p></o:p></span></u></b></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><o:p> </o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>They jail their five year old
daughter. There are no concrete walls or clanging doors. Instead, they stuff an
unruly toddler inside an ad-hoc prison built from detached playpen walls, thick
cardboard, and a plastic storage tub lid roofing her cell. A trash bag of
clothes full to bursting stops her from standing and pushing away the lid. I
remember seeing her moist, narrow eyes staring out at me from between the rails
whenever Marty visited for methadone. I wonder if her parents ever see her staring
at them while they cut drug deals in the living room.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Marty is selling me pot ten years by
this time and more in the six months since I quit drinking than the last three
years combined. We grow closer than ever during that half-year despite drowning
our respective brains in smoke and pharmaceutical-grade narcotics. Once upon a
time we do nothing but exchange wadded up cash and half folded sandwich bags of
weed, but now watching television and talking music makes our list. I listen to
him moan about so-called whores who just want his drugs, spit and swear about
the aunt he rents from, and drive him to pick up methadone when my money’s low.
He lays free weed on me for the trip. The five year old’s parents, a young
couple, are heroin addicts off the needle and driving twice a week to an
Indianapolis methadone clinic. Dad sells weed too and trades some of their
“take home” supply for ounces of Marty’s marijuana. We talk about their five
year old after each visit and take turns suggesting someone call Child Protective
Services. Neither of us volunteer. <o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“That’s just fucked up though, man,
you know? Who does that shit to a little kid?” Marty says.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I shake my head. “I don’t know,
dude. Look at their place though. It’s obvious they aren’t managing shit at
this point.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>He snorts. “That’s for fucking sure,
Karl.” I recall him turning up my car radio and the sinewy strains of The
Rolling Stones’ “Stray Cat Blues” filling the interior. “You like the Stones, right?”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I shrug and say, “Yeah, I go through
phases.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>He turns his head and stares out the
passenger side window. “My mom, man, <i style="mso-bidi-font-style: normal;">huge
</i>fan. She listened to albums like <i style="mso-bidi-font-style: normal;">Exile
on Main Street</i> and <i style="mso-bidi-font-style: normal;">Sticky Fingers</i>
all the time. I know you read music bios. You ever read that one Keith Richards
dope man wrote?”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I remember skimming it once in an
used bookstore. “Yeah, <i style="mso-bidi-font-style: normal;">Down and Out with
the Rolling Stones</i>?”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>He smiles and nods at me. “Yup,
that’s it. She made me read that book when I was twelve ‘cause she got all
offended I liked that poppy Toto tune ‘Rosanna’.” I can still see his downcast
gaze when he snickered. “I lost that fucking book at school, first day I took
it. Wasn’t supposed to leave the house with it. Oh fuck, she was <i style="mso-bidi-font-style: normal;">pissed</i>. Whipped my ass with her
boyfriend’s belt and took my music for a week.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The freezing violence of his
memories paralyzes me and my silence makes him squirm in his seat. He looks out
the passenger’s window again. “It’s no big deal, really.” The words come slow.
“I feel sorry for that kid. That shit with their kid, a fucking song on the
radio, I’m ready to get high… you know.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I do know. Marty punctuates that
year’s summer with methadone runs and mid-grade marijuana. I turn thirty that
April and live in a glorified closet at my parents’ while he bears down on
thirty-six, lives in a double-wide add-on to his aunt’s sagging A-frame, and
staggers through each day in a narcoticized haze. He’s like a misshapen boulder
rolling downhill. I say nothing about it though; it isn’t what we do. I want
to, I think about how to say he worries me in a way that won’t annoy him, but no
one calls anyone out over anything and for every finger I might wag, three
point back at me.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Marty stares at methadone tablets
like a child admiring a cookie. He holds them between his fingertips close to a
light and scans each side while tracing a free finger around its edges. I watch
him drop a pill in a glass of water and remember it hissing like a basketful
of snakes. When the dissolving stops, Marty empties it fast. He closes his eyes
and rolls his head.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I see a thin line of white powder
stretching above Marty’s upper lip, let loose an outsized cough, and run a
fingertip across my own upper lip when he looks at me. <o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Missed some,” I say.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Marty’s tongue shoots out from
between his lips and licks off the powder. “Leave no grain undigested,” he says
and laughs. I am still waiting to hear another laugh like it. Laughter bubbles
deep within his belly, jolts his frame, and pistons out of his mouth in bursts
like salvos from small artillery. <o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">**<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I don’t hear from him again for two
days. I’m filling out a thin pile of job applications late Friday morning when
he texts. His message is brief: downtown at the park I gotta get out of here
man. His words are packed with implied urgency more involving than any job
application and, besides, my latest bag of weed is half empty. Riding to his
rescue likely means more pot.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>He’s waiting in the alley behind the
park when I pull up. I can still see how he looked that day and remember how we
always referred to our lifestyle as “partying”. I don’t know why. If battering
your brain into a blackout is your idea of a party, you’ve never known
happiness. Parties are celebrations and we never celebrate anything. He
definitely doesn’t look festive.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>There’s always some dishevelment
defining his appearance, but that fall day brings a different breed of
disarray. He’s pale and sweating. It’s a sunny day with temperatures in the mid-fifties and the perspiration covers him in a slick gleam. His matted blonde
hair looks pasted to his skull. Slamming my door like someone yanking their
hand from a fire rattles the car and fills me with a warm flush of annoyance. <o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“What the fuck, man?”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>He frowns and straightens against the
seat. “I’m sorry, just get me the fuck out of here, okay?” I can still hear him
nearly shouting and recall how emotion cracked his voice. I nod and drive away.
We are no more than a half a block out before he speaks again.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Just take me home, alright? Cool.
I’ve been waiting downtown all morning for this one guy to deliver on some
‘dones and I’ve got fucking nothing to show for it, then all these fucking
leeches down here, always Marty get me high, Marty kick me down some bud, fuck
all those motherfuckers, kick <i style="mso-bidi-font-style: normal;">me</i> down
some fucking money or narcotics, <i style="mso-bidi-font-style: normal;">bitches</i>.
Fuck!” He slams a clenched fist down on the door arm rest and blows out a rush
of air. “Sorry again, fuck.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Chill out, just chill out. The guy
didn’t show. What are you going to do, you can’t change it.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Oh, I got a hold of him. I’ve got
to wait until around five.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Then you just go home and hang
tight.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>He snorts. “Yeah. Easier said than
done.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>We drive through the city in
silence. It isn’t that long ago when I felt the same as he did then. My
drinking life ends with days of hearing demonic voices from an air conditioner,
vomiting, and recurring nosebleeds. I dream of slobbering hellhounds turned
inside out chasing me down when I sleep. I want to tell him I lived through
those things and don’t anymore. I want to say he’s killing himself. And so what
if I did? I know even then, there’s no transformative moment coming on the
heels of my supposed sage advice. I will not see him arch his eyebrows, widen
his eyes, and swear off narcotics.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I settle for saying something safe.
“Marty, you’ve gotta start taking better care of yourself. It’s no good getting
this strung out. You know that, bro.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I speak slow, soft, and measure my
words. He is looking at me when I glance to gauge their impact. I tell myself
it is too late to talk like this. He hears me, but does not listen. His milky
skin, sweaty sheen like bubble wrap, and red-rimmed eyes tell me what I don’t
want to know. <o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“I’m alright, Karl. Don’t worry
about me. I’ll be alright.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>We pull to a stop in the short
gravel driveway flanking his trailer. I just want to get away and go smoke a
joint. I don’t even care if he has pot to give me. <o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“I’ll just drop you off and see you
later. I’ve got some crap I need to go do.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>He nods and opens the door. “Cool,
man. Thanks for the ride. The ‘dones guy is bringing me a quarter pound too. I
don’t have any bud to give you right now, but get with me tomorrow afternoon.
I’ve got you, bro.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Okay, I will.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I watch him shamble to his door and
step inside before driving home. When I’m home, I smoke a small joint and go
back to filling out job applications. He sends texts later that night full of
nonsensical rhapsodizing about his buzz. I call and text many times the next
day and there’s no answer.<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">**<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I check my phone when I wake Sunday
morning. There’s an unanswered call from Marty and an unheard voicemail. Seeing
those notifications opens my overheated valves and blows off an enormous cloud
of mental pressure. I can get more weed because he isn’t in jail. I’ll see him
soon because he isn’t dead.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Someone else called me from Marty’s
phone. “This message is for Karl. I’m Marty’s stepdad Don. I stopped by today
to talk with him and found him in a coma. He’s at the hospital now. They say
there’s no brain activity. I called the police. We know he overdosed, but we
don’t know what and how much. If you know, it may save his life. Call me back
at this number.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I disconnect. The calm voice
stripped clean of warmth echoes in my memory. I hear no worry spiking every
third word with an anxious quiver. He talks, instead, about cops and says way too much after that. <i style="mso-bidi-font-style: normal;">We</i> know he’s
overdosed, <i style="mso-bidi-font-style: normal;">we</i> don’t know what or how
much, it’s too much for <i style="mso-bidi-font-style: normal;">me</i>. Marty’s
inbox holds a running record of my recent drug use and I’m sure good old Don
read every word. I’m certain he passed along my eighty character pearls to law
enforcement.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>My first thought is fuck calling him
back. Instead, I want to delete the voicemail and texts, smash the phone with a
hammer, and pray police aren’t soon knocking at my door. I sit on the bed’s
edge staring at the floor. The stepdad says he called cops and I believe him.
It’s an overdose. I picture Marty’s latest quarter pound of marijuana in plain
view or sitting on a detective’s digital scale. If he says the cops know, I
have to believe him and believe they know everything.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Telling his stepdad what I know may
deflect any legal blows I might absorb. <i style="mso-bidi-font-style: normal;">You’re a rat. You’re going to snitch him out to save your ass.</i> The
thoughts explode in my consciousness. Imagining Marty’s blind anger towards me
for telling his stepdad anything sits me up wincing. Word will spread. Everyone
will know. It’s betrayal.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I need to live with myself though. I
remember once digging cash from a dying pill addict’s pocket. His shallow
breathing never dulled my thirst for another bottle and I told everyone,
including myself, he passed out. I never tell myself no in those days. Climbing
over dead bodies for what I want isn’t new. Enduring new casualties demands the
scale of my scamper isn’t too steep. <o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I will call him back and cherry-pick
details. Parse facts to form a self-serving narrative. Isn’t parsing unpleasant
facts a skeleton key to sane adulthood? I will snitch but not snitch. I tell
myself Marty will understand my situation. With zero irony. <o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Hello?”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Yeah, is this Don?”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Yes, it is.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Okay, good. This is Marty’s friend
Karl. I just got your message and wanted to call back hoping I can help
somehow.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Yeah? What drugs did he take,
Karl?”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“All I know is he complained a lot
about foot pain and told me he’d been eating painkillers to deal with it. He
never said what kind. I didn’t ask.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Silence. “Anything else you want to
tell me?”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>I’m pressing the phone hard enough
against my temple that it aches. <i style="mso-bidi-font-style: normal;">Yeah,
man, I want to end this call right now. </i>“No, I don’t think so.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>“Okay. Thanks for your call.”<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>The conversation ends within a
minute. I hear the same icy degrees present in the earlier voicemail and doubt
he believes anything I say except my name. Why should he? I didn’t snitch on
Marty. We snitched on ourselves. I roll my last joint and keep telling myself
that while smoking. <o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Law enforcement never visits then or
the next day. The tension machine guns my thoughts and makes my skin tingle. I
drive to Marty’s methadone dealer hoping to buy more pot. He waits for me to
bring up the obvious before telling me Marty died that afternoon. I watch him
break apart thick marijuana buds while he speaks. The five year old is still
jailed and watches me with wide, wet eyes when I leave.<o:p></o:p></span></p>
<p class="MsoNormalCxSpMiddle" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Our capacity for codas contracts
after thirty. Time compresses and collapsed connections resist reconstruction.
We tumble, instead, through years of hard stops dreaming of days when
experiences ended with an ellipsis. I want to say I remember his funeral and
wished his family well. I want to say I remember something healing. I called
him friend and drug dealer and he died. Marty courted death, campaigned for it,
but no suicide frees the hook from my tongue. No code or credo absolves me from
my part, however small, in leaving him a corpse. His mom and stepdad bans everyone but family from Marty’s funeral excepting one woman he gave drugs to
with vain hopes of fucking her. She claims to be his girlfriend and Marty’s
mom, embracing the thin veneer of pathos only a breathing grieving girl
provides, offers her front row seating. He waits a year for a gravestone. <o:p></o:p></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-30733197483311568632019-06-01T19:25:00.002-04:002021-04-21T03:01:44.088-04:00Red Light Mama, Red Hot - a short story<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Red Light Mama,
Red Hot</span></u></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><br /></span></u></b></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">written by Jason Hillenburg</span></span><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> </span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">There ain’t no
backin’ out when you’re born to lose.</span></i></div>
<div class="MsoListParagraph" style="margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">-<span style="font: 7pt "Times New Roman";">
</span></span></span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Humble
Pie, “Red Light Mama, Red Hot!”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>When Anthony doesn’t find anyone to
fuck, he will fuck himself instead.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He tries to get me to have sex once.
It is late at night and we are sitting on a railroad bridge in the middle of
the city. We are off on the rocks alongside the track and a quart bottle of
vodka stands between us. It is our second in the last six hours but we are
still talking and understand what one another is saying. It is a minor miracle.
I know him four years then; he is twenty six and I am twenty one. We know each
other three years by this time. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>We are talking about a mutual
acquaintance going to jail because the cops found three ounces of marijuana in
his backpack when he steers the conversation in an one hundred eighty degree
direction. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“Karl, let’s fuck.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>I laugh and he smiles
before dismissing me with a wave of his hand. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“Don’t lie to Mama, Karl. You know
you’d like it.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>A hard burst of laughter doubles me
over. Everyone calls him Mama. I start hearing the nickname a little over a
year after first meeting him and it sticks. Few ever call him Anthony anymore.
