Review: Roxanna - Exotica

It’s the rare individual who has that perfect package. These are the artists that shows like “American Idol” and “The Voice” spend months searching for, trying to find not only the next great voice but also that person with the right look and charisma to take it to the next level. Rising singer-songwriter Roxanna is just such an artist.

Originally born in Iran and raised learning English from her musical heroes Olivia Newton-John and Julio Iglesias, the artist later migrated to Toronto due to the increasing strife between her home country and Iraq. College followed which allowed her to fine tune her English skills as well as develop her voice further, largely through her involvement in a choir which expanded her musical palette that much more.

But it was through her furthered education as a nurse that Roxanna truly found her potential in the most unusual of ways. Both in her training and in her budding career as a nurse, the artist witnessed firsthand the healing power of music, seeing her voice bring joy to a patient with dementia and lead her to eat while on another hand it aided a young man undergoing cancer treatments. And when a patient’s relative inquired as to why Roxanna wasn’t pursuing music full time, the stars aligned as that person stepped forward to pave the way for Roxanna to engage her dream.

The result of that winding road is the artist’s debut project, Exotica, and it captures the heart of the artist perfectly. Blending elements of adult contemporary, jazz, and Latin and flamenco rhythms, the album benefits greatly from the deft production of Mark Portmann (Celine Dion, Josh Groban, Barbara Streisand), carving out space for the real star of the show which is Roxanna’s rich and luxurious voice.

Things start out smooth and sultry with the Latin flair of “Only You,” an English version of the Iglesias hit “Como Tu,” and sets the standard for a theme that is recreated throughout the record as smoldering guitars and organic flairs of percussion steal the show. Tracks such as “Unforgotten,” a painfully personal tale of the artist being left at the altar, and the title track follow suit, the latter providing some sweeping strings and the opportunity for Roxanna’s voice to truly shine.

“Hello” carries those rhythms forward, blending them with hits of jazz fueled by some sensual trumpet work while “El Amor” is full on Spanish as the artist covers another classic from Julio Iglesias with passion. “Fresh” mines some spicy flamenco guitar and smoldering vocals from the artist as “Today” keeps the Latin sounds rolling with more amazing guitars and bold percussion, Roxanna letting the instrumentals hold sway this time out.

“Here With Me” boasts smooth trumpet work and a jazzy flair courtesy of Chris Botti while “Close Your Eyes” feels like a Celine or Streisand B-side, the arrangement rich and orchestral, Roxanna’s voice clearly up to the task. A lighthearted acoustic pop vibe colors “My Best Friend (Miko),” a playful track about the artist’s dog which provides some welcome texture as her cover of The Hollies harnesses more horns and emotive strings that lay a framework for the artist’s big vocals. Pop meets jazz on the smooth sounds of “Loved” and things get downright poignant on “Beautiful Rose,” a soaring ballad that honors Roxanna’s late mother, further accented by work from the Prague Orchestra and further soul from Botti.

With Exotica, Roxanna makes her first big significant step toward stardom. With her rich and resonant vocal tones and smooth phrasing accented by great production and solid songwriting as well, this record should go far toward pushing her to the  next level, a level that is in need of her strong perspective and sublime voice.

Review: War Poets - Hot & Cold: American Relationships

Minneapolis, MN-based War Poets are on a mission and they’re not taking any prisoners. Ever since the release of their expansive, two-disc revelation Dulce Et Decorum Est, the band has continued to churn out new music, wrapping their passion for social justice and equality together with an equal passion for great music. Further supporting that sense of mission is their new label home, Rock the Cause Records, whose efforts go toward creating community involvement through concerts, workshops and releases, a perfect fit for the mission minded band.

For the uninitiated, that band is composed primarily of lead singer, guitarist, and songwriter, Rex Haberman, and bassist/vocalist, Jenny Case, who also serves as musical director. Both artists have had their histories with other bands and recording opportunities but combined have proved to be a force to be reckoned with, their musical talents forming a cohesive unit, cemented with their shared sense of justice as well. The result thus far has been a growing collection of albums that echo with sentiments of protest and a need for change, framed over sounds reminiscent of bands and artists like Bruce Springsteen, Tom Petty and the Heartbreakers, and Fleetwood Mac, supported by some of the Midwest’s finest session players.

Hot & Cold: American Relationships is the second installment in the duo’s “American Trilogy,” following hot on the trail of American Police State which explored the ideas of gun violence, Native American rights, and the plague of income inequality. This record takes a slightly more personal view, looking into the ups and downs of modern relationships, exploring everything from finding the right person to the unique joys and difficulties shared with love and relationships, something that evolves far beyond an American label.

