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REVIEW: La Cerca’s “Sunrise For Everyone”

 photo LaCerca_cover_zps55c5b6d6.jpg The new album by La Cerca is for those who love their pop/rock music with a lot of craftsmanship, depth, power, and brilliance. That may sound a bit bigheaded before I even get into talking about what is heard within, but Sunrise For Everyone (Fort Lowell)… I mean, the title should give a hint as to what the music may sound like but if it doesn’t, let me say it: the music here is very much a sunrise to greet the brand new day, Prudence.

The press releases already compares this to Pet Sounds, Electric Ladyland, and Loveless and while it truly doesn’t sound anywhere close to those albums, the similarities are felt. It had taken three years for Andrew Gardner to record and finish this album, which explores not only the type of alternative qualitifcations that made the music great in the late 80′s and early 90′s, but also look back and examine pop music masterpieces to create something that you’ll want to listen to repeatedly, just because these songs are strong enough to hold on to. Listen to the album closer, “Mountain Villager”, how it goes mid-tempo for its duration but you hear the guitar and bass riffs and just want to float on its clouds because it sounds so moving. The running theme for the album is one that simply inspires the listener to find something, hold on to it, and treat it as something worth honoring for your entire existence, for you may not get a chance to find it again, at least not in that manner. La Cerca are not trying to fall into the cliches of whatever someone else feels their music belongs in, but are creating, molding, and evolving within the songs by enjoying its creations and seeing how much further they’re able to develop from it. I think they’ve scored it beautifully.

REVIEW: The Ghost Wolves’ “Man, Woman, Beast”

 photo GhostWolves_cover_zps2743eb82.jpg After releasing two EP’s, Austin, Texas’ The Ghost Wolves have released their mammoth debut album, Man, Woman, Beast (Plowboy). The duo consists of nothing but guitar and drums, with vocalist/guitarist Carley Wolf getting deep in a rural blues way, partly sexy, partly alluring, but wholly threatening due to the lyrics and how she does it. Drummer Jonathan Wolf occasionally joins her on vocals but for the most part it’s Carley’s world. When you hear her sing “I don’t want to disappear/but I’m looking for my beans and bread here/I don’t wanna disappear//send me some dollars to my grave/I make my millions from my grave/pepperoni pizza to my grave” (in “Grave Dollars”), you realize The Ghost Wolves mean business and do it like the bishops of blues and rock but pull it off with a spirit that shows a pinch of humor, sarcasm, and a very direct-and-to-the-point approach that is sure to cause a ruckus in a live setting. Carley’s voice may remind a few of a cross between E.G. Daly and Altered Images’ Clare Grogan, but there’s more to that, which I think fans will discover and explore on this and future works. By keeping things to her and Jonathan’s drums, the duo lineup is great and I feel this will bring them to a wider audience as time goes on.

REVIEW: MellowHype’s “Insa”

 photo MellowHype_cover_zpscc860fac.jpg Left Brain and Hodgy Beats are back again as MellowHype with what’s being called a free album because it is. Insa sounds as prime as a professionally released album, so if you’re someone who loves the MellowHype way of life, this new album will thrill you out in a mega-way. Left Brain’s productions are very much on the outside of the mainstream, which makes it sound incredible. I really love “Bars” and the droning echo that runs throughout, how it sounds as if one is in a metal room and are unable to decide if it’s a nuisance or if it is exciting. The guitar work is basic but could easily appeal to rock fans, and the song could have turned a different way too. “Dunita” sounds like something you’d expect to hear on a Christopher Cross or album on CTI Records circa 1979. The 7th song is called “7″ and could be a reference to the spiritual, mathematics, or the sum of what is being equated. What makes Insa work, and what makes much of Odd Future’s output work is that they know how to create something with little to know samples and it still doesn’t sound as if something is missing. MellowHype is so full of content and value that it will become an album you’ll want to listen many times, especially to catch what Hodgy Beats is saying, just in case he may be pulling doubles on you.