He picks up the moniker because he drinks too much and bellows out Janis Joplin
tunes, most of the time “Mercedes Benz” or “Me and Bobby McGee”, when he has
the glow. In those days alcohol never slows Mama up. Instead, the liquor charges
him and gives him wide-eyed energy. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“Nah, Mama, I don’t think so. Let’s
just be friends and stick with drinking, okay?” I grin. “Besides, I have a
headache, bitch.” </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>His loud laugh blends with the low
watt hum of a small city night. He reaches across and slaps my shoulder. He is
still laughing when he says, “Very funny, motherfucker.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>Those moments are common in those
early years of knowing each other. It is the time before rehabs, jail terms, funerals,
narcotics and pills stand tall as landmarks in our lives. It is the mid
nineteen nineties and I can control my fate. I will do this until I am twenty
five, stop on a dime, and turn my world around. I wonder now what went through
Mama’s mind. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>I know less and less with every new year.
His skill with a tattoo gun and translating his fine freehand artwork from page
to skin sets him apart and makes him money. He is never sober long enough to
work in an established parlor. He draws a lot and inks many tattoos in that
time before rehabs, jail terms, funerals, narcotics and pills, but a television
set takes it away from him. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He finds love after we know each
other five years. Bryan is a sinewy eighteen year old with high cheekbones and
brown hair running a little long. He has a muscular build despite his delicate
features. He is Mama’s type. Mama wears motorcycle bandanas around his head, a
leather vest of some sort, a t shirt and jeans with a score of heavy boots over
the years. Mama is a slap in the face rebuke of those who picture homosexuals
as lisping would-be sirens of the stage. The pock mark scars on his face ages
him far more than his twenty eight years. Bryan is the pretty boy he can never
be. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He is also violent. Bryan lives in
youth homes throughout much of his teenage years thanks to fights at school and
home alike. Mama fights with him as well. One or both of them are sporting some
sort of facial bruise, a black eye perhaps, or a swollen purple cheek. Mama
likes it. The mutual beatings are foreplay for him. If he has worries, he hides
them well. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He needs to worry. They argue on a
Friday night, drunk as usual, fuck, and then pass out together on the floor.
Bryan wakes up first on Saturday morning. It is a little after eleven am. I can
only picture what happens next. Maybe he is still angry from the night before
when he decides to pick up their large television set, raise it above him, and
bring it crashing down on Mama’s head. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>Bryan leaves the television sitting
on Mama’s head while he calls the police to report what he has done. Maybe he
is still angry from the night before, but I<i style="mso-bidi-font-style: normal;">
know</i> he is out of his mind. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>The call saves Mama’s life however.
Skull fracture, check. Brain bleeding, he has that too. He is in a coma while
the local hospital treats his skull and stops the bleeding. On the third day he
wakes up. His older brother Anton is there. Everyone refers to them as “the
twins” though they do not share the same birthday; they share a close
resemblance to each other and nothing more. I drink a lot with Anton as well.
He has a reputation for hair-trigger violence, roughhousing women, and selling
marijuana he claims comes from Fort Shiloh Indian Reservation. I am never clear
about what discipline but he has some martial arts training. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>We are standing next to Mama’s
hospital bed watching him eat ice cream. “Karl, I’m gonna kill Bryan. He gets
out of jail or bonded out, he’s a dead man,” Anton says.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>Mama involves himself before I have
a chance to answer. “Anton, shut the fuck up. Bryan is messed up,” Mama says. I
remember how he slurs some of his words and sounds a little woozy. He pauses. “Besides,
if anyone is gonna do anything to him, it’s going to be me,” he says. His voice
softens. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>No one ever kills Bryan. The county
sees fit to ship him off to state prison for a long stay and he finds trouble
there as well. Wave goodbye to credit for good behavior. He is still talking,
breathing, eating, drinking, and sleeping, but Mama dies when the television
smashes into his skull. Nothing is ever the same again and everything
post-television is anti climax piling on.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He tosses self regard out the
window. The first time we are in country jail together I am twenty three and
spending thirty days downtime on the heels of a shoplifting charge. Most of my
preceding summer washes away in a tide of stolen Manischewitz wine, but they
catch me after drinking too much and stumbling back in for more one hot August
night.<span style="mso-spacerun: yes;"> </span>He shares the same cell block
with me and fourteen other prisoners and guards bring him in on my second day.
Police pick him up for public intoxication every other month and he walks the
next day, but spitting on a cop this time has him staring down a likely
sentence. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“That’s what they say I did, at
least. Fucking pigs,” he says. A sneer curls a corner of his mouth. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He disappears into his cell for a
hour or so the first afternoon and comes out with wet clothes. The county
jail’s inmate laundry turns whites into browns and it isn’t outside the lines
for inmates to do their own laundry with nothing more than water and jail
issued bars of soap. Mama does not care if the county locks him down with a
baker’s dozen of homophobes; he is gay, wears lingerie under his street
clothes, and wants to dry them out over the rail of the cell block’s second
tier. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>Grumbling and an assortment of fuck
that shits peppering the cell block do not impress Mama. He arches his
eyebrows, bobs his head from side to side, and says nothing. No one gets in his
face. Most people know his reputation or don’t know enough to dare try. Mama is
a big guy, takes a punch and keeps coming, and will try pulling an eye out if
you get too close. So, instead, one of the fuck that shits stands and presses
the dayroom call button.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“What?”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>The jail guard sounds half asleep.
Fuck That Shit says, “Uh, unless the jail wants sued, I think you better get in
here ‘cause a fag is gonna get killed.” I remember the guard’s voice booming
we’ll be there through the small speaker and can still see Mama walking out of
the cell block within ten minutes smirking with lingerie in tow. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>Something about him tells me he
wants beaten. Mama wants those angry inmates pummeling him so he can spit blood
in their face and ask for more. Most human math is simple and his life is no
different. He has an arch macho brother, a rogue gambler for a father, and
growing up as an overweight homosexual boy in love with drawing and music
doesn’t add up to a happy childhood. His public face to it all is cocking his
chin in the air and clenching his fists. I think to this day his private face is
a cowing little boy sure he will be whole against once the world exacts its due
for his defects.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He never draws again, retires his
tattoo gun, and drinks more than ever before. I never ask about his artwork
again. Something new creeps into his voice however. He talks more and more
about needing to quit drinking. Anyone capable of coherent thought will agree
especially when he lives through days when alcohol shatters his mind to such an
extent he walks downtown oblivious he has shit all over himself. When his
brother points it out to him in a near whisper, Mama sits down on a bench and
stares at him. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He quits drinking. I remember
talking to him after he is two weeks sober and he beams with pride. I see him
near the city’s bus stop one day. He is waiting for a ride home. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“I hadda quit drinking, man. I got
sick, went to jail, or both every time I’d get drunk. Fuckin’ shit is evil,”
Mama says. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“I’m glad to hear it,” I say. “You’re
crazy on the sauce anyway. Scare-ee. You need to discover calmer recreational
pursuits. Smoke an ounce of weed a week.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He smirks and waves his hand at me. “Nah.
I’m doing about thirty Xanex and Percosets a week though. Makes the not
drinking thing a lot easier to do.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>I roar with laughter. “Mama, you can’t
be gobbling thirty pills a week! It isn’t any way to quit anything. You’re
gonna kill yourself!”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>He cocks his head backwards taken
aback by my response. “Don’t worry, Karl, it’s cool. I’m doing alright,” he
says. His voice is relaxed but hushed. Butting heads with his alcohol abstinence
plan wounds him a little. You can’t argue against addict logic. It is like
persuading a dog to be a cat. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>Hemingway says once that all
stories, if continued far enough, end in death. All addicts, if they keep
using, die at the feet of their chosen high. He lives another year, another
ring of hell, soon dispensing with the pills for outright narcotics and his use
picks up even more. I find out about his death in the newspaper. Overdose. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>There’s a post-overdose as well. A
city day shelter for the homeless and poor stages a memorial for Mama at a
downtown church. I see it then and now as a full on shot of melodramatic grief
and know then a chunk of attendees will be those who avoid or laugh at Mama when
he is alive. I do not attend. One thing makes me smile. He has a pending court
case for a charge of disorderly conduct when he dies and the court dismisses
the case. Mama sticks it to The Man one last time.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Something within him wants him to die. I
dare not call it a demon. There is nothing mystical about it.<span style="mso-spacerun: yes;"> </span>It is a shadow self some wrestle with off and
on throughout their lives. Mama wrestles more than most. It is a quaking in our
guts when we get what we what we want. It is the darting search for shadows
when we hear someone’s laughter. It is the fathers who did not love us enough
or never fully understand how. We are broken somehow and do not deserve to be
here so, instead, we will pummel our bodies into dust. I don’t know why we ever
call it partying. We are celebrating nothing. <span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-76417449058339759132019-05-30T07:07:00.000-04:002019-05-30T07:07:28.574-04:00Variations on a Concussion - a short storyBy Jason Hillenburg<br /><br />
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Variations
on a Concussion</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Someone
or something is always hitting Robbie in the head. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">He
is a skillful sketch artist and reads a lot on when I first meet him. Sometimes
he sings Uriah Heep’s “Stealin’” in a cracking tenor croon. I am eighteen and
he is thirty five hitchhiking around the country. He talks often over the years
about the cities he sees but never mentions much about the rides. He lives
homeless by choice and his thirst for vodka is double-barreled. Red label Dark
Eyes vodka eighty proof is his drink of choice. Robbie, however, relishes days
when he has a few extra dollars for its 100 proof blue label counterpart. I
never drink vodka until we are hanging out. It tears us both down over time. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">He
stops drawing by his forty second birthday and doesn’t read much. We are still
drinking together after a near decade of him spending more time in county jail
than out, but seven years of losses leave notches on our lives we cannot
remove. It is the summer his head takes the first of many blows I hear about or
see. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
am not there when it happens. I’m walking downtown to meet him and by the time
I get there local high school kids, weed smoking skaters, tell me “your buddy
took a spill, man”. Our main meeting place is a downtown park, no bigger than a
convenience store parking lot, and a downtown outdoor mall sits caddy corner
from its borders. The mall has two levels and one of its marquee attractions is
a college bar above a Taco Bell. The designers placed a tall limestone pillar
at the mall’s entrance and flanking the sidewalk. Over the years I see
countless college kids tossing spare change from the bar’s small elevated
outdoor balcony. The kids tell me about Robbie climbing the pillar today look
for liquor money. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
remember how high they are. One roars with wide-eyed wonder about how Robbie
managed to scale the pillar twice before he pushes his luck over the edge.
Another says Robbie climbs the pillar the third time, but easing himself back
down goes wrong quick. He misses the fourth step down and falls several feet to
the concrete below. He takes the bulk of the blow to his back and side, but his
skull snaps against the ground on landing. I picture then and now the change
spilling from his pockets like air rushing from a balloon puncture. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
fall bruises him black but does not break his back. He spends a week in the
hospital with a Grade 3 concussion before he is free to drink and never climbs
the pillar again. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
worst is still to come. I spend some extra money I pocket from selling weed on
two hits of blotter acid. Robbie declines my offer of a hit. I buy us a half
gallon of vodka after recalling a winter night years ago when I ingest four
hits of LSD and drink two quarts of tequila without ever feeling it. We trek
across the city, through a far flung city park, and plant ourselves on the
rocks of a nearby railroad line. I learn early on in my drinking that railroad
tracks and surrounding woods are good spots for drinking in public. You never
see a cop if you stay smart. We drink thousands of times in this area without
incident. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It
changes when we hear an oncoming train. We hear its shrill whistle long before
the engine car reaches our field of vision. Robbie says he is going to place a
penny on the tracks; passing trains flatten them into thin copper ovals. He
grins and rewrites his plan. He will not just put a penny on the steel rail, he
will do it while the train is moving past them. Even humming from a rising LSD
high it makes no sense to me and I say so. He grins again and calls me pussy. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
tell him I can live with that. I do not believe him. He convinces me when the
train engine is a few hundred feet away. Robbie fishes a penny from his pocket
and starts sliding across the rock towards the rail line. I tell him he is a
stupid fuck and he needs to calm the fuck down, but he calls me pussy again and
says he will be fine. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
cannot turn away. I watch him timing moving as much as he can and gasp when I
see he leans and lands the penny on the rail. Backing out with the same timing
does not happen. The train is moving fifteen to twenty miles a hour in the
city. It is fast enough for the corner of a service ladder to hit him in the
head and close my eyes when I see it coming. It sounds like a battering ram
blasting open a locked steel door. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
keep my eyes closed and listen to the train pass. I know he is dead. I am going
to open my eyes and see skull splatter covering nearby rocks. I decide on
keeping my eyes shut and crawling off so I never have to see his remains. Police
are in my future. This may even make the newspaper. </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">He
calls out my name. His voice is weak, but clear. I open my eyes and see him
pulling himself along the rocks towards where I sit and his skull is intact. I
see no blood. My heart rate explodes and I scamper over to him. He sits up on
the rocks and I tell him I cannot believe he is alive. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Robbie
nods, looks at me, and blood starts streaming from the crown of his head down
the left side of his face. I gasp and take off my shirt. I twist into a near rope
and wrap it around Robbie’s head above his eyebrows and tighten it in a thick
knot. He bleeds a little more but it soon stops. I do not look at its source.
Those handful of minutes are among the most frightening in my life. </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
tell him he should go to the hospital and I’ll walk with him. It is not far. He
says no, however. He says he needs a drink. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Two
of our mutual street drunk friends with a sleeping room give Robbie somewhere
to crash when they hear about his injury. He sleeps for four days on their
floor, only moving to use the bathroom, and hits the streets collecting
aluminum again five days later. We are drinking together again and not far from
those railroad tracks. That night we are sitting around a small homeless camp
fire in the nearby woods drinking with a few other men. One is a middle aged
Harvard graduate everyone calls Professor. He smiles when he hears the
nickname, takes gulping shots from any bottle, and exudes a melancholic glow.
