Yam Haus - Stargazer (2018)

OFFICIAL: http://www.yamhaus.com/

FACEBOOK: https://www.facebook.com/yamhaus

TWITTER: https://twitter.com/YAMHAUSBand

Written by Pamela Bellmore, posted by blog admin

Minnesota’s Yam Haus has played together since their high school days and, with adulthood in the offing, are taking their musical passions to the next level. Their debut studio release, Stargazer, includes thirteen songs with robust pop strengths and musical substance blending together in a potent collection. It has a familiar sound and structure for any long time music devotee, but likewise has a thoroughly modern slant stellar production that only amplifies the underlying melodic bedrock sustaining each of the album cuts. Yam Haus manage a surprising degree of stylistic diversity, as well, and the track listing has a sort of natural, flowing coherence we rarely hear from full length releases today. Yam Haus’ mastery of traditional elements, relevant modern sound, and well oiled songwriting mechanics position them to be one of the best new acts in this vein to emerge for some time.

Evocative, echo laden keyboards open the album and title song. There’s a moderate pace set from the first and continues even when the electronic color recedes. Staccato guitar and a straight-forward rhythm section attack carry the load from here, but keyboards retain an important role in the mix. Lars Pruitt’s singing has a strong emotive quality, but likewise pops with approachable charisma – he sounds like a front man, but like one closely connected to his audience.

The same shimmering surface greeting listeners with the opening title track maintains our attention with the second track “West Coast”. It’s impressive how the four piece come off as cagey veterans despite their young age – their confidence is palpable. Synthesizers are integral to the band’s sound in the first two songs, but Lars Pruitt’s vocals are once again the critical piece sending this song over the top. The strong narrative qualities of the song are equally compelling and few two guitar bands are ever able to achieve the same airy dance Pruitt and Seth Blum’s partnership achieves on Stargazer.

“Kingdom” opens with a synth-driven fanfare before Jake Felstow’s drumming enters and gives the song a more definable, dramatic shape. The assortment of tempo shifts contained within “Kingdom” surrounds Pruitt’s vocals with urgent dynamic energy and he explores his upper register meaningfully for the first time on the debut. Yam Haus’ creativity is even further displayed during the second half of the song when acoustic guitar emerges from the mix with notable effects.

“Bad News” begins with synthesizers riffing in slightly disjointed fashion and the arrangement continues along these lines even when the song begins in earnest. There’s a lot going on in this thoroughly modern tune and Felstow’s drumming holds it together without ever dominating the spotlight, but the synth playing is especially inventive. The guitars in “Bad News” bring some extra bite to the track, but they assume an even more prominent role with the number “We Are the Storm” and flex their muscles during the song’s big screen chorus. Yam Haus has written and recorded an album well beyond their years with Stargazer and sound primed to go far.

Astronomique - Sharp Divide (2018)

OFFICIAL: http://www.astronomiquemusic.com

FACEBOOK:  https://www.facebook.com/astronomiqueband/

TWITTER: https://twitter.com/Astronomiques

INSTAGRAM: https://www.instagram.com/astronomiques/

BANDCAMP: https://astronomique.bandcamp.com

Written by Mike Yoder, posted by blog admin

Sharp Divide is the first full length album from synth pop four piece Astronomique and a memorable release from beginning to end. The ten songs included with this album cover a gamut of synth pop poses and capture listener’s imagination from the first with the relaxed atmospherics behind the song “Forefathers”. The synth pop leanings of Astronomique seek out instrumental balance a lot more than many typical acts in this style do, but there’s no question the material deserves the label. The assertive performances from drummer Mitch Billings and bass player Preston Saari, however, always keep the band near funky or pop rock with the muscular performances they often provide. “Side of Your Mind” has more energy than the opener, primarily concentrated around the synthesizer playing, but Hogan’s guitar brings a lot to this song as well. Fongemie gives a loose-limbed, confident performance striding through the song and her synthesizer playing is likewise top notch, especially a short instrumental break she takes in the song’s second half.

“We Disappear” begins with a synth fanfare, a common introduction on Sharp Divide, soon transforming into a song with a consistent thudding pulse reverberating throughout the track’s entirety. The base of the performance is, of course, the tandem of Saari and Billings and the guitar takes a supporting role to the synthesizers in terms of providing instrumental color. “Losing Our Control” returns the guitar to a pivotal position in the mix while still keeping Fongemie’s synthesizer work up front as well. One of the crucial factors sending this song over the top is the five star vocal Fongemie provides. The feel noticeably darkens with the album’s title song, but there’s some reprieve in the track as both the chorus and bridge alike features some lovely, distinct guitar work from Sean Hogan.