Tracks like the Case fronted “Bits and Pieces” provides that classic sense of longing, that “sense of mystery waiting for me,” that so many folks find themselves wanting, Haberman’s rich guitar chops cutting a friendly swath through the track, letting Case’s warm and soulful vocals take hold. Haberman carries the rest of the lead vocal load throughout the rest of the record, with “Know the Way” offering up a rambling rhythm and a lyric of promises and commitment, a touch of horn providing some added texture.

“Ones Who Love” is a better fit for Haberman all the way around, letting his vocals express their rich grittiness and his guitars to blast out with some solid crunchiness while “Perfect One” taps into some old school vibes, a strong percussion section laying the foundation for bright guitars and a hopeful lyric. Rich 80s rock gets a solid nod on “Say No More,” Haberman and Case trading vocal duties and harmonizing beautifully while singing of difficult relationship elements before giving way to the rousing questions of “Upside Down,” smooth B-3 fills and churning guitars hammering home the lyric.

On Hot & Cold: American Relationships, War Poets continue to march their multiple messages ahead. This time that message is more of a picture, shining the light on the multiple facets found within relationships, pointing to the hopes, the fears, the pain, and the joy found by all. In those themes, War Poets appeals to a large audience and their solid musicianship just makes the listening all that much easier.

Review: Beautiful Mess - Word's Getting Around EP

It’s pretty hard to deny that many parts of this world that we live in are headed toward a dark place. It seems every day that we turn on the news and hear of yet another school shooting, of another racial injustice, or of yet another broken marriage, leaving a family trembling and hurting in its wake. Yet, there are those who dare to rise up and stand against that darkness that threatens to blot out the light, pointing to a source of strength far greater than anything this world has seen, giving true hope to a world in need.

Northeast collective Beautiful Mess is among the latter and they’ve been bringing their message of hope and faith to a growing set of audiences since 2009 when father and son Mike and Tim Ehrhart, along with Mike’s brother Chris, decided to pool their talents, hobbies, and resources together to form the group.

"Tim was learning to play the instruments, I was writing lyrics, and Chris was singing on worship teams and we did these things all independent of each other before finally deciding that maybe we should try putting these all together," shares Mike.

It’s been an organic process of growth for the band but is one that has continued to morph and develop over the years and that growth is apparent on the band’s latest effort, Word’s Getting Around.

Things open up with the bright tones of “Crazy,” layered organic percussion, keyboards, and guitars providing a warm and accessible foundation reminiscent of work by bands like MercyMe and Casting Crowns. Lead vocalist Chris Ehrhart’s strong vocals help to draw this comparison as well, his voice very similar in tone and texture to Bart Millard and Mark Hall as he sings through a lyric that shares, “It’s staying the same that’s insane/Wasting time playing the game/What if your dreams really were true?/Would it change what you say and what you do?”

Smooth grooves and hits of rich organ fills color the title track, the playful romp fun and engaging with a lyrical tale that takes a renewed look at what true success is, layering vocals in and out. It’s a solid track that, with a little more enhanced production value on the vocal, which feels a little muffled initially, could be a great track. Things head down an acoustic road with “Holding On” and it’s a welcome walk, the rich tones befitting the track’s praise filled lyric with an engaging hook.

“Alright” tackles the question of our run till you drop society, feeling the need to constantly be entertained or active, oftentimes finding us chasing after fleeting idols while working a moody arrangement into the mix, a solid acoustic plucking through gentle hits of keyboard and drum before building to an explosive ending, the theatrics hammering home the message powerfully. “Home Forever” closes things out, a slow building anthem featuring more layered vocals and solid musicianship, with Ehrhart passionately honestly singing, “Tired of empty days with nothing to say/Tired of all those games that shadows play/It was a past I had to leave/Moving towards a promise I believe” before coming to the stirring conclusion that “My past is washed away/I have a purpose for today/I have a home forever/I have a home,” ending the EP with a resounding note of hope.

With each release, Beautiful Mess keeps getting better and better and Word’s Getting Around is perhaps their best yet. Bringing together solid songwriting, well-crafted arrangements, and a great vocal, this collective is on the right path to bring their message of hope to the masses. Here’s to hoping that message gets the audience it deserves.