Another man, Dale, is someone I know for years. He is small and wiry, always
looks twenty pounds underweight, and bald across the top of his head. I remember
him talking about an army stint ending when they boot him out for dealing
cigarettes during basic training. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
last man is Kevin. Kevin is black, a lot older than me, but a few years younger
than the other men. Everyone knows him a few years at this point. He pops up
selling weed downtown after moving from Indianapolis and builds a lot of quick
connections in the city. He loses his job washing dishes at a downtown
restaurant and invites himself to sleep in the camp. No one objects. Tonight
Robbie objects. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It
is all fine for hours. I help kill a fifth of vodka when me and Robbie first
walk into the camp and we are deep into a half gallon. It is a hour or so past
sundown when I first see how Robbie leers at Kevin anytime he talks. Kevin
mixes jokes about pussy and fat girls with brief rants about how no dumbass
downtown punks are going to fuck him around. It is a jolt when Robbie says shut
the fuck up nigger. No one laughs. I look at Robbie with wide eyes and a slack
jaw and glances at me before looking back at Kevin.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Kevin
tells him he better keep his mouth shut with that shit. Robbie flutters his
lips and says whatever nigger just getting tired of hearing you talk all the
time. I glare at Robbie. My stomach tightens with anger, but it feels wrong
now. There is not a single day when potential self-harm doesn’t color my
choices. I heap punishment upon myself with a spatula. Robbie is far from his
right mind even removing his latest head trauma from the record and I cannot
judge him for that now. I hate him then. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
hate him because he cannot be normal. I hate him laying a blanket over my buzz.
Kevin snaps to his feet, grabs a folded steel chair from the ground, and belts
Robbie across the side of his head. The blow slams into the opposite side of
his train injury and knocks him onto the ground. I hate him enough to decide he
deserves a few shots. Fuck his dumb shit, let him take a couple of belts. He
stands over Robbie and wallops him on the top of the head, but the steel chair
is not heavy and the second blow glances more than Kevin intends. I am sure. He
wants to know what Robbie wants to say now and screams it again and again.
Robbie does not answer. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
stop Kevin when he swings back for a third blast. He glares at me when I clutch
the chair mid air and tell him no more. His mood passes quick and he nods. He
asks me if he is right for beating Robbie’s ass and I nod, say hell yes, and
Kevin sits back down. The four of us still upright are drinking again while
Robbie moves slow on the ground. He groans for a minute or so before passing
out. The Professor says we better make sure he’s breathing and I see his chest
rising and falling in rhythm. He starts snoring. Kevin says Robbie is lucky. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Luck
has nothing to do with it. He absorbs these blows and more to come. He lives to
drink another day. One day I stop drinking with him and treat anyone else the
same. I close those days down and move on in many ways, but mingle along the
edges of Robbie’s life, keeping tabs, driving him places sometimes, taking his
mail from an assortment of county jails and, more than a decade later, a Texas
state prison. The last time I see him sweat blurs his red face and tears swell
from his eyes. He tells me he is going to die soon. I say that’s defeatist
bullshit.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">He
dies a few weeks after his fiftieth birthday. Some of the local homeless sit on
street corner benches across the street from the county library’s rear parking
lot. It has an unusual design with a high cobblestone beaded walling squaring
around the wooden benches. The downtown drunks call it “The Office”. Robbie
stumbles up one day and sits next to an unnamed man who says they talk. He says
Robbie falls asleep a few minutes after sitting and slumps over a half hour
later. The man sees his sort of thing before and knows Robbie is dead. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
hear someone uses his head for a punching bag two days before he dies. Someone
is still hitting him in the head. Robbie goes to the hospital and they perform
no scans. They keep him for observation overnight instead, notice nothing wrong,
and release him the next day. Nothing is ever off the table for us. Blind
chance shapes his life and his days are like variations of a concussion. Luck
has nothing to do with it. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-8907398313304410242018-10-30T16:55:00.000-04:002018-10-30T16:55:12.537-04:00Yam Haus - Stargazer (2018)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">: </span><a href="http://www.yamhaus.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://www.yamhaus.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/yamhaus"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.</span><span style="font-family: "Avenir","serif";">facebook.com/yamhaus</span></a><span style="font-family: "Avenir","serif";"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER: </span></u></b><a href="https://twitter.com/YAMHAUSBand" target="_blank"><span style="font-family: "Avenir","serif";">https://twitter.com/YAMHAUSBand</span></a><span style="font-family: "Avenir","serif";"></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Craig Bowles, posted by blog admin</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Yam
Haus starts their debut album off with its title cut “Stargazer” and the song
sets an early tone for the release that its following songs ably live up to. A
synthesizer layered introduction recurs throughout the course of the title
song, but Yam Haus augments it with some cutting guitar riffs and spartan
drumming that never lays on a single excessive beat. It isn’t a groove centric
tune, ala some rock or jam band tune, but there’s no question Yam Haus
establishes a straight forward approach from the first with this polished tune.
Lars Pruitt’s vocals are a highlight here and throughout the release, but
another early peak comes with the track “Kingdom”. Pruitt has easy going pop
singer charisma, but also the authoritative punch to command your attention and
an obvious talent for realizing the potential of his vocal melodies. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Get
Somewhere” has a more playful tone than many of the other songs on <i style="mso-bidi-font-style: normal;">Stargazer</i>, empathized by its vocal
melody, but Pruitt doesn’t neglect strengthening the song with on point
phrasing that realizes its dramatic possibilities. Pruitt’s flexibility as a
singer makes this one all the more enjoyable and it has an effortless forward
rush that carries you away. “Too Many People” grounds the music a little more
than we’ve grown accustomed to over the course of the album’s first quarter
thanks to Yam Haus moving away from electronic accompaniment in favor of piano
and Pruitt proves he has a voice ideally suited for such a context.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Right
Now, Forever” is the first low-key acoustic track included on <i style="mso-bidi-font-style: normal;">Stargazer</i> and the band handles this
stylistic shift with singular aplomb. Assuming that Lars Pruitt’s guitar
contributions are largely consigned to rhythm playing, Seth Blum’s gorgeously
rendered acoustic playing on this track counterpoints his voice quite nicely.
The rhythm section of bassist Zach Beinlich and drummer Jake Felstow excel with
the late pop gem “Bad News” and it results in one of the album’s most memorable
turns, particularly thanks to the song’s vocal melody. Pruitt tackles that
facet of the songwriting with supreme confidence. </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“This
Won’t Be The Last Time” has a strong bass pulse thanks to Beinlich’s playing
and effervescent backing vocals punctuating Pruitt’s voice. It’s a straight
ahead pop jewel polished to a bright glow and the accompanying synthesizers
help flesh it out even more. The “true” climax for Yam Haus’ <i style="mso-bidi-font-style: normal;">Stargazer</i>, “Groovin’ (That Feel Good
Song)”, more than lives up to its billing thanks to its bright jauntiness and a
compelling rhythm that hooks into listener’s consciousness and never lets go.
Yam Haus has debuted in the best possible way with <i style="mso-bidi-font-style: normal;">Stargazer</i> – there isn’t a single dud included in its track listing
and its impossible to ignore the inspired nature of their performances. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-81218873443724245222018-07-23T16:33:00.000-04:002018-07-23T16:33:14.676-04:00Astronomique - Sharp Divide (2018)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEBIWr2SpR0QPxNVfKHQO__-JosBMEszCA5dPVtJfOCu1J5DoGEz_4KpirlrMhFGLiFB46NLNdrlHoADGxMBA1hVLNJn_YoRd478hOJhyphenhyphenZ-GagudK3kyEoPehdsWVvEiZlzFelvKzTCHU/s1600/astro.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="432" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEBIWr2SpR0QPxNVfKHQO__-JosBMEszCA5dPVtJfOCu1J5DoGEz_4KpirlrMhFGLiFB46NLNdrlHoADGxMBA1hVLNJn_YoRd478hOJhyphenhyphenZ-GagudK3kyEoPehdsWVvEiZlzFelvKzTCHU/s320/astro.png" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u>OFFICIAL:</u></b> <a href="http://www.astronomiquemusic.com/">http://www.astronomiquemusic.com</a></div>
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<b style="mso-bidi-font-weight: normal;"><u>FACEBOOK:</u></b><span style="mso-spacerun: yes;"> </span><a href="https://www.facebook.com/astronomiqueband/" target="_blank"><span style="color: black; font-family: "Gill;">https://www.facebook.com/astronomiqueband/</span></a><span style="color: black; font-family: "Gill;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u>TWITTER:</u></b> <a href="https://twitter.com/Astronomiques" target="_blank"><span style="color: black; font-family: "Gill;">https://twitter.com/Astronomiques</span></a><span style="color: black; font-family: "Gill;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u>INSTAGRAM:</u></b> <a href="https://www.instagram.com/astronomiques/" target="_blank"><span style="color: black; font-family: "Gill;">https://www.instagram.com/astronomiques/</span></a><span style="color: black; font-family: "Gill;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u>BANDCAMP:</u></b> <a href="https://astronomique.bandcamp.com/" target="_blank"><span style="color: black; font-family: "Gill;">https://astronomique.bandcamp.com</span></a><span style="color: black; font-family: "Gill;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Written by Pamela Bellmore, posted
by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Forefathers” opens Astronomique’s
Sharp Divide with the sort of confidence you don’t often hear from new bands.
This Minneapolis based four piece has threaded together an irresistible sound
coupling the best elements of electronica, eighties flavored Euro pop, and a
deceptively strong singer/songwriter sensibility dominating the album as a
whole. “Side of Your Mind” has a bright bounce from the first and singer/keyboard
player Logan Andra Fongemie’s vocal shares the same upward, optimistic tilt, a
mood in short supply on Sharp Divide. Drummer Mitch Billings and bassist
Preston Saari distinguished themselves on the album’s opener, but they
demonstrate their versatility here as they don’t play such a prominent role in
the mix, yet provide a center for “Side of Your Mind” immeasurably enhancing
the song. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The tracks “Losing Our Control” and
the title song are likely the album’s pinnacle. There are extraordinarily good
songs following this tandem, but the duo of songs near the album’s midway point
stand a cut above thanks to the unified effort you can hear in both
performances. Fongemie’s synthesizer playing is an integral part of the band’s
sound, rather than pure ornamentation like it might be for lesser acts, and the
delicate, nearly crystalline qualities of her voice are equally fitting for the
material. The title song seems to be the more impressive of the two thanks to
the extra dollop of passion Fongemie brings to her singing. “Smoke”, however,
takes a slightly different and welcome shift on the band’s template this far
and succeeds in focusing more on atmospherics without losing the musical plot. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Unspoken”, however, returns us to
the more familiar terrain of the album’s first four songs and rivals the
aforementioned tandem of “Losing Our Control” and the title song without ever
repeating itself. Hogan’s guitar work here is especially strong and one can
feel his inspiration working with such a talented rhythm section team. “Bleed
Me” is another of the album’s marquee numbers and effectively juxtaposes its
intense lyrical content with another slightly melancholy, but entertaining
musical arrangement. “Hardly Deliberate” maintains the same approach to
Fongemie’s vocals defining the album on the whole while it brings a tense,
rolling arrangement to bear anchored by the potent interplay between Saari’s
rib rattling bass and Billings’ drums. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Heading Nowhere” seems to bring
Sharp Divide to a dispirited conclusion, but it is reminiscent of the earlier “Bleed
Me” in its willingness to bring a relatively dire lyrical mood together with a
freer, slightly more upbeat musical identity. Few albums are as clearly conceived
and laid out as Sharp Divide and it’s a testament to the band’s innate
chemistry, particularly between Fongemie and her songwriting partner guitarist
Sean Hogan, but bassist Preston Saari and drummer Mitch Billings make a big
impact on the album’s final form. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-59150328682894182632018-07-22T15:26:00.002-04:002018-07-22T15:39:07.262-04:00The Lime Pit (1980) by Jonathan Valin<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR5WgCzGO0neQR5uv11BBdW9Am4bz9Igia2q4jEn8YioQMWnSO_nElcETDF9C9SRtqG3CuFdlPTTr2N0TBUrhFXzD4OPAiLUCT84bCCLsC0iME7ZC1wSyMOKOZR59FzLZMfnjGax0G4g8/s1600/lime.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="225" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR5WgCzGO0neQR5uv11BBdW9Am4bz9Igia2q4jEn8YioQMWnSO_nElcETDF9C9SRtqG3CuFdlPTTr2N0TBUrhFXzD4OPAiLUCT84bCCLsC0iME7ZC1wSyMOKOZR59FzLZMfnjGax0G4g8/s320/lime.jpg" width="200" /></a></div>
Written by Jason Hillenburg, posted by blog admin<br />
<br />
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</xml><![endif]--><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Jonathan Valin's <i>The Lime Pit</i>,
his first novel and Cincinnati private eye Harry Stoner’s debut, has strong
points, but isn’t wholly successful. The book’s publication came during a
period when the style’s resident titan, Ross Macdonald, fell silent and the
thriving paperback market made room for potential successors like Valin,
Stephen Greenleaf, Robert B. Parker, and Loren D. Estleman, among others. Valin
never reached the same level of sales and visibility enjoyed by Parker, but his
Stoner series has largely weathered posterity’s judgment and deserves
revisiting. </span>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Key components are, admittedly,
dated. The idea of underage sexually explicit materials circulated via Polaroids
is as quaint to 2018 experience as phone booths and recording weddings with a camcorder.
Valin engages questions of morality and conscience in a manner reminiscent of
Macdonald, but still groping for its voice. These questions are, ultimately,
more important to Valin than the novel’s plot mechanics. The character of Cindy
Ann, her disappearance functioning as a sort of inciting incident for Valin’s
story, is a MacGuffian. The Lime Pit is much more about Stoner’s reactions to
and challenges with the situation. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">We learn a little about him. Stoner
played football in college, served in Vietnam. He isn’t practically monastic
like Marlowe and beds the occasional lady painfully aware of modern love’s
vagaries. Macdonald’s Lew Archer is a profound influence, but never in an
overly imitative way and Stoner never comes off mired in the same cloudbank of
dispirited melancholy emanating from Macdonald’s legendary character, <span style="mso-spacerun: yes;"> </span>Stoner, however, isn’t fully fleshed out.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Some of his crucial motivations are
glossed over or outright tossed aside to keep the plot moving. Valin tries to
pick his spots with underwhelming effect. Authors never need to belabor the
underlying history and thought processes informing every decision, but laying a
bit of breezy social commentary and two cents worth of psychology on readers is
perfunctory at best. Promising opportunities for bringing added depths to
Stoner’s character are passed over to serve formula and form. We get some, but
Valin could have given so much more.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The book reflects its time period.