“Smoke” has a tighter lock on the synthesizer as a lead instrument than most songs on Sharp Divide and both Hogan’s guitar and Fongemie’s singing are arguably more adorned with theatrics than any of the previous cuts. It’s another fine lyric on an album that may not be properly appreciated for its writing, but Fongemie and Hogan do a superb job bringing together seeming disparate influences and ideas into a coherent, deeply artistic whole. Mitch Billings’ drumming generates a nice trot for the song “Unspoken” and the crystalline guitar fills from Hogan are quite complementary to Fongemie’s voice. Coming back to back with “Smoke”, the two songs launch the album’s second half in a memorable way. The album’s concluding curtain “Heading to Nowhere” is a final tortured musical missive from Astronomique’s creative world and the pairing of Fongemie’s voice with the effects directed band sound makes for compelling listening. Even if they are a synth pop band, there’s plenty going on with Astronomique to help them draw fans from multiple different styles and that’s a testament to the level of accomplishment and polish they bring to their latest release Sharp Divide.

Rhett Repko - Thnx For The Ride (2017)

OFFICIAL: http://www.rhettrepko.com/

FACEBOOK: https://www.facebook.com/rhettrepko/

TWITTER: https://twitter.com/RhettRepko

Written by Charles Hatton, posted by blog admin

Thnx For The Ride, Rhett Repko’s second studio release of 2017, begins with its title song and there’s a clear sea change from the more solidly singer./songwriter musings of 2017’s earlier EP release About Last Night. He’s working in a four piece format for this largely pop rock release, but his model of pop rock carries a bigger bite than you might assume from such a seemingly mainstream performer. “Thnx for the Ride” hosts some surprising musical shifts, especially in its second half, but the number never loses its way. “Please Don’t Laugh” succeeds for many reasons, but lead guitarist Stefan Heuer turns in another great guitar solo in a series of such moments. His consideration for melody and the next note is coherent, but sounds spontaneous throughout. Tom Bryant’s drums are another factor in the song’s success and he deftly manipulates the song’s tempo without ever missing a stroke.

I am particularly fond of the EP’s third tune “It Ain’t Coming From You”. It’s the apotheosis of sorts for how Repko marries winning pop melodies with a rock backing and Repko snaps off its lyrical content without ever sacrificing phrasing in favor of power alone. Heuer, in turn, contributes arguably his best lead guitar of the EP. “Maybe I’m Weak” is another rock tune, but Repko brings acoustic guitar into the picture and it enhances already dramatic electric riffing and lead work. It’s another example of Repko’s command over traditional dynamics. “And I Told Her So” sparks to life with a lively bass introduction and the rest of the band soon fall in behind Dan Gallagher’s playing with a warm wallop. It’s another of the EP’s greatest tracks and has some of the same emotional impact made by the earlier “It Ain’t Coming From You”.

“Learn Your Name” and “Make Me Right” ratchet up the emotional intensity rather than lowering its pitch. This one-two musical hook concluding Thnx For The Ride has an impassioned tenor dwarfing the earlier songs and the vocals answer in kind with a white-knuckled, raw tour de force performance distinguished, as well, by its intimacy. They are slightly chaotic tunes, or may seem that way to some, but they reveal how Repko has a clear design for ending Thnx For The Ride. It involves leaving all of his musical and songwriting cards on the table and, indeed, he does while never sounding exhausted or succumbing to self indulgence. Devoted listeners never needed any convincing the rock music isn’t dead for modern audiences and performers, but those who believe rock can’t strike a chord in listener’s bodies and hearts are discredited by Thnx For The Ride. This vital studio recording opens the door to an ever brighter future for Rhett Repko.

Joshua Ketchmark - Under Plastic Stars (2017)

OFFICIAL: http://www.joshuaketchmark.com/
FACEBOOK: https://www.facebook.com/josh.ketchmark

Written by Wendy Owens, posted by blog admin

Peoria native Joshua Ketchmark has truly led a storied life in the music industry with his adventure taking him from small town Illinois to Seattle to LA and beyond.  He’s worked with the rock band Fuel, Jonny Lang and Melissa Etheridge.  He’s learned much about audio and production while sitting in with legendary producers Rob Cavallo (Green Day), Michael Beinhorn (Soundgarden, Red Hot Chili Peppers and many more); he’s worked KISS’s rehearsals and even had to deliver keyboard gear to a Four Seasons’ gig in the past.  This is truly the definition of working your way up and advancing in the business.  

Much of the same can be said when describe his own musical journey which now spans a total of 12 releases thanks to his latest, Under Plastic Stars.  As a singer/songwriter he’s rooted in folk, soul, country, acoustic solo performer stuff and a little touch of rock n’ roll.  He’s brings emotion, charge and dynamics to even the simplest numbers and his ability to arrange gorgeous compositions that still got a little grit is second to none.  The soulful, one-two opening punch of “We Were Everything” and “Every Mystery” blends striking, fluid vocal melodies, dazzling acoustic guitars, moody production, rhythmic accompaniment when necessary and even a pinch of organ/synthesizer work in the latter of the two tracks.  These two tunes literally set the stage for everything to come on the rest of the recording.  