Review: Kicklighter - The Fascinating Thinking Machine

It’s a rarity in life to be given a second chance, let alone a third or fourth to excel at just about anything, especially for a dream as big as doing that which you love. Yet, for newcomer Everett Young, he’s been graced with chances time and time again and this time he’s taken the bull by the horns and isn’t letting go, living in such a way to avoid any and all regrets as he releases his latest record The Fascinating Thinking Machine.

Young’s life has been a study in multiple failed starts, from an early attempt to learn piano as a child to a flirtation with becoming a pop star in college to get girls, an experiment that failed when he just couldn’t get his mind around the guitar. He managed to release an album in his 30s but the fallout from the divorce he found himself in the midst of drew all of his attention, leaving him little if any energy to promote the album. After a few more stops and starts, Young thought his musical days were behind him until he again decided to give the guitar one last go.

“About 1½ years into it, around 42 or 43 years old, I realized that something unique was happening,” says Everett. “I was getting to the point where I could really play the guitar. This was something that a lot of middle-aged people had tried to do but virtually no one had ever done. About the same time, I went looking for a guitar teacher and in my search I learned that teachers couldn’t relate to me; they had no idea how to teach anyone my age or in my position. The person that helped me the most turned out to be a life coach. He taught me to stay the course, to embrace the adventure, embrace myself, take it day by day and stay in the moment, if I wanted to succeed in playing guitar.”

Drawing inspiration from that experience and leaning on his newfound abilities, Young himself took to teaching the instrument, allowing his wisdom and understanding to help other older learners. But his true passion lay in making his own music and he finally has all the pieces in place for his latest.

The Fascinating Thinking Machine is an album that resonates with singer-songwriter charm, Young weaving together earnest 80’s styled pop templates to complement his intelligent lyricism, a key ingredient for the artist.

“I’m trying to make sophisticated, intellectual pop,” he shares. “I want the album to have deep lyrics and be philosophically stimulating. I want the melodies to stick in your head and be yummy pop melodies — a gourmet meal, not fast food.”

That meal opens up with the moody textures of “Until I See the Sun,” a haunting note leading into a track that opens up into a mid-tempo rocker while “Says A Tender Mind” opts for brighter textures and jangly guitars. “When Howie Dressed Me Down” is a vintage 80’s jam, synthesizers and more merging together to form a perfectly retro vibe while Young infuses his own mojo into the proceedings as “Kid” holds court with a restless sense of wisdom and energy, Young’s vocals rich and pleasantly just touched with grit.

Young’s also possessed by a softer side and, quite frankly, it’s that side that dominates more of this record as tracks like “Building a Robot,” the jazz-influenced “The Sultan of Brunei,” and “Saying Goodbye” show. These find the artist taking things from a more laid-back, acoustic approach and the result is reminiscent of 70s torch songs, the vocals smooth and framed by arrangements warm and subtle. Of special note is “After the Healing,” a song informed by gentle piano and snippets of trumpet that carry along a message of hopeful reconciliation between lovers, a tale just about everybody can identify with.

It’s been a long time coming but Everett Young has finally managed to do what he’s wanted to do for so long, placing his heart and passion into song. The Fascinating Thinking Machine is a solid listen, particularly for fans of 70s and 80s flavored pop and while there are a few moments that beg for just a bit more energy, Young has done a job worthy of hearty applause by Mr. Kickliter, the artist’s high school choir instructor and band’s namesake.

Review: Hillary Reynolds Band - The Miles Before Us

When Hillary Reynolds sings the powerful lines, "Have you ever been to the bottom of a bottle/And wanted just a little bit more," stark instrumentation framing her soulful voice in the intro to the song "Can't Let You Go," you're know you're in for a treat. With their third album, The Miles Before Us, the Hillary Reynolds Band delivers a plethora of these moments, laden with emotion and richly textured with strong Americana that's flavored with elements of folk, country, pop, rock, jazz, and bluegrass. The result is an album that is well worth the listen.

The collective formed when they met at the vaunted Berklee College of Music, coming together over a love of traditional music, and they quickly gelled and took to one another. Now based in Boston, the band has enjoyed a number of accolades and opportunities, performing on the stages of the "Northeast Pennsylvania Bluegrass Festival, Mile of Music Festival in Appleton, WI, the Blue Plate Special on WDVX Knoxville, the EAA AirVenture air show in Oshkosh, and Green Bay's Meyer Theatre and Fox 11 morning show “Good Day Wisconsin.” Further praise has come their way from critics and fans like fantasy author Patrick Rothfuss and they've seen their songs work their way onto the playlists of multiple radio stations while individual members of the band have been afforded the chance to work with "notable artists like Wyclef Jean, Imogen Heap, and The Click Five, and Michael Manring."