Stoner’s 1979/1980 Cincinnati is a microcosm of an America on its heels
stumbling into a new decade still punchy from the punishing one-two of Vietnam
and Watergate. The national concussion makes Valin’s characters come off
slightly woozy and bearing the claw marks of marginalized people hanging on for
dear life.</span><br />
<br />
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Sometimes the dialogue falls flat or
else reads like it’s cribbed from movies and past masters. Too many, but not
all, of <i>The Lime Pit</i>’s secondary characters are cardboard. In the end, however,
you will likely forgive Valin’s failings in favor of his presence. He
orchestrates the form’s conventions with a steady hand and Stoner’s first
person narration is consistently engaging thanks to Valin’s vivid flashes of
prose punctuating his lines. <i>The Lime Pit</i> is a solid opening to a great series.
</span></div>
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-78390955370857008792018-06-28T14:05:00.001-04:002018-06-28T18:21:34.331-04:00Sky Orchid - Oculus (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAXz6pWulpxXFf0xUrrgEU3qiOqo97DKk_-aCxcsE6rEG4U4IMccpNePbZFhegOpJa26HHEy5W8CMq1LkeDeSKhVBHNovbbNZ3jyIjo3zFZKc1aW7Y3FmUgkImP2IG0txhhtmsudf7a2s/s1600/sky.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="489" data-original-width="1000" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAXz6pWulpxXFf0xUrrgEU3qiOqo97DKk_-aCxcsE6rEG4U4IMccpNePbZFhegOpJa26HHEy5W8CMq1LkeDeSKhVBHNovbbNZ3jyIjo3zFZKc1aW7Y3FmUgkImP2IG0txhhtmsudf7a2s/s320/sky.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="https://skyorchid.net/">https://skyorchid.net/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/skyorchidofficial/">https://www.facebook.com/skyorchidofficial/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="https://twitter.com/skyorchidband">https://twitter.com/skyorchidband</a></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by Laura Dodero, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Sky
Orchid’s Oculus begins with the evocative cut “The River” and Gabriel Traynyak’s
vocals immediately stand out as among the most individual I’ve heard in recent
years. The brothers form Sky Orchid, Gabriel and Daniel Traynyak, are
thoroughly modern sounding and share similarities with many first rate
recording acts of today, but “The River” and later songs possess a distinct
character unlike the vast majority of offerings from acts in this vein. The
highly stylized qualities of their songwriting and presentation are further
explored with the second track “Sneakers”, but there’s less focus on the duo’s
rock influences in favor of a sleek, streamlined pop rock approach. There’s a
strongly cinematic quality to the duo’s music, as well, and the opening tandem
of tracks illustrates this exceptionally well.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“In
the Fire (Pt. 1)” has a ballad-like construction many will enjoy. The
sensitive, lyrical introduction with guitar and voice alone soon gives way to a
steady rock push from Daniel Traynyak’s drumming. His talents on the kit and
top notch production virtues often come together on Oculus to take already fine
material and send it stratospheric. “Wildfire” and “I’ll Stop the World (Pt. 2)”
are cut from the same musical cloth as the album’s other eight songs, but they
strike a marked contrast with each other. The former is a largely acoustic song
only returning to Sky Orchid’s familiar melodic sweep in the song’s final half.
“Wildfire” is a welcome gear shift on the album proving the duo has a wider
songwriting and performing range than many listeners might initial suspect. “I’ll
Stop the World (Pt.2 )”, however, foregoes acoustic guitar entirely and rates
among the album’s best nods to rock’s influence on their music. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Gabriel
Traynyak’s vocal for “Lex” is among the album’s best. His elastic voice covers
the gamut from the opening’s restrained, atmospheric delivery through
gut-wrenching soulfulness in the song’s second half. Tucked into the
tracklisting just after the album’s halfway point, it may be overlooked, but I
don’t hear a slack second during the song. “Breathe Easy” is more of a lark, a
loving take on influences from artists as diverse as Sublime and Bob Marley,
but there’s a rambunctiousness about this track only wild-eyed youth usually
produces; it’s jarring but daring to turn another direction entirely near the
song’s end and unleash a full shred guitar hard rock final curtain. Some will
love it; frankly, some will hate it. </span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">One
of the album’s best examples of spot on guitar melody comes with the track “Take
It All”. The light bounce of the central guitar figure sustains itself through
an assortment of changes and Gabriel Traynyak gives a smooth, gliding
performance playing off well against the six string’s bright energy. The album’s
penultimate tune “Yesterday” opens with ominous piano and drums before
keyboards and guitars enter the picture and the song settles into a steady
tempo. It’s definitely the darkest moment musically on Oculus, but tasteful and
never testing listener’s tolerance for self indulgence. “Fortify” closes Oculus
with a nuanced mid-tempo piece firmly in keeping with the earlier songs and
acting as a sort of “falling action” following the climax we hear with the
previous track. Sky Orchid’s Oculus is one of 2017’s more impressive debuts ,
yes, but it’s one of the best first efforts in recent years as well. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-66071107904855777222018-06-19T09:06:00.002-04:002018-06-19T09:06:47.399-04:00Joshua Ketchmark - Under Plastic Stars (2017)<div class="separator" style="clear: both; text-align: center;">
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<b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://www.joshuaketchmark.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://www.joshuaketchmark.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
<b><u>FACEBOOK:</u></b> </span><a href="https://www.facebook.com/josh.ketchmark"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/josh.ketchmark</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Pamela Bellmore, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There
are likely to be two dominant schools of thought regarding Joshua Ketchmark’s
Under Plastic Stars. The first will find Ketchmark’s twelve song collection to
be a remarkably unified work, both lyrically and musically, with nary a hole to
be seen in the track listing. Another point of view will likely peg Under
Plastic Stars as a remarkably promising work slightly marred by too many
similarities between songs and potentially benefitted by being pruned by a
couple of tracks or else varied with one or two uniformly uptempo numbers. I
side with the former. Ketchmark obviously wanted this to be an intimate affair
and the predominantly mid-tempo cast of the material reinforces listeners’
concentration on the material. You can’t say this about a lot of releases, but
the lyrics for Under Plastic Stars are important – even when they aren’t
reaching high for some storytelling peak, they are obviously cut from a
distinctly personal cloth and listeners will get a real sense of who Joshua
Ketchmark is by album’s conclusion.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
particularly like the audaciousness of opening with the musically placid but
vocally and lyrically heartbroken “We Were Everything”. Ketchmark throws us,
from the first, into the emotional breach and his melodic talents as a
songwriter make it a distinctly, if improbable, memorable listening experience.
The acoustic guitar work is superb throughout the entire album, but this is one
of many high points for playing on Under Plastic Stars. “Every Mystery”, the
album’s second tune, is another track that does a superb job of mixing the
singer/songwriter mold of the material with an appealing commercial edge that
never overreaches. Some hints of Ketchmark’s more poetic side emerge here, but
it’s a romantic song, in essence, and Ketchmark delivers it with the emotion
such tracks demand. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Let
It Rain” and “Lucky at Leavin’”, in tandem, make for one of the album’s
greatest peaks. The first is one of the more atmospheric performances on Under
Plastic Stars, but it never sounds unnecessarily stagy or straining to impress
listeners. I’m taken by how Ketchmark can use common turns of phrase like “let
it rain”, a common song title throughout popular music history, and make
something of his own from the familiar. “Lucky at Leavin’” is a beautifully
lyrical folk tune, in essence, adorned with some discreet electric guitar and
keyboard touches that flesh it out into something truly memorable. “Get Out
Alive” has a fatalistic air not common to the other eleven songs and a dollop
of blues coming through its arrangement while the late tune “Sweet Surrender” brings
piano into the mix with powerful emotional impact. Under Plastic Stars reveals
Ketchmark to be a truly talented figure and explains, in one fell swoop, why he’s
been such a sought out collaborator and sideman for so many important
performers and bands over the years. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-78745073466703942912018-06-14T05:18:00.000-04:002018-06-14T05:18:14.178-04:00Black Bluebirds - Like Blood for Music (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
</span><a href="http://blackbluebirds.com/"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">http://blackbluebirds.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
</span><a href="https://www.facebook.com/BlackBluebirds"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">https://www.facebook.com/BlackBluebirds</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Craig Bowles, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Love
Kills Slowly”, the opener to Black Bluebird’s Like Blood for Music, sets the
emotional tone of the album from the outset. The Minneapolis trio isn’t really
a power trio, in the strictest sense, since the core three piece is greatly
enhanced by contributions from other musicians on Like Blood for Music, but “Love
Kills Slowly” makes it clear the core three are the heart and soul of the band,
without question. Guitarist Simon Husbands and drummer Chad Helmonds pack the
band with a terrific amount of hard rock muscle and the jagged sheen from
singer/lyricist Daniel Fiskum’s keyboards is the final key musical ingredient. There’s
definitely a hint of the familiar surrounding these songs, but it’s never put
forth in such a way that it smacks of cliché – instead, Black Bluebirds’ Like
Blood for Music recasts familiar strands in new colors and it makes for a vivid
listening experience. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
album has an ideal opener with the song “Love Kills Slowly” and Simon Husbands’
guitar work is a big reason for the song’s success without ever bearing down
too heavily on the performance. Some listeners might need to adjust to Daniel
Fiskum’s vocal sound, but Jessica Rasche’s near duet with him sweetens the
sound thanks to the rich texture and tone of her voice. “Life in White” shows
off the album’s first major stylistic shift with incorporating acoustic sounds
into the band’s usual intense structure. Fiskum’s singing has a memorable grain
to it, a near drone in some ways, but it comes off quite impassioned here while
never going too far. “Battlehammer” implies that the band is going to bring a
hard hitting stomp to bear and Black Bluebirds doesn’t disappoint, but there’s
never any heavy handed reliance on the nonsense we hear from lesser bands. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“House
of No More Dreams” comes off as definitely one of Like Blood for Music’s
centerpieces and the care they’ve put into making it come alive is notable for
even such a great overall release. “House of No More Dreams” comes off as
definitely one of Like Blood for Music’s centerpieces and the care they’ve put
into making it come alive is notable for even such a great overall release. Husbands
and Helmonds do a great job imbuing the song with much of its musical drama,
but the singers aren’t too shabby either.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Soul
of Wood” is one of the album’s best uptempo numbers as it hits a sweet spot
between Husbands’ guitar work and Fiiskum’s oddly ominous keyboard playing
working in accompaniment. Helmonds’ drumming is equally crucial to bringing
this one off and his pushing, straight ahead attack enhances the song
immeasurably. “My Eyes Were Closed” expands on the potential I hear in the
earlier “House of No More Dreams” in a gripping way. The song really is an even
longer reach than the aforementioned tune and Husbands’ contributes some
potent, chaotic lead work. Like Blood for Music is an effort that will be
difficult for Black Bluebirds to follow up on, but the quality is such I have
confidence there are even brighter days ahead. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-28038496391762807332018-03-05T11:52:00.002-05:002018-03-05T11:52:54.883-05:00Rejectionist Front - Evolve (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://rejectionistfront.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://rejectionistfront.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/RejectionistFront/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/RejectionistFront/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Pamela Bellmore, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">New
York City based four piece Rejectionist Front’s second studio album Evolve
avoids any of the wavering we sometimes hear from an act’s sophomore release
and, instead, refines their songwriting template and consolidates their
position as one of the rising indie rock outfits working today. Fronted by
singer/songwriter Michael Perlman with Lincoln Prout single handedly taking
care of the band’s guitar duties, the album’s twelve songs show off
Rejectionist Front’s influences without ever sounding like slavish imitation.
There are some obviously commercial rock songs included on Evolve, but there
are some more artful and idiosyncratic tunes included on Evolve that often veer
past hard rock and into top shelf prog metal reminiscent of a harder edged
Pearl Jam or Queensryche with a crucial difference coming with how Rejectionist
Front only boasts a single guitarist rather than two. Produced by World2Be
Entertainment, Rejectionist Front’s second release has a powerhouse
presentation guaranteed to capture the attention of both casual and hardcore
fans. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There’s
definitely an exultant quality to some of Rejectionist Front’s music that,
thankfully, eschews any heavy handedness or over-simplifications. This quality comes
across at a few key points during Evolve and one of the most notable is the
album’s opener “Ride”. It’s also a powerful illustration of the rare vocal
strengths they bring to a style and genre not ordinarily known for acts with a
top shelf vocal presentation. They pursue their Muse down a more solidly
traditional hard rock avenue with the second track “All I Am” and Perlman shows
off, for the first time, the capacity for adapting his voice to a song’s
demands. “Savior” continues in that traditional hard rock vein with a
particularly punchy chorus and more of the outsized guitar muscle that defines
the album’s songwriting as a whole. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Rejectionist
Front tempers the brash, even bellicose, spirit of their music for the song “All
is the Same” but this more even-handed, restrained approach still bears
signatures of their style and fits in rather well with the surrounding material.
“Reclaim” revisits the anthemic potential of the album’s first song and, like “Ride”,
refrains from pandering to listener’s conventions about such material. “Flush”
is a single from the album and it’s shortest track on a release where running
times are largely uniform with only a few notable exceptions. The sleek, lean musical
attack makes all the right choices if the song’s intent is immediacy and engaging
the audience and Perlman delivers one of the best vocals you’ll hear on Evolve.
The atmosphere of melancholic sensitivity pervading “Hold Or Break” contrasts
dramatically with the song’s heavier passages and the varying tempo of the song
nevertheless maintains the needed seamlessness for a coherent performance.