“Let It Rain” dials down the mood to a weighty, bass-y stomp driven by the low-end and piano while Ketchmark’s gristly melody vocals and intricate acoustic/slide/electric guitar motifs swerve in and out of different enchanting and engaging melodies…  Soft and on the somber side the acoustic-centered guy/girl vocal duet of “Lucky at Leavin’” and the immediately following, slow-motion country-kicker “Hereafter” keep the vibes cool and collected with strong harmonic interplay between the vocalists on the former.  “Get Out Alive” and “Saturday Night” ratchet up the fun with more rock n’ roll-y tempos, distantly howling organs (on “Get Out Alive”), more vibrant and moving guitar licks and vocals that range from powerhouse leads to the glorious duet harmonization heard during “Saturday Night’s” finale.  Another standout shines in the moon-drenched, dark roots-y ambience of “17’s” night side guitar work and candelabra glow soul vocals.  It’s another one of Ketchmark’s tunes that just reaches deep inside your chest and holds your heart tight.  The word “emotional” doesn’t even begin to cover the emotive depths plunged by this sundering number.  The album ends on a high-energy note with closer “The Great Unknown” bringing both rock n’ roll pacing and thunder to a blues-cooked jam heavy on the southern-fried soul.  

Joshua Ketchmark has dropped the best album of his career with this beauty.  The 12 tracks cover a large stretch of ground with numerous genres applied to the musical landscape.  Anyone into roots and rural music with a twist should absolutely pick up a copy of Under Plastic Stars.

Man Called Noon - Everybody Move (2017)

OFFICIAL: http://mancallednoon.com/

FACEBOOK: https://www.facebook.com/mancallednoon/

TWITTER: https://twitter.com/ManCalledNoon

Written by Daniel Boyer, posted by blog admin

Well into a productive musical career with constant positive activity, Chicago-based rock n’ rollers Man Called Noon have an interesting sound.  Though being touted as an indie rock band, Man Called Noon avoids the pretentions of the snooty “indie” tag by just delivering a rocking experience steeps in full on rock n’ roll, dance punk, pop, shoegaze, soul and 90s spacey alternative rock.  There’s a lot of different vibes at work and despite the numerous differences in the styles that they are combing, the band manages to sound like a group unconcerned with what genre they’re playing to instead focus on writing songs that are simply good. 

The title tracks sets things off with a bouncy, buoyant kick in the behind that guitarist/vocalist Anthony Giamichael laying into an angular pop/punk riff that melds seamlessly to Nathan Crone’s triumphant piano accompaniment.  Bassist Dave Aitken propels the material forward with purpose and abandon thanks to an organic bass tone and walking melodies that snake in and out of the guitar lines.  Josh Fontenot keeps feet tapping as he slaps a rolling, rollicking tom-tom pattern into the foundations of the rippling guitar leads and steadfast vocal melodies that feature some absolutely pristine and pure harmonies.  Backing vocalist Erin Piortrowski weaves cosmic harmonies into the band’s immaculately layered solar tapestries of sound and her mesmerizing, melodically lush voice compliments Giamichael’s lead’s to perfection. 

They score another winner utilizing much of the same structure and sonics on “Kiss Kiss Bang Bang” but here keyboardist Crone’s dense synthesizer augmentations thicken up the hooky pop song craft with a low signal that only further enhances Aitken’s juicy tones.  Another sturdy set of verses open up to a chorus vocal harmony that’s a complete joy to behold as Anthony’s guitar work wavers between sparse atmospheric commentary and small sweeps of catchy riffing that favors minor key note choices.  The playing, composition, production and layering of Man Called Noon’s tunes make them hit big whenever it comes to pop-inflected goodness that’s instantly affecting but they’ve got a crunchier bite to them that peppers their sound with some authentic rock n’ roll brawn.  That aforementioned rock n’ roll brawn is all over endnote number “One Last Ride.”  Here the leads vocals are stricken with anxiety and nervous energy stream of consciousness which really possesses a harder than expected edge.  Heavy hitting drums unleash a thundering backbeat as the guitars tremble with distortion and eventually fling themselves into a fiery solo bit that’s got expressionism to spare.  Everything about this band just catches the ear and lures you in for the long haul.  There’s great writing from front to back cover on this EP and this closing cut reinforces exactly how powerful the band’s material is. 

Everything about Everybody Move is a success.  They have a nice uplifting, upbeat approach in both their music and lyrics which make them the kind of band that gets you moving whether in a computer office chair or on a club dance floor.  This EP is well-worth a check if punchy, positive music is what you’re looking for.