All of these accolades come honestly as the Hillary Reynolds Band is a talented quintet, making music that is alternately honest and enjoyable. With Reynolds managing lead vocal duties, she's joined by Connor Reese on guitar, Trevor Jarvis on cello and backing vocals, Jeff Hale on drums, and Chris Mewhinney who shines on electric and acoustic bass. There's a strong chemistry that's evident throughout the whole of the record and it's no doubt due to the strong ties this group shares.

The Miles Before Us starts simply with "Took Me a While," a breezy pop-tinged track with singsong vocals and bright piano and twinges of strings that give it that touch of country and "Pretending I'm In Love" continues that same vibe, Reynolds' vocals smooth and rich and somewhat reminiscent of Norah Jones in its lower registers. "Honey Come Home" marks a shift, the pace slowing to a gentle acoustic shuffle, brushed drums and plucks of banjo and swells of cello lending emotional tones before seguing into the gem that is "Can't Let You Go."

Forrest O'Connor guests on "I Surrender," which opens with a soul-stirring Appalachian a cappella feel before breaking out into a barn burning acoustic jam, mandolin, guitar, and more raging forth with passion while "Braver Than We Think" pulls things back to a gentler, rolling listen with warm harmonies. "What It Is" picks up those sunny melodies and runs with them followed by "Balloon & Kite," two tracks that are playful but are among the few that fail to truly register here.

"Crossing the Line" returns to where the band really excels however, a strong acoustic arrangement providing the framework for Reynolds' voice to shine as "This Love of Ours" makes a case for the highlight song of the album with its powerful instrumentation and lyrics like, "Oh, take my heart when you leave/In the morning/Leave your love on the pillow/So I can love you/While you're gone." It's rich with emotion and makes the best of Reynolds and company. The goodness continues with the stark sounds of "I Didn't Know Who Else to Call," the band working a "less is more" approach that really works while they let it all hang out on the rock-inspired "Keep On Driving," ending things out with plenty of energy and leaving listeners chomping at the bit for more.

And that’s exactly what’s bound to happen after folks give The Miles Before Us a listen. The Hillary Reynolds Band shows here that they’re the real deal and deliver your money’s worth and more, crafting compelling Americana-flavored jams with authenticity and passion. And that’s a formula that will have you reaching for the “repeat” button time and time again.

Review: Matty Ride - Self-Titled EP

Summertime is once again upon us and that means it’s time to lock in some killer jams. You know what I’m talking about; they’re the kind of songs that are perfect for cruising to the beach, the top down, hair blowing, and the sun warm on your face as you soak up the rays and good times. And to that end, please allow me to introduce you to none other than up and coming artist Matty Ride and his self-titled debut EP.

Ride comes with a strong pedigree, being born in southern California while being raised in the heartland of Idaho before being invited to Music City, U.S.A. by none other than legendary producer and player Tommy Sims (Bruce Springsteen, Jonny Lang, Garth Brooks) to write and record. With Sims’ tutelage, Ride was exposed to a whole new side of Nashville, a side that would have a large impact on the budding artist.

“I was blown away by the level of musicianship I was exposed to,” he shares. “I was all at once inspired, humbled, and motivated. But I knew that if this was the type of music being created in Nashville, this was where I was meant to be.”

He took quickly to the town and the town took to him as well, seeing his already solid talent increase and grow, his name and work becoming more well known. It even garnered him the chance to work with blues star Jonny Lang, the two collaborating with Sims to pen the track “Breakin’ In” for Lang’s latest album.

But Ride was focused on his own music and his debut captures the man in a nutshell: fun loving, lighthearted, upbeat, and immensely talented.

“That Girl” opens the record up, a bright, danceable guitar groove leading the way while Ride steps into the track with rich, smooth vocals a sound that recalls touches of Maroon 5 and Dave Barnes. His delivery is solid throughout and the hook keeps the toes tapping before bridging into the danceable playfulness of “All Over Again.” Again, solid soul undergirds the proceedings with a chunky arrangement that are bright and breezy. “Come On and Dance” will have you doing just that, Ride tapping into his old school soul for some classic tones, thumping bass notes merging with a smooth and sunny keyboard fill while the artist croons out his lighthearted lyric.

But it’s “First Day of Summer” which really helps to make this a great summertime listen. With guest work from Beta and Fyutch, Ride delivers a track that is pure summer with shiny tones and a danceable arrangement. There’s a nostalgic element to the track, something which is reinforced even more on the music video which features a plethora of 80s related throwbacks from the “Back to the Future” DeLorean, Day-Glo colors, and a riffing guitarist who rocks a classic Stryper shirt. If it sounds like a lot of fun, that’s because it is and with his foils Beta and Fyutch providing a solid contrast, Ride works it like it’s his.