Evolve’s closing number “Inside of Me” is another more thoughtful and
orchestrated cut relying just as much on affecting vocal harmonies as it does
compelling guitar theatrics. The meditative spirit of the release provides a
valuable counterpoint to its boisterous, assertive sound and helps make it an
even better, more entertaining listen. Rejectionist Front are quite unlike many
rock bands working today and our music world is better for it. <span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-25503043636213509812018-02-06T13:09:00.000-05:002018-02-06T13:09:06.502-05:00Chris Murphy - Water Under the Bridge (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b>
<a href="http://chrismurphymusic.com/">http://chrismurphymusic.com/</a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/chrismurphymusic1/">https://www.facebook.com/chrismurphymusic1/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/chrismurphymusic1/">https://www.facebook.com/chrismurphymusic1/</a></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by Frank McClure, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">A
self-proclaimed purveyor of folk, blues and “gypsy jazz”, Los Angeles’
multi-instrumental troubadour Chris Murphy debuts his flagship album with The
Blind Blake Blues Band, <i style="mso-bidi-font-style: normal;">Water Under the
Bridge</i> and,boy, is it a doozy!<span style="mso-spacerun: yes;"> </span>This
14 song collection presents a world worn, well-travelled sound that dates back
to the early 1900s and goes through a musical criss-cross spanning several
different major musical decades and landmark genres.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">It’s
nearly impossible to pinpoint Murphy and his crew’s exact sound but trace
elements of the above-listed genres found on Chris’ website are as accurate
starting points as any.<span style="mso-spacerun: yes;"> </span>You could also
include r & b, southern soul, 50s rock n’ roll, finely aged bluegrass, pop
songwriting hooks and even orchestral/symphonic arrangements in terms of the
aural vast scope and the sheer number of instruments covered across this 5-star
outing.<span style="mso-spacerun: yes;"> </span>Murphy himself plays many of
them and on this record he contributes vocals, violin, electric violin, fiddle,
mandolin and guitar.<span style="mso-spacerun: yes;"> </span>He might be
responsible for even more instruments than that but it was as much as I could
wring out of the album’s bio.<span style="mso-spacerun: yes;"> </span>What Ry
Cooder does for the guitar and all of its forms (slide, bottleneck, acoustic, electric,
etc.), Chris takes on terms of the violin.<span style="mso-spacerun: yes;">
</span>His playing of which is heavily featured on every single composition
heard here ranges from a lead role to a true soloist to rhythm work and even
atmospheric soundscapes like the ones heard on the multi-layered,
double-tracked violins of album finale, “Cheer Up Mickey.”<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">You
never hear the exact same tune twice on <i style="mso-bidi-font-style: normal;">Water
Under the Bridge</i>.<span style="mso-spacerun: yes;"> </span>Despite the
massive leans towards traditional styles heard on this release, the way in
which they are adopted and pressed into the sound feels like new musical
territory or at least the return to territory that has long since been
unoccupied.<span style="mso-spacerun: yes;"> </span>The album goes in all guns
blazing thanks to “Moveable Feast’s” dizzying swerves between nitroglycerin-charged
ragtime piano and country-tinged rockabilly that pits a pumping upri<a href="https://www.blogger.com/null" name="_GoBack"></a>ght bass against death-defying violin work which feels like
an uncharted cove in a style that’s been timelessly honored by greats such as
Elvis Presley, Hank Williams and Johnny Horton.<span style="mso-spacerun: yes;">
</span>Murphy includes instrumentation that is denser and much more labyrinth
like than all three of these leading men’s groups put together and Chris
manages to pull off this feat on the opener without singing a note.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">In
fact <i style="mso-bidi-font-style: normal;">Water Under the Bridge</i> is nearly
built upon instrumental cuts that barrage the listener with a bevy of tuneful
styles that never go out of date or truly reach an expiration date.<span style="mso-spacerun: yes;"> </span>It’s on these wordless passages that Murphy
and The Blind Blake boys shine the brightest.<span style="mso-spacerun: yes;">
</span>The beefy, bluesy bass foundations of “Joan Crawford Dances the
Charleston” provide steady ground for Murphy to paint unfolding tapestries of
violin while a lively piano rhythm provides even more bang for the buck than
the drumming (which here occupies an auxiliary stance).<span style="mso-spacerun: yes;"> </span>It’s not until the caution to the wind,
freewheeling bluegrass and frenetic, fast-paced piano/electric guitar swipes of
“Table for Two” that we even get a vocal melody and it sure is a good one.<span style="mso-spacerun: yes;"> </span>It’s a vibe that’ll return two tracks later
on the spirited, country folk jazz of “I Swear I’m Going To Learn This Time.”<span style="mso-spacerun: yes;"> </span>Aside from these noticeable excursions much
of the album’s remainder is instrumental; the slow dance Nashville dip of
“Riverboat Blues,” the free-form piano pizzazz and exotic acoustic guitar
elegance of “My Spanish Lover,” the whirlybird bluegrass ride of “The Lemon
Rag” and the scowling, bourbon swilling saloon workout of “Dog Ear Blues” are
just a few of the instrumental masterpieces on this record and there’s many
more tunes that equally as good on this record that share in Murphy’s love of
instrumental music with a farmland aura.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Whether
allowing the vocals to steal the show or letting the music work its mesmerizing
magic, <i style="mso-bidi-font-style: normal;">Water Under the Bridge</i> is a
perfect record.<span style="mso-spacerun: yes;"> </span>I can’t think of
anything else out there right now that sounds like what Murphy and his band are
achieving.<span style="mso-spacerun: yes;"> </span>This is an upper echelon set
of songs from an upper echelon set of players that should be in every true
music fan’s collection.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-3374967807813923942018-02-05T18:13:00.002-05:002018-02-05T18:14:34.317-05:00Alpha Mule - Peripheral Vision (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="http://www.alphamulemusic.com/">http://www.alphamulemusic.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">BANDCAMP:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="https://alphamule.bandcamp.com/">https://alphamule.bandcamp.com/</a></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by William Elgin, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">With
its faded, Civil War style band photo on the cover of the album and its primary
members holding their musical weapons of choice (acoustic guitar and banjo,
respectively), it’s very apparent what you’re getting on Alpha Mule’s debut LP,
<i style="mso-bidi-font-style: normal;">Peripheral Vision</i>.<span style="mso-spacerun: yes;"> </span>With 15 tracks all told including the
record’s 5 bonus tunes, there’s a lot to explore on this lengthy, side-winding
release.<span style="mso-spacerun: yes;"> </span>Featuring a cast of supporting
players providing trumpet, harmonica, lap/pedal steel, drums, Hammond organ,
mellotron and both electric/upright bass provided by Calexico’s own Joey Burns;
<i style="mso-bidi-font-style: normal;">Peripheral Vision</i> has a ripe, rich
musical atmosphere that always throws some curveballs and wild pitches in the
direction of its audience.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">High-octane
banjo and full-speed acoustics beam in “Corpus Christi” from the darker side of
bluegrass.<span style="mso-spacerun: yes;"> </span>There’s a smoky, dank
atmosphere to the slinky, shifty melodies and heartfelt vocal harmonies.<span style="mso-spacerun: yes;"> </span>Burns gifts the background with some deep,
swaggering upright bass while Connor Gallaher shades things in with steel
guitar ambience.<span style="mso-spacerun: yes;"> </span>One of the bonus tracks
is a duo version of this track and it’s interesting to compare this version
with the stripped down album closer version that features only Joe Forkan’s
acoustic guitars and vocals alongside Eric Stoner’s ornery banjo runs.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“On
the Moon” is a vintage country crooner that dials back the darkness and allows
a sundrenched acoustic guitar licks to lead the charge as Stoner duels the
vibrant guitar lines with some punchy banjo licks of his own.<span style="mso-spacerun: yes;"> </span>Even the vocals take cleaner, clearer turns
and approach some near “pop” melody even if the type of country that the boys
play is far and away from what’s considered “pop country” in 2018.<span style="mso-spacerun: yes;"> </span>Fen Ikner’s brush played snares and Joey’s
tightly threaded bass grooves craft an airtight jam shimmering with
anthem-ready melodies and a congruent instrumental vibe where the instruments
always complement each other; refusing to spiral off in flashy directions that
would take away from the songwriting as a whole.<span style="mso-spacerun: yes;"> </span>The title cut is dripping with heartbreaking
musical sadness in the fine tradition of Hank Williams Sr. as low hung bass
licks, hurdy gurdy acoustic guitar and a wayward banjo wander beneath Forkan’s
melodically aching lamentations on love.<span style="mso-spacerun: yes;">
</span>Those Hawaiian sounding steel licks only add a deeper aural sadness to
the overall mixture of exotic instrumental layers.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Some
Elvis influence feels apparent on “Pavlov” where the duo kicks the tempos in
the pants and rough ride their way right into the heart of rockabilly country.<span style="mso-spacerun: yes;"> </span>Aggressive upright bass licks swagger their
way to the forefront as these low-end melodies duel at high noon with the six
shooter banjo patterns and heavy acoustical firepower.<span style="mso-spacerun: yes;"> </span>Even Joe’s voice adopts a huskier baritone
that will instantly remind fans of The King’s lauded work.<span style="mso-spacerun: yes;"> </span>“Mule in the Mine” is similarly uptempo with
its explosive guitar/banjo frenzy but the end result is more in tune with Bill
Monroe or some pioneering bluegrass than the Presley fury of the preceding
number.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Elsewhere,
“Step Outside” is another penultimate country tearjerker fashioned from
deliberate tempos and wailing steel guitars that wraparound the main
instruments tightly, “Music of our Hearts” incorporates Mexican-flavored horns
into a busy bluegrass jam, “Empire” feels like a more song-oriented take on
Ennio Morricone’s grand teachings, “Short Man’s Room” is a blue-eyed soul
classic and “Drift” is an echo-y, twanging drone that barely lasts a minute and
sets up the duo version of “Step Outside” perfectly.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">All
in all <i style="mso-bidi-font-style: normal;">Peripheral Vision</i> is a varied
and challenging record with absolutely every corner of the classic country
gallery explored.<span style="mso-spacerun: yes;"> </span>From bluegrass to
“Tear in my Beer” heartbreakers, this is an absolute must have for fans of the
genre.<span style="mso-spacerun: yes;"> </span>Each and every composition could
be a single on this release and it’s one that fans of the style are going to
want to pick-up posthaste.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-88084003959445622652018-02-05T17:23:00.000-05:002018-02-05T17:23:02.920-05:00Blue Apollo - Light Footed Hours + Circles (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/blueapollomusic/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/blueapollomusic/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://twitter.com/BlueApolloMusic"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://twitter.com/BlueApolloMusic</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Pamela Bellmore, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Not
as danceable as Panic at the Disco! and perhaps not as anthem-ready as Fallout
Boy, Blue Apollo are worthy and formidable peers to such modern day
indie/pop/punk giants such as the aforementioned outfits.<span style="mso-spacerun: yes;"> </span>This Texan trio isn’t afraid of outbursts of
bombast nor do they have qualms about digging in and exploring their softer,
slow dance side.<span style="mso-spacerun: yes;"> </span>They carefully and
successfully mix n’ match ideas, vibes and sounds to arrive at a cohesive end
result with 6-tunes all told that definitely belong with one another.<span style="mso-spacerun: yes;"> </span>Light-Footed Hours is really a pleasure to listen
to once you let its warm sonic massage bounce off of your brainwaves.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There
are a few varying types of numbers strewn through this release and the tempos
flux enough to keep the songwriting interesting.<span style="mso-spacerun: yes;"> </span>A vivid, lucid dream indie melody collides
into an aggressive drum attack thanks to skinsman Jeremiah Jensen during opener
“Walls’” stop/start rhythmic syncopation and labyrinth-like guitar licks going
from starlit sparkle to searing leads.<span style="mso-spacerun: yes;">
</span>Guitarist Luke Nassar is also lead vocalist and his trembling, quaking
inflections makes use of a nice high-range capable of skyward falsetto and
hovering vibrato.<span style="mso-spacerun: yes;"> </span>Luke also lets fly
with a pretty frenzied little rock n’ roll guitar solo as the track comes to a
close (a tactic he uses to a similar great effect on the fuzzy, indie riff
rocker “Therapy”).<span style="mso-spacerun: yes;"> </span>Completing a one-two
lead in punch “Feeling Right” pipes in soul, ska and funk influence thanks to
some shaggy, almost reggae inspired guitar tones.<span style="mso-spacerun: yes;"> </span>The shuck n’ jive, laid back tempos and
wraparound rhythm work cements the guitars and vocals into a solid foundation
that never shows any weak or shaky spots.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Also
on the rocking end of the tip bonus track “Circles” overflows with thumping,
propulsive tom roll patterns, smooth yet slightly distorted guitar licks, deep
bass lines and intoxicating piano melodies that never let up in terms of hooks,
catchiness and all around contagious melody making.<span style="mso-spacerun: yes;"> </span>“Avalanche” is completely different than
anything else on the EP; weighing in as a slow, steamy ballad only featuring
Nassar’s glistening vocal timbres and a limelight piano melody to start things
off.<span style="mso-spacerun: yes;"> </span>Piece by piece things start to come
together with the soft addition of drums, bass and guitars, the song eventually
giving way late in its runtime to some indie/emo crash n’ bang that paints a
layer of melancholy on a decidedly pop-punk canvas.<span style="mso-spacerun: yes;"> </span>Much of the same can be said of “Meant to Be,”
although the lengthy lead-off this time is comprised of delicate acoustic
guitar chords and Luke’s voice only, before other instrumentation decisively
comes cutting through your stereo speakers.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">All
in all <i style="mso-bidi-font-style: normal;">Light-Footed Hours</i> is a
magical EP that shows great promise for this Texan power trio.<span style="mso-spacerun: yes;"> </span>There’s enough variety to please those
looking for a unique take on the genre and there’s also the usual tropes that
indie, emo and pop punk fans will lap up voraciously.<span style="mso-spacerun: yes;"> </span>The rockers are as equally competent as the
ballads and the entire EP ends up being worth your time.<span style="mso-spacerun: yes;"> </span><a href="https://www.blogger.com/null" name="_GoBack"></a><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-82289853559559340992018-01-24T18:28:00.000-05:002018-01-25T03:27:05.963-05:00Shofar - s/t (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho8L15q9iWEsUW3MajQQ2pJx_VHXn9Wrz_PqJiH9yqEaMfzblmkUwNINJbNBZw5IbfwstByUoV94kOyMwQQx6BSwG_DrlzB3EsL5X5TpBEjM8tY5TqegRMpueS2FpdTUTCWiuvxjibr8M/s1600/shofar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho8L15q9iWEsUW3MajQQ2pJx_VHXn9Wrz_PqJiH9yqEaMfzblmkUwNINJbNBZw5IbfwstByUoV94kOyMwQQx6BSwG_DrlzB3EsL5X5TpBEjM8tY5TqegRMpueS2FpdTUTCWiuvxjibr8M/s1600/shofar.jpg" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">BANDCAMP:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="https://shofar.bandcamp.com/releases">https://shofar.bandcamp.com/releases</a></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by William Elgin, posted by blog admin</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Minneapolis
has always been a hotbed for indie rock bands of various stripes and the five
member outfit Shofar is set to solidify their place among their ranks with
this self-titled EP release. It marks a return to activity for Larry Hagner's project since their 2005 release Turn and Hagner's vocals and songwriting skill have lost nothing after the long layoff. The six song effort, in all honesty, comes closer
to being a short album by modern standards rather than an EP effort and there’s
a level of diversity in the band’s songwriting here supporting such a point of
view. They’ve perfected every rock pose and strut in the book while peppering
these familiar elements with a message and personality all their own bringing a welcome
degree of lyrical intelligence to their songs giving the release more
impact. These are intensely human and ruthlessly direct tunes, even at their
most melodic, and arresting thanks to the conviction with which Shofar sings
and plays. It’s artful abandon, forever skirting the line between energy and
full on raucousness, and worth every second. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">They
aren’t shy about flexing their six string firepower and come barreling towards
listeners with precious little preamble on “Running”. Shofar, fortunately, aren’t
one dimensional enough to exclusively rely on a power rock attack and shift
into another gear for, arguably, the EP’s finest chorus. The band’s vocals are
another key in bringing added color to their approach, emotive and melodic, yet
commercial as well and a point of entry for novice listeners. There are few
guitar heroics on the opener and even less with the EP’s second track “Powerman”.