(Insa is available as a free download by heading to OddFuture.com.)

REVIEW: Mårble’s “Two Women & Tiger”

 photo Marble_cover_zpsfcc4fd3b.jpg You may not know who Mårble is, but you may know the name of Anton Glebov. Known for his work with FPRP and Space Holiday Rocks, Mårble is Glebov’s new solo project, and “Two Women & Tiger is a very impressive way to make himself known. His music may sound like going beneath the surface of dub or electronic music, but Mårble knows where he’s going and how to guide himself throughout this solo journey. Some songs may sound like a creative piece in the works, until you realize that exploration is exactly how he wants to present himself, right down to the guitar touches that have a surprising-yet-nice place in his music. When the dub is lifted above the spirit and becomes the focus, you know very well what Mårble is doing, and it’s not unlike what Tricky has done from time to time. Once you get through each of his journeys, you may feel completely exhausted but it’s worthy enough to experience it once again, and many times over.

(The cassette version of Two Women & Tiger is available from Sacred Phrases.)

REVIEW: Chicago’s “Now (Chicago XXXVI)”

 photo ChicagoXXXVI_cover_zps4edadbaa.jpg 45 years after they recorded and released their Chicago Transit Authority debut album, Chicago continue to make music and tour actively. We know the group have gone through their pop phase, and yet they know what makes them an unstoppable force: their songs. Now (Chicago XXXVI) is, of course, their 36th album so what type of music are they playing these days? It’s a mixture of what made their 80′s work such a success, so it does have that jazzy smoothness but it works beautifully because of the amazing horn arrangements of James Pankow, Walter Parazaider, and Lee Loughnane. Vocally, Jason Scheff has been underrated for too long but his strengths are heard throughout, showing he has been more than capable of being his own singer in his own right. Robert Lamm is the last original voice left in the band, but he shows why he remains. There are times in “More Will Be Revealed” where he adds a grit not unlike the late Terry Kath, which might surprise a few people but it’s there and it’s more than welcome. They bring back their political side once more in “America”, which will be interesting for those who are only familiar with their pop hits.

There are other songs that sound like a throwback to Chicago VII or Chicago XI, while other songs also focus on what made Chicago 18 and Chicago 19 stand out too. Overall, you could say Now (Chicago XXXVI) should easily be alongside Santana’s late 90′s pop success, as it is that kind of album. We know what Chicago are capable of doing, we also know what they enjoy doing, and everything that has made them a damn good band is in abundance. You want the pop, you want the grooves, you want the ballads, all here. Don’t expect “A Hit By Varese” or “Southern California Purples”, but if you have enjoyed what Chicago have done in the pop world, you will find this album to hold up to those albums quite well. In fact, you might discover this is better than those album.

REVIEW: Savaging Spires’ “We Should Be Dead (Together)”

 photo SavagingSpires_cover_zpscb9aa527.jpg Upon first listen to Savaging Spires’ We Should Be Dead (Together) (Critical Heights), it sounds like nothing more than semi-organized noodling, with a man and a guitar recording into a microphone, if not just a device with a microphone and there are natural sounds going on, which would be considered an interruption but he allows it to remain. Then there are more electrified songs, which may lead towards a song with keyboards. The noodling is somewhat organic in that it may feel as if its “of the moment” but is it, or just part of what Savaging Spires does? You could easily say this is the closest thing to what Syd Barrett’s demos would sound like not only back then, but what they might sound today if he was still with us. Or Jandek. There are some nice songs that help to string the album together, but it’s as if you’re listening to two or three different things at the same time. It’s not difficult to listen to, I rather liked it, but you’re left wondering if there is an emphasis or if they’re meant to be as one. One might say this sounds both weird and abnormal, but take it for what it is and it’s a mind trip of some sort, you’re just wondering where it will go or if the mystery in going forward is part of what makes this interesting.