 

“Hold Me Closer” closes the EP out for Ride and again finds the artist digging deep into the past to showcase a silky soul ballad. The beat is perfectly gentle and the arrangement full of emotion and polished instrumentation as Ride delivers great lines like “I can hear the melody/But I can’t play the song/Once upon a time I knew the words/Nowadays I’m struggling/Just to sing a verse.” But, chances are, once Ride’s music has got its hooks into you, you won’t have any trouble singing along.

There’s a good reason that Matty Ride was tapped to come to Nashville to kickstart his young career and his debut EP showcases the solid talent and potential resting in the young artist. Smooth, polished, and ready for action, Ride takes listeners on a delightful romp through summer love and invites you to come along.

Review: War Poets - American Police State EP

When we last encountered the Minneapolis, MN-based pop rock outfit, War Poets, they’d just released their two-disc opus, Dulce et Decorum Est. Boasting seventeen songs, that project saw the band staying true to their messages of social justice and equality and matching it with solid musicianship throughout. However, the sheer breadth of the record presented some problems, showcasing some chinks in the armor which resulted in a record that was certainly good, but not great.

With their latest release, the American Police State EP, War Poets seem to have really taken those early criticisms to heart and have really worked at filtering their vision into a much more accessible space, in this case five solid songs of pop-rock intensity. The powerful lyrics and messages are there, this time finding the band tackling issues like income inequality, Native American rights, and gun violence as is the strong musicianship, these arrangements continuing in line with their signature sound that’s earned them comparisons to Fleetwod Mac and Tom Petty and the Heartbreakers.

Things get off to a rocking start with “Better Place,” Rex Haberman taking lead vocals right off which he holds throughout the whole of the EP, as a thoughtful rhythm presses the song along while he sings, “I look to my left/I look to my right/I close my eyes and see a better place/Take me there, baby/To a better place/It doesn’t matter/I don’t know the way.” Rolls of rich electric guitar fills lend bonus emotion as do Jenny Case’s soulful backing vocals, leading into the staccato rock of “Closing In.” Haberman seems to chew off the lyrics, raging guitars roaring around him, even mimicking a siren of sorts as he tells a tale of forced insanity and of those forced to a place of self-medication in order to simply get through the day. The frenetic arrangement is rocking and serves the song’s lyric well.

“8:05 On a Saturday Night” is a surprising track, opening things up with a mid-tempo jam, fueled with a swelling horn section and a killer groove that eventually flows into a spoken word/hip hop flow that closes out the track, ending things on a note that carries the song to the next level. It also deals with the topic of gun violence, which Haberman and company are passionate about, sharing, “What is a gun really for? It’s for killing people. I realize I have strong opinions on gun violence, but we’re musicians, not politicians. We put our views out there by singing so people can think about this.”

The next track asks a poignant question, “Where Has Love Gone?,” bridging into multiple issues while a rocking arrangement carries things forth. It’s a solid message that is buoyed by a great guitar and saxophone solo, showing some strong musicianship that undergirds the lyric while “Red Lake” closes out the record with more simmering angst and rock although it’s the least successful of the bunch, the lyric a bit too wordy throughout, losing its overall punch.

With American Police State, War Poets continue to beat their drums of protest and outrage but do so in a way that is much more concentrated and controlled than with previous efforts. The result is a more consistent set of tracks that are much more accessible which serves both the listener and the message equally well and that leaves one wishing for just a bit more, which is a good thing.

Review: Cinco Santos - Duplicidad

There is one truly universal language in our world and that is music. It’s a force and power that transcends boundaries, whether they are political, national, social, or other. Music runs deeper than all of these, tapping into something primal and visceral within each and every one of us, and speaks to deep places, conjuring emotion and feeling. That’s why it’s so engaging to take on a review of a project like Cinco Santos and their debut release, Duplicidad. For even though this is a foreign language release, its heartbeat steps across the barriers of the spoken word and speaks instead to the soul.

The brainchild of guitarist, songwriter, and visionary Lorenzo Montero, Cinco Santos came together after a two-year-long search across Los Angeles as the artist sought out the perfect members of the team to create the band’s signature sound. And, with time, Montero found just the men he was looking for, bringing together lead singer Daniel Jimenez, Lorenzo Montero on  guitar and vocals, Jesse