Shofar’s commercial inclinations are a little more pronounced with this track
and it has, in general, a much lighter touch than its predecessor. Backing
vocals are more of a consideration beginning with this track, but the lead
vocal is unmistakably effective on its own and only enriched by extra voices. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“Shades
of Grey” will find favor with many as the EP’s most lyrically evolved number
and continues much of the same music mood we heard with the second track. “Powerman”,
however, was a song looking out whereas “Shades of Grey” is a song looking
within and the band’s writing shows the same charged potential for engaging its
audience on each cut. “Hands Down” has another strong contender for the EP’s
finest chorus and generates a deceptive amount of energy considering its
mid-tempo pace. Dynamics are much more at the forefront of the band’s concerns
with the track “Countdown” as they spend much of the song’s first half building
an inexorable musical head of steam before the guitar leaves a mark on the song
and Shofar ratchets up the dramatics to a higher gear than before. The presence
of piano as an important instrument further sets the song apart. Shofar ends
their self-titled EP with “The Coming”, easily the most experimental moment on
the release and a resounding success. The band’s traditional instrumentation is
in place, but working in a much different style than we become accustomed to
over the previous five songs – Shofar explores a near psychedelic texture here
and the vaguely hallucinatory air has a slow, graceful elegance. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-2803915959217166862018-01-16T07:30:00.000-05:002018-01-17T03:29:42.353-05:00Man Called Noon - Everybody Move (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHwD2szhf_qZtWgqT86RQeJPsS8bxSwzY7nHPJe7_V0yaw6sBNgog5jrOH-yxjTeF-V5gT0rFgz6DA0Wstm4va0EfEub5WAHgf8_td70J5rTfU8OXghuNRkEu5DY-RovyDiXnbG0m-wgQ/s1600/man.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHwD2szhf_qZtWgqT86RQeJPsS8bxSwzY7nHPJe7_V0yaw6sBNgog5jrOH-yxjTeF-V5gT0rFgz6DA0Wstm4va0EfEub5WAHgf8_td70J5rTfU8OXghuNRkEu5DY-RovyDiXnbG0m-wgQ/s320/man.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="http://mancallednoon.com/">http://mancallednoon.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/mancallednoon/">https://www.facebook.com/mancallednoon/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <a href="https://twitter.com/ManCalledNoon">https://twitter.com/ManCalledNoon</a></span></div>
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<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by William Elgin, posted by blog admin</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">There’s
a level of concision and surety of purpose guiding Man Called Noon’s
Everybody Move that you rarely hear from any musical project. The three song EP
embodies the sound of a band that knows exactly where it wants these
performances to go and how to accomplish that. The eight member Chicago based
unit does a remarkable job of never allowing too many cooks in the kitchen at
once, so to speak, while providing each of the players and singers some
opportunity to shine. Everybody Move stresses songs capable of establishing an
immediate and dynamic connection with listeners while still allowing the
compositions a chance to highlight their talents as instrumentalists. The two
guitar attack of lead player James Marino and rhythm guitarist/lead singer
Anthony Giamichael complement each other so well that their playing partnership
sounds seamless – it is difficult, sometimes, to tell where one ends and the
other begins. This sort of unity between musicians is indicative of the EP as a
whole. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
first song is the title track. It’s a minor, but sure, indication of their
confidence when they put the nominal statement song for their release in the
front runner position. The confidence is justified as “Everybody Move” manages
to entertain while making an intensely personal statement and the weaving of
patiently developed rhythm section playing alongside the guitars sparkles
brighter thanks to Nathan Crone’s sensitive and unstintingly melodic keyboard
playing. Man Called Noon keeps their songwriting instincts sharpened to a
fine edge and none of the tunes on Everybody Move exceed their mandate, but the
title song is arguably the best realized track. “Kiss Kiss Bang Bang” has a
totally different, more dangerous tenor and the band convincingly pulls it off
while still retaining their melodic indie rock sound. The song’s raw
physicality engages listeners from the first and Giamichael unleashes a fun,
rambunctious vocal every bit the equal of its instrumental performance.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Probably
the most traditional moment of the EP comes with the concluding track “One Last
Ride” but a flair for the personal helps this song rise above any inklings of
formula and there are some individual performances, especially James Marino,
that leap out from the song. Marino’s skills for tough-minded rock guitar are
unquestionable, but he brings something extra to his attack thanks to the
natural talents he has for capturing melodic content. It’s a strong exclamation
point for Man Called Noon’s third release and Everybody Move marks a true new
beginning for an abundantly talented band just now hitting their stride.
Interested listeners will likely one day look back to the release of this EP as
a transformative moment for Man Called Noon’s creative journey and where they
go from here will surely be a rewarding adventure. </span></div>
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<![endif]--><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-4599508098124865002018-01-04T15:37:00.001-05:002018-01-04T15:37:22.049-05:00Michael Askin - Road by the River (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNMPgtevLPGj82dciG-VTizrNbtJjSinOTV2Ss9Y1fDlFKSb4NSLFntefcDglAavjv3Bk61p6gLCNHscOpGAzZ_m1MiQDrIFhghDz13TiamgwGjnsQo3NlEEJIYKJJHRKSYeUVzn24wD0/s1600/askin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNMPgtevLPGj82dciG-VTizrNbtJjSinOTV2Ss9Y1fDlFKSb4NSLFntefcDglAavjv3Bk61p6gLCNHscOpGAzZ_m1MiQDrIFhghDz13TiamgwGjnsQo3NlEEJIYKJJHRKSYeUVzn24wD0/s320/askin.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">REVERBNATION:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.reverbnation.com/michaelaskin"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.reverbnation.com/michaelaskin</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/MichaelAskinMusic/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/MichaelAskinMusic/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Pamela Bellmore, posted by blog admin</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Road
by the River, the new five song EP release from New Jersey based
singer/songwriter Michael Askin, is a relatively unassuming collection, but
there’s a warm glow radiating from these five tracks that’s, in turns, haunted
and deeply felt. He’s largely working in a folk/singer-songwriter mode, but there
are definitely nods to country, blues, and rock influences peeking out at
various times during this listening experience. Askin, fortunately, surrounds
himself with a top notch cast of collaborators obviously sympathetic to his
musical vision and they play with a singular focus aimed towards best serving
the songs. Despite the retro style Askin has chosen to adopt for his
songwriting, it has a fresh vitality that prevents it from ever sounding like
an academic exercise. Much of this is thanks to the superb writing and
uninhibited sensitivity Askin shows for giving us an artful peek into his life
and heart.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">We
can hear that in the cool and confident jaunt he takes through the EP’s title
number and opener. The drums are captured especially well and set a memorable
tone for the performance as a whole, but the true beating heart of the song
comes with Askin’s emotive singing and the satisfaction arriving with the
chorus. It’s the only time he makes extensive use of harmonies to buttress his
singing, but it’s exceptionally well done and memorable for its brevity. Some
of the inevitable chagrin you experience when you feel like you aren’t being
heard and held down comes across with the song “Nashville” and, although he
communicates his dissatisfaction clearly, Askin’s songwriting is distinguished
for its lack of pointless vitriol. It’s one of the EP’s darkest musical moments
as well.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Not
quite as dark as “Sun Goes Down” however. Askin, with this song, arguably goes
deeper than anywhere else on the EP and his guitar playing particularly stands
out thanks to its shadowy elegance, taste, and soulful touch. He hits another
high point with the song “Hard to Make a Living” and this Merle Haggard-ish
(lyrically) meditation on rough times allows his country music influences to
come through a final time. The EP’s ending number, “Last Train”, mixes a dollop
of rock into a folky blues shuffle that’s brief, but becomes more interesting
as it goes along. It’s, lyrically, probably his most Americana tinged moment on
the EP and feels like a satisfying finish for the EP in every way. Michael
Askin’s Road by the River doesn’t have to pretend to be authentic; there’s a
life well lived coming across on every song. </span></div>
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<![endif]--><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-3956878181563483062018-01-04T10:52:00.001-05:002018-01-04T10:52:57.131-05:00Sarah Morris - Hearts in Need of Repair (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://www.sarahmorrismusic.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">www.sarahmorrismusic.com</span></a><strong><span style="font-size: 12.0pt;"></span></strong></div>
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<strong><u><span style="font-size: 12.0pt;">FACEBOOK:</span></u></strong><strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;"> </span></strong><a href="http://www.facebook.com/sarahmorris10"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">www.facebook.com/sarahmorris10</span></a><strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;"></span></strong></div>
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<strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">Written by William Elgin, posted by blog admin</span></strong></div>
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<strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">Sarah Morris’ latest full length album Hearts in
Need of Repair marks a new high point in the career of one of the country’s
best singer/songwriters working today. The Minneapolis based artist has
established a reputation as one of the more probing, vulnerable songwriters
working today thanks to a mix of her revealing poetic lyrics and an
intelligent, outside the box approach to her songs that, nonetheless,
demonstrates a thorough understanding and mastery of fundamentals. This third
album follows up 2013’s Ordinary Things well by reaffirming the virtues of that
sophomore effort, enlisting the same musical team to help bring things off, and
yet moves the needle closer to her peak than any preceding release. This award
winning songwriter and vocalist has amassed an impressive following for such a
young career and there’s little question that Hearts in Need of Repair will
garner her even more respect and followers. </span></strong></div>
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<strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">The title song is a piece of music with immense
subtlety. There are a number of subtle tempo shifts built into the arrangement
and drummer Zachary Schmidt handles these changes with a deft sense of timing
and just the right touch. The mix of acoustic and electric guitar is, likewise,
understated yet assertive enough to further shape the song. “Good at Goodbye”
is a clever bit of songwriting with a more pronounced country music influence
coming through. Some might deem it somewhat predictable, but discerning
listeners will instead hear a pleasing inevitability in Morris’ writing that
illustrates her mastery of the form. Her lyrics also traffic in a number of
specific details that gives the song a more intimate edge. “Cheap Perfume” has
some of the same specificity driving its writing and a moodier character
overall while showing some of the same musical influences. A bluesier spirit
fills the song “Falling Over” and the same penchant for concrete details
distinguishing “Good at Goodbye” comes across even stronger here. Morris,
likewise, fills the song with a wise gravitas that, as well, never fails to
musically deliver. The slide guitar laced through the track is particularly effective.</span></strong></div>
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<strong><span style="font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">The pensive intimacy of “Empty Seat” elicits a level
of delicacy from Morris’ voice that gets under the lyric’s skin and there are
some remarkable lines. It’s one of Morris’ finest moments in her career so far,
never mind just this album, and the hard won experience fueling its
observations is exquisitely expressed. “Shelter or the Storm” has some of the
same swampy ambiance we heard with “Falling Over” with a more memorable vocal
melody that demands lung power from Morris unlike any other song on Hearts in
Need of Repair. Her wont for a probing love song continues with the starkly
beautiful “Nothing Compares” and she wonderfully avoids the tired tropes common
to the style without ever compromising what it wants to say. The steel guitar
and piano duet coloring the finale “Confetti” is a good match for the customary
acoustic guitar and dramatically arranged drumming, but it’s the considered
tempo and deeply felt vocal magic that makes this a real winner for her final
curtain. Hearts in Need of Repair is one of the finest exponents of the
singer/songwriter school in recent memory and Morris’ command over Americana
forms makes this a formidable listening experience. </span></strong><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold;"></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-24977269067633622112018-01-03T13:30:00.002-05:002018-01-03T13:30:49.409-05:00Joe Olnick Band - Downtown (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggQsjG9NmCPr_hHqsICz2ma2rtBzm5qhyW2rua1s3C6-UHOiUSfDFq2zmb2aGsW0CYIZvvzKKGpvFDmiUe9HWIqwvb4xpEfTHsscLl_Houui7Dxq-CD3G6NhSU6WRgCf3tLMWbsrwpzg4/s1600/olnick.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggQsjG9NmCPr_hHqsICz2ma2rtBzm5qhyW2rua1s3C6-UHOiUSfDFq2zmb2aGsW0CYIZvvzKKGpvFDmiUe9HWIqwvb4xpEfTHsscLl_Houui7Dxq-CD3G6NhSU6WRgCf3tLMWbsrwpzg4/s320/olnick.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.joeolnick.com/">https://www.joeolnick.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/JoeOlnickMusic">https://www.facebook.com/JoeOlnickMusic</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by William Elgin, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
6<sup>th</sup> release from completely instrumental threesome the Joe Olnick
Band is a quirky, off-the-cuff album full of twisting rhythms and intense
guitar workouts that conjures up some real funk ‘n blues hoodoo.<span style="mso-spacerun: yes;"> </span>Downtown is a collection of jams that weave
in and out of one another in a grandiose, 70s-progressive madness that encompasses
every style from ambient noise to wailing punk-psyche to groovy drive in
theater soundscapes.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Things
lead-in on the burly, buoyant funk of the title track which utilizes pounding,
thunderous rhythms that you can shake your booty to while band mastermind and
guitarist Joe Olnick splices psyche leads, fuzzy wah-explosions and atmospheric
licks into the band’s Frankenstein creation of sound.<span style="mso-spacerun: yes;"> </span>There’s an obvious drive, power and
aggressive component to the band’s sound that keeps the music stomping forward
on dirty, fun lovin’ numbers such as this one, the swank downbeat of
“Philadelphia Moonlight (Part One)” and the bustling “Rush Hour.”<span style="mso-spacerun: yes;"> </span>“Rush Hour” has a snappy rhythm that’s always
moving along at a good clip as Olnick imprints his rocked-out, jazzy funk leads
permanently into the tune’s tough rhythmic flesh.<span style="mso-spacerun: yes;"> </span>The first part of “Philadelphia Moonlight” is
one of the album’s most melodic numbers and even though some of the guitar work
has an incendiary burn to it, the rhythms stay more meditative and the melodies
are softer and more noticeable.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
gristly “Food Truck” provides another take on the Joe Olnick Band’s varied,
multifaceted funk.<span style="mso-spacerun: yes;"> </span>This cut has a
barrel-chested, walking bass lick played by Jamie Aston that holds the entire
song together in tandem with Jamie Smucker’s precision, slow motion beats.<span style="mso-spacerun: yes;"> </span>Meanwhile, Olnick snakes multiple guitar