REVIEW: Kevin Drumm’s “The Damned Self”/”The Old Hag”

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Kevin Drumm has released two new albums, one much longer than the other, so if you’re ready to fall into the trappings of his creations, you’ll want to get both of them. The Damned Self consists of three pieces, each one over 40 minutes with the longest running close to an hour. The opening track, “Live (Static Generator)” sounds exactly like that, someone turning a radio on and finding the most distant bit of communication coming through. Instead of it being one continuous sound, there are brief silent moments as if they’re meant to be listened to separately, or to try to figure out if there is some connection. “The Onset Of Sleep” is true to its name, very quaint and almost meditative but the same can’t be said for “Burn In Hell For A Bit” which it wants you to do slowly and in real time. The second half of it sounds as if someone found the right frequenty to tune in to but is trying its best to understand the language being spoken, if it is indeed a language.

“The Old Hag” is one track of nothing but distorted… I don’t know if it would be computer noise but you could say it’s the most “technological” of pieces on both albums, and it goes for a brutal 35 minutes. It would definitely irritate neighbors, or at least they may be wondering if you’re okay, if not normal.

REVIEW: Hook & Anchor’s self-titled debut album

 photo HookampAnchor_cover_zpseaa62837.jpg What is American music in 2014? Ask anyone and you’ll get a multitude of answers but regardless of what style it is, it is rooted in the earthiness of the stories and the voices that tell them. This is what Hook & Anchor are about and what they share on their brand new, self-titled debut. Their style of music is a mixture of country and bluegrass, but they also go towards the Americana way of life, which means you may hear a bit of Black Crowes, a pinch of Wilco, maybe even some Black Crowes in how they present their songs and all comparisons would be close-to-accurate. The songs not only tell stories, but you want to be able to figure out the stories not only as they’re told, but how you’ll interpret them into your own life, along with those you’re closely associated with. Maybe this is what would be distinctly Americana music but it is a part of the fabric that partly makes us who we are, a mixture of the happiness, the sorrow, the hopes, dreams, and anticipation of a better tomorrow. These guys very much pull their moniker towards their listeners and hope you’ll stay with them throughout their duration. I look forward to more music from them in the years to come.

REVIEW: Goatwhore’s “Constricting Rage Of The Merciless”

 photo Goatwhore_cover_zps84ec7d56.jpg They may be called a death metal band, but Goatwhore have a lot more going on than just being black, dark, and sinister. Constricting Rage Of The Merciless (Metal Blade) is an album that is also rich in hard and blues metal, as if you can imagine for these guys to play with bold chests even though they may be truly humble with the innocence of the dark underworld. These guys are full of powerful riffs, on one end they may sound like thrash or speed metal monarchs and on the other end it’s as if they’re Motörhead meets Blackfoot in a Buzzov•en basement. These guys are damn bastardly, the kind that has its share of solid fun, if not grit, and you want to praise Lord Satana for the power that is presented here. The album is a mere 37 minutes and yet feels twice as long, in a good way. A fantastic piece of work.

REVIEW: Overwind’s “Illustrator”

 photo Overwind_cover_zpsa6063ca6.jpg Illustrator (M&O Music) by Overwind is for those who love their hard rock and heavy metal leading on the hard rock side of things with a nice dose of melodic. Musically, I really love the guitar and bass riffs along with the great drums throughout, but the vocalist sounds like a cross between Jon Bon Jovi and Sebastian Bach, which isn’t exactly a bad thing but these were the type of singers I tended to hate when I was younger. In truth, the guy here is a powerhouse and has the kind of operatic strength that isn’t like Geoff Tate but could easily rank alongside guys like Mark Osegueda and current Journey vocalist Arnel Pineda. His vocals in “Crystal Prison” sounds like Dan Reed of the Dan Reed Network, and the longer one listens to this album, the more they’ll really get into all aspects, including the singing. On the musical side, you might hear everything from Pantera to Judas Priest to Queensryche, where all of the best elements sound right but then they take their own influences and mold it into something quite unique, like the use of keyboards. Some of it sounds like typical metal cliques but then the slight textures go elsewhere along with the thick guitar riffs. This is a pleasant surprise.