leads and lick into the jam that keep expanding far beyond the initial
minimalist seeds that were planted.<span style="mso-spacerun: yes;"> </span>“Parkside”
examines a similar, stripped down atmosphere with gothic keyboard drones and an
odd no-wave noise vibe being filtered through the atonal tunefulness.<span style="mso-spacerun: yes;"> </span>“Philadelphia Moonlight (Part Two)” gets by
on using the absolute bare minimum when it comes to instrumental notation.<span style="mso-spacerun: yes;"> </span>The guitar, bass percussion and keys each
seem to pick a singular note or simplistic motif/pattern and stick with it for
nearly the entire song.<span style="mso-spacerun: yes;"> </span>Slow but surely
new notes are eventually added and Olnick builds his tense, noisy guitar
squalor into a very eerie yet memorable ambience.<span style="mso-spacerun: yes;"> </span>The soul sundering “Sports Complex” borrows
heavy metal’s ruthless, infernal volume that was introduced to the genre in the
late 60s.<span style="mso-spacerun: yes;"> </span>Wedding this loud, dirty drawl
to a runaway Sex Pistols’ tempo and allows the guitar work to erupt with volcanic
psychedelic rock, this no-holds barred psycho ditty closes that album on a
downright terrifying note.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Downtown
is 7 tracks of instrumental experiments that work and actually make for a set
of unique, fantastic songs.<span style="mso-spacerun: yes;"> </span>No two
tracks are alike and the band’s musicianship isn’t afraid to catch a mighty
groove or overload your senses with power and volume… exactly what good rock n’
roll should be doing whether it has a funk, jazz or classical base
regardless.<span style="mso-spacerun: yes;"> </span>Pound for pound you’ll be
hard-pressed to find a better instrumental release this year.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-27293030959647311902017-12-28T05:59:00.001-05:002017-12-28T05:59:53.532-05:00Slow Burning Car - Defection (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyxg0LeohDEMrul0S0bQtHedW5uAzmX53q5T8bHEF9keC8NzqkpwkjVlovvtapw1B3nxYDUyv-70DuRJYbXe1JRavCxvMqCpyaxO6oywzP5o56vd1G_jAigwgiDOWDWV1OxP9L7lfXL-0/s1600/burning.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyxg0LeohDEMrul0S0bQtHedW5uAzmX53q5T8bHEF9keC8NzqkpwkjVlovvtapw1B3nxYDUyv-70DuRJYbXe1JRavCxvMqCpyaxO6oywzP5o56vd1G_jAigwgiDOWDWV1OxP9L7lfXL-0/s320/burning.jpg" width="320" /></a></div>
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="http://www.slowburningcar.com/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">http://www.slowburningcar.com/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/SlowBurningCar/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/SlowBurningCar/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Pamela Bellmore, posted by blog admin</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">No
one can accuse Slow Burning Car of predictability. Their avowed influences like
Queens of the Stone Age and Foo Fighters promise guitar histrionics galore, but
they also embrace psych pop pioneers Love and German art rockers Can and you
discern those strains running through Slow Burning Car’s lyrical and musical
approach. They bring these seemingly disparate elements together with a
coherence and seamlessness that’s bracing to listen to. The ten songs included
on their fourth studio release, Defection, never opt for well traveled roads –
even traditionally slanted passages are, invariably, spiked with some sense of
surprise that sends them off into new trajectories. It’s deeply gratifying to
hear a band working with such a level of inspiration four albums into their
career – Slow Burning Car are still growing, still searching, and each new
release clearly brings them ever closer to the peak of their expanding powers. </span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It
gets off to a great start with the mid tempo riffer “Alpha Duplicor” and the
rhythm section of bassist/vocalist Troy Spiropoulos and drummer Adam Idell lay
down a monumental foundation for the band’s two guitar attack to fire salvos
over. The band’s musical and lyrical approach, alike, never panders to the
lowest common denominators and provides entertaining, yet intelligent, artistic
experiences for listeners. The second song “Soul Crimes” will justifiably
garner a lot of notice as one of the album’s most energetic rockers and it
definitely works as an example of the band’s sound at its most unified and
outright aggressive. Spiropoulos really excels here with a varied singing
performance. The punky stomp driving “Devil in the Room” doesn’t mince much
musically and, despite its jagged attitude, has a remarkably clean and
commercial sound sacrificing zero credibility along the way. Spiropoulos gives
listeners an appropriately cawing, defiant vocal that fits the song to a T.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
palpable swagger and swing Spiropoulos and Idell whip up in the opening moments
of “The Sunday Derby” is enough alone to sustain the song, but Slow Burning Car
soon takes things a step further and their creative spin on this song is enough
to dizzy even experienced music fans. “You Can’t Stay Here” is another definite
nod to the band’s punk inspirations with its lean, clinched fist guitar attack
and the take no prisoners feel personifying the song. “Bedtime” and
“Chrysanthemum” alike are very different tunes than the preceding tracks and
the band’s unabashed fluency with acoustic sounds makes them every bit as
colorful, in their own respect, as the electric guitar fueled attack in the
earlier tracks. They are even bold enough to toss an instrumental into the mix
as the album’s nominal centerpiece tune – “Polar Warden” is both intensely
musical and theatrical, yet the absence of vocals is never felt as the
arrangement proves so commanding. The conclusion “Clouds” brings everything to
a graceful rest while still embodying the same attitude we heard on earlier
numbers. Slow Burning Car’s fourth release is definitely their most fully
realized yet and we get a sense from this album that the band may be reaching
another peak in their development. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-30999035905975643252017-12-19T12:38:00.001-05:002017-12-19T12:38:31.951-05:00J.Briozo - Deep in the Waves (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="http://www.jbriozo.com/">http://www.jbriozo.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/jbriozo/">https://www.facebook.com/jbriozo/</a></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by Pamela Bellmore, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">J.Briozo’s
debut release, Deep in the Waves, is the first solo album from Swallows’
vocalist Jeff Crandall and glitters with an accessible and deceptively
sophisticated sound quite unlike anything else you’ll hear in recent memory. It’s
indicative of Crandall’s prodigious creativity that, in the midst of writing
and recording a third studio release with Swallows, Crandall still found the
time and creative energy to write and record an entire album concurrently with
a distinctly different melodic and sonic signature than his work with Swallows.
It’s doubly impressive that he pulls this off while still working with some of
his band mates and demonstrates a substantive musical ventriloquism few of his
contemporaries or peers readily share. Deep in the Waves is an immensely
rewarding and gratifying musical experience capable of resonating with
listeners far after the final songs has ended. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
lyrical mood dominating Deep in the Waves is poetic without ever risking
pretension and remains accessible throughout. One of the best efforts in this
regard and a truly distinguished opener, “Blind” is largely pushed forward by
tasteful keyboard work and drumming while the guitar work takes on a
compositional role. Crandall’s phrasing further enhances his already fine
lyrics. The guitar takes on much more of a front and center role with the
second song “Deep in the Waves” and the title song sets a tone that sustains
much of the album – singer/songwriter themed work built around artful vocals
and acoustic guitar. There are some exceptions to this formula, however,
scattered throughout the release. “Spinning Out”, “Las Cruces”, and the album’s
final track “Sun Sun True” employ guitar heroics to spectacular ends with a
warm, deeply emotive sound and lead flourishes that are never thrown into the
mix just for the sake of giving the guitarist a moment in the spotlight. The
first and last song of the aforementioned trio are the best efforts in this
vein; “Spinning Out” is memorable for its muscular yet appealingly ragged six
string explosiveness while “Sun Sun True” has a kind of wide open, even joyful
jamming quality quite unique among the album’s thirteen tunes.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Rain
Song” is another key track illustrating the album’s diversity thanks to the
inclusion of strings, but the added instrumentation never imposes itself on the
arrangement. “Catalonia”, on the other hand, mixes Crandall’s folky
inclinations with his rockier edge to great effect and even has a cinematic
touch that’s lacking in the other tunes. “Camera Obscura” is another fine
example of his ever growing songwriting acumen and the seeming mystery
surrounding the track, along with its restrained sense of melancholy, never
prevents listeners from connecting with its sound and message. J.Briozo opens
up a lot of new doors for Jeff Crandall and never pretends to be a substitute
or improvement of some sort on his work with Swallows, but it certainly demands
that the audience recognize we were just hearing a fraction of his potential
until now. Let’s hope he continues to pursue further releases in this vein
while continuing to help grow Swallows’ reputation and creative power. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-56440855384687798922017-12-11T11:13:00.000-05:002017-12-11T11:41:44.487-05:00Thomas Abban - A Sheik's Legacy (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://www.thomasabban.com/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://www.thomasabban.com/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="https://www.facebook.com/ThomasAbbanOfficial/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">https://www.facebook.com/ThomasAbbanOfficial/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">INSTAGRAM:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="https://www.instagram.com/thomasabbanofficial/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">https://www.instagram.com/thomasabbanofficial/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by William Elgin, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Rock
n’ roll has been in dire need of a savior for quite some time.<span style="mso-spacerun: yes;"> </span>It’s hard to find interesting acts these
days, let alone people with a vision that goes beyond settling on and staying
in one style and one style only.<span style="mso-spacerun: yes;"> </span>Thomas
Abban could be the man up for the job of saving or at least resuscitating rock,
thanks to his dizzying, wild-eyed debut album, <i style="mso-bidi-font-style: normal;">A Sheik’s Legacy</i>.<span style="mso-spacerun: yes;"> </span>With an
orchestral sense of arrangement, many of the album’s 15 tunes pass through
“movements” or “passages” on their way to the finish line and many of the songs
end up in far different territory from whence they began.<span style="mso-spacerun: yes;"> </span>It’s a testament to Abban’s immaculate
writing and composing as well as the reason why this album works the whole way
through and its after effects are long-lasting.<span style="mso-spacerun: yes;">
</span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
record’s first four songs alone cover a lot of musical ground.<span style="mso-spacerun: yes;"> </span>Mournful and elegiac, “Death Song” conjures
up an acoustic trance of wayward, soulful instrumentation that takes a good 4
minutes and change to finally launch into a distorted, riff-tastic crescendo.<span style="mso-spacerun: yes;"> </span>“Symmetry & Black Tar” is full of
progressive twists and turns; lively acoustic guitar licks sweeping across
pile-driving tom-tom fills and thundercrack bass lines grooving steadily along
keep things in the red yet the song never goes into an outright frenzy.<span style="mso-spacerun: yes;"> </span>Abban saves the frenzy for bruising, beef-up
guitar figures on “Fear” and “Aladdin,” a pair of brawny blues-rock hammers
that drive home riff after riff of old school songwriting.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">As
the record moves into its second phase, the songwriting opens up into arid,
open range acoustic textures with songs that trot and traipse but never lapse
in holding your attention.<span style="mso-spacerun: yes;"> </span>The gusty,
bluesy guitar shades, acoustic transitions, heavy drums and whistling vocal melodies
of “Time to Think” acts as a calmer interpretation of the hearty riffing of the
prior two cuts, settling the album down into the elaborate, finger-picked folk
of “Horizons” which smacks of some subtle Dylan influence.<span style="mso-spacerun: yes;"> </span>World wea<a href="https://www.blogger.com/null" name="_GoBack"></a>ry blues is
the order of the day on “Sinner” where Abban’s voice wavers between smooth and
smoky to a shrieking howl.<span style="mso-spacerun: yes;"> </span>Neoclassical
strings and symphonic elements add some meat to the bones of the tune’s very
traditional framework.<span style="mso-spacerun: yes;"> </span>Delta acoustic
blues and Nashville country elements wash to the forefront of “Don’t You Stay
The Same” and “Let Me Tell You Something,” both tracks relishing largely
stripped-down, solo-songwriter ethics with “Irene” applying those same
standards to a wandering folk-pop ditty.<span style="mso-spacerun: yes;">
</span>“Lord” dips into similar waters before the album goes back to the hard
and heavy stuff with the crushing guitar surgery of “Uh,” the fiery
atmospherics contained in “Echo,” “Black Water” and “Born of Fire” making for a
superb culmination of <i style="mso-bidi-font-style: normal;">A Sheik’s Legacy </i>and
its many awesome attributes.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Abban
never plays the same tune twice on his debut and the massive amount of
stylistic fluctuation between numbers makes for an impressive and engaging
listen.<span style="mso-spacerun: yes;"> </span>Each tune is very much an
individual piece that stands on its own two legs without the songs around it
being simply used to buttress any weakness.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">A Sheik’s Legacy</i> is all killer
and no filler!</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-92034196373086999022017-12-11T06:50:00.002-05:002017-12-11T09:55:19.040-05:00Ben Brookes - The Motor Car & The Weather Balloon (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://benbrookes.com/"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://benbrookes.com/</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://facebook.com/benbrookesmusic"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://facebook.com/benbrookesmusic</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://twitter.com/benbrookesmusic"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://twitter.com/benbrookesmusic</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">INSTAGRAM:</span></u></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> </span><a href="http://instagram.com/benbrookesmusic"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">http://instagram.com/benbrookesmusic</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Written
by Daniel Boyer, posted by blog admin</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
success of The Motor Car & The Weather Balloon will likely define, at least
in part, Ben Brookes’ career until he bows out of the music scene. He has
debuted with such astonishing variety and imagination that it makes one
breathless to consider where he might go from here. His creativity on this
collection makes it vividly clear that there’s a world of musical possibility
at his feet and whatever direction he takes from here will likely bear ample
fruit. The UK born Brookes has brought in a crew of UK music veterans of near
musical royalty level – namely Joey Molland and Greg Healey from legendary pop
rockers Badfinger. It is, perhaps, natural that Beatles and Badfinger
influences come through strongly in the music and Healey’s production skills
accentuate that quality when its present in Brookes’ work, but there are other
influences coming through as well and they are accompanied by a highly
individual quality that raises it all far above mere homage or imitation. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“I
Wanna Go Home” serves notice of Brookes’ influences without ever getting lost
in them. The ability to transmute the sounds that have influenced you as an
artist into something truly your own isn’t as easy it might seem – the requisite
talent is often beyond many young performers or else they lack seasoning.
Whatever experience Brookes’ lacks is rendered moot by his talent level. He
makes the coy vocal melody stick with you and never risks annoying the audience
with its playfulness while the real longing at the heart of the song comes
across quite effectively. “Asleep in Galilee” is another wonderfully effective
number, one of the best on The Motor Car & The Weather Balloon, and the
relaxed sweep carrying listeners through the song is made all the more
appealing thanks to his vocal. A third high point comes with the track “Before
Sunlight” and, once again, it’s melody that wins the day for Brookes. A closer
listen to his lyrics, however, should reveal to any discerning listener that
Brookes is an important songwriter who, each time out, makes meaningful
statements with his considerable writing talents. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Two
of the album’s grittier tracks, “Stories in the Rain” and “Somewhere Around
Eight”, both rely on twining up distorted electric guitar runs with strong
acoustic rhythm guitar underlying the entire song. Brookes gives us a different
side of his vocal excellence with each of these songs and communicates vast
oceans of feeling both times out. The album’s last song “Shackles” has a more
poetic and moodier feel, but it ends the album on the right note and spares the
audience any unnecessary histrionics. The quality of this release is such that
it sounds like a much more experienced artistic hand is responsible for its
excellence, but it’s clear we’re in the hands of prodigious talent with this
one. Ben Brookes’ The Motor Car & The Weather Balloon is a worthwhile release
in every meaningful respect. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-58124285803342538902017-12-08T09:47:00.000-05:002017-12-08T09:47:01.872-05:00Cyborg Asylum - Never Finished, Only Abandoned (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-LlS-wYjtYRkeHQ5nM1nkenRMmp9wOwe7nWbsznbV8hRlwZ3HV3TIN-wFY3FrCBdkQJX1RZLDU4yDVEzXg_5c7jE1LMPwq83udEyXYC2mDWz6fQk5D2PeaO2uwaYviUb00qBmCi_7P6s/s1600/cyborg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1490" data-original-width="1490" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-LlS-wYjtYRkeHQ5nM1nkenRMmp9wOwe7nWbsznbV8hRlwZ3HV3TIN-wFY3FrCBdkQJX1RZLDU4yDVEzXg_5c7jE1LMPwq83udEyXYC2mDWz6fQk5D2PeaO2uwaYviUb00qBmCi_7P6s/s320/cyborg.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.cyborgasylum.com/">https://www.cyborgasylum.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/CyborgAsylum/">https://www.facebook.com/CyborgAsylum/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/cyborgasylum">https://twitter.com/cyborgasylum</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by William Elgin, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Cyborg
Asylum is a duo whose first full length album Never Finished, Only Abandoned is
one of the most compelling post-industrial alt rock releases to come out in
many years. The tandem of David Varga and John Tumminia have written and
recorded twelve songs that embrace vivid atmospherics while presenting a master
class in how to incorporate melody and introspective textures into a style not
typically associated with such qualities. Never Finished, Only Abandoned certainly
has some darker moments spanning across the album’s dozen songs, but the flexibility
Varga and Tumminia demonstrate as songwriters far outstrips anything offered up
by peers and contemporaries working in the same style. This is a musical and
lyrical experience alike; Tumminia’s contributions in this area are intelligent
and measured while still fitting the musical landscape in a near ideal way.
Never Finished, Only Abandoned is a powerful studio release in every respect
and the songs are poised to prove engaging in a live setting as well. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">A
significant portion of the album is instrumental. The opener “Blitz” serves
ample notice that this is an intelligent, albeit aggressive, affair more than
willing to couple its swirl of instrumentation with ambient sound effects. The
first track featuring Tumminia’s vocals, “Synergy”, introduces listeners to a
central element of the duo’s treatment of such elements – rarely are Varga and
Tumminia content with producing a straight forward vocal track and, instead,
adorn his singing with a variety of post-production effects dovetailing nicely
into the musical mood. Phil Jones’ guitar work emerges here for the first time
and offers a lot to the song as a whole. “My Metallic Dream” doesn’t come off
as dream like at all – unless that dream is a nightmare. The pulsing, low hung
thrust of its musical attack engages listeners immediately and doesn’t provide
the audience with much in the way of breathing space. This hint of the claustrophobic
is a recurrent quality on the album and one of its signature virtues. “War
Machine” revisits the tandem’s talent for composing and performing evocative
instrumental pieces. The focus present in the earlier songs is even tighter
here and one of the chief strengths we find on Never Finished, Only Abandoned
is Cyborg Asylum’s persistent avoidance of any wasted motion.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Weightless”
begins with Tumminia’s vocals juxtaposed against a dark sheet of synth sound.
There’s fewer post production effects applied to his singing on this song and,
as a result, it engages listeners much more readily than the obvious
atmospherics investing the earlier performances. The dread at the heart of the
song only expands as the track develops and, by the end, we have one of the
album’s best songs. “Steampunk Highway” features another great Tumminia vocal, although
the lyrical content experiences a drop off in quality from the aforementioned
gem. “Ion” brings together the industrial crawl at the center of many Cyborg
Asylum tracks with an ethereally tinged melody line and it makes for one of the
best instrumentals on the album. The closer “Paradigm Shift” is obviously
intent on ending Never Finished, Only Abandoned with an emphatic exclamation point
driven deep into listener’s memory thanks to the intensely physical tempo and
arrangement. There are a lot of different textures employed during the course
of this album, yet it retains an overall unity that few debuts can ever hope to
achieve. </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-47928725277450252902017-12-07T10:29:00.000-05:002017-12-07T10:29:20.492-05:00Josh Birdsong - Where the Light Bends (2017)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIlt084X0GxdCmq74UlmElIVp5QeeYl3q6HJE17zGi_eWVwfzgUV7cFnAD4n2-rxyQUENPTSqns7UP9-_cQq_CbPhYoc2LkD_FzJz_sXxfH-KX3XHcVcKzJZz_2vrUqm3MOt3tU6BNN0c/s1600/birdsong.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIlt084X0GxdCmq74UlmElIVp5QeeYl3q6HJE17zGi_eWVwfzgUV7cFnAD4n2-rxyQUENPTSqns7UP9-_cQq_CbPhYoc2LkD_FzJz_sXxfH-KX3XHcVcKzJZz_2vrUqm3MOt3tU6BNN0c/s320/birdsong.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">OFFICIAL:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="http://joshbirdsong.com/">http://joshbirdsong.com/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">FACEBOOK:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.facebook.com/joshbirdsongguitar/">https://www.facebook.com/joshbirdsongguitar/</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">TWITTER:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://twitter.com/JoshBirdsong">https://twitter.com/JoshBirdsong</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">INSTAGRAM:</span></u></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <a href="https://www.instagram.com/joshbirdsongmusic/">https://www.instagram.com/joshbirdsongmusic/</a></span></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Written
by David Shouse, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Josh
Birdsong’s sophomore EP Where the Light Bends builds on the resounding success
of his debut Simple Geometry and takes his performances and songwriting a step
further. Birdsong is clearly a songwriter, musician, and vocalist who invests
every ounce of his heart into his material without ever taking shortcuts or
pandering to the lowest common denominator. Instead, Birdsong has an effect on
listeners through artistry and intimacy working in tandem and the results are
impressive to hear. The six song EP covers a fair amount of sonic ground,
uncommon for such a comparatively brief release, and illustrates the full
breadth of talent that’s attracted awards and led to his music being featured
in programming on MTV, E! Network, Discovery Channel, and ESPN, among others.
Where the Light Bends is an enormously gratifying release that shows terrific
bravery from first song to last and there’s not a single identifiable lull
throughout the entire release. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It
opens up with great energy on the track “Complex Context”. While Birdsong will
later flirt with this sort of energy on the release, no song on Where the Light
Bends grabs the attention with the physicality we hear here. It begins,
however, in a more scattered and atmospheric way before the drumming comes in
to give it a much more definite shape. There’s a steady escalation of guitar
and percussion on the track “The Sound Beneath the Static” that carefully
modulates itself and Birdsong’s voice punctuates it nicely with his melodic
flair. His sinewy guitar lines, urgent despite the electronic effects applied
to his tone, are another highlight of an overall excellent track and his
lyrical content rates among the EP’s best. There’s a chiming pop feel to the
song “Cloud 8” that, naturally, provides near perfect accompaniment to the
open-hearted feel of his voice. This is a much more nebulous, atmospheric track
than the first two, but it retains enough similarities to make it feel like
part of the same overall design.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
EP’s longest track “Too Much to Hold” has the same quasi-nebulous focus on
atmospherics over more conventional moods and, running almost five and a half
minutes, has a slower track of development than the earlier numbers. The
remarkably open, generous qualities of Birdsong’s voice are vividly highlighted
with this song and it relies much more on synth textures than the preceding
songs. The guitar regains a measure of prominence with the song “Arctic Desert”
and Birdsong matches its muscle with a more dramatically physical vocal. The
song runs nearly as long as “Too Much to Hold”, but the distinctly different
tack it takes sharply distinguishes it. The ambient touches on the EP’s title
and final track add a degree of artfulness to the performance that never risks
self-indulgence and the guitar work keeps it tethered to earth rather than
allowing the song to waft away. It’s an appropriately hazy and poetic way to
end an EP that makes big statements with a decidedly low key air. Josh Birdsong’s
Where the Light Bends is a major step forward from his exceptional debut.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3244386438795897073.post-69068383082147867722017-12-04T05:38:00.001-05:002017-12-04T05:38:48.993-05:00EZLA - Outcasts (2017)<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">INSTAGRAM:</span></u></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span></b><a href="https://www.instagram.com/ezlaofficial/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.instagram.com/ezlaofficial/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
<b style="mso-bidi-font-weight: normal;"><u>FACEBOOK:</u></b> </span><a href="https://www.facebook.com/ezlaofficial"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://www.facebook.com/ezlaofficial</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">/<br />
<b style="mso-bidi-font-weight: normal;"><u>TWITTER: </u></b></span><a href="https://twitter.com/ezlaofficial"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">https://twitter.com/ezlaofficial</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
<br />
Written by Raymond Burris, posted by blog admin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
power and imagination of EZLA’s debut EP release Outcasts distinguishes her as
one of the most promising performers working today. She comes out of this five
song collection with a self-possession we normally hear from singer/songwriters
much further along in their career rather than such young performers, but there’s
no question listening to this song that EZLA entered the studio with a clear
idea to what she wanted this release to sound like, what she wanted it to
invoke. It conjures a handful of moods that, sometimes, seem far beyond the ken
of your typical young singer/songwriter and she makes somewhat difficult
textures recognizable to our ears thanks to her consistent use of melody. It’s
an approach she’s already managed to parlay into a successful Spotify presence
and there’s no doubt this EP release will greatly expand her renown and public
profile. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Outcasts”
begins the release with an assertive spirit and more than a nod to commercial
considerations. The truly impressive facet of EZLA’s presentation is how she
manages to incorporate those commercial considerations into what she does without
ever compromising the personal nature of her performances. She envelops tracks
with oodles of commitment and this title cut is no exception. It further
illuminates her self confidence that she feel embolden to deem this cut the
lead single and kick off her first release with its near anthemic thrust. She
continues to emphasize her loyalties with the outlaw, the outsider, in the song
“Skeletons” and her penchant for dark imagery without reducing the song to a
difficult listen. The electronic driven backing never settles for taking an
across the board uniform approach and, instead, matches the inventiveness of
her vocal. “Satellites” differs some from the EP’s other four songs and has a
clearer, less ambiguous mood than the other songs on Outcasts. She does a
fantastic job, both through the words and music, of conveying a genuine sense
of longing without ever being lurid. This moment gives way to a return back to
the EP’s central atmosphere of heavy drama and darkness creeping around the
edges, but her artfulness in depicting that remains as even handed as ever. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
final track “Psycho Killers” might have fallen flat if EZLA had put any further
heat behind its musical feel and lyrical imagery. EZLA tackles this track with
a great deal of relish and obviously enjoys amping up the dramatic potential in
her music; this doesn’t have nearly the intimacy of some of the earlier songs,
but it’s successful on its own merits. EZLA is working out of Nashville, an intensely
competitive musical environment in the worst of times, and rises above the pack
on the basis of her debut alone. Outcasts’ five songs show impressive variety
and have a percolating energy that’s impossible to resist.</span></div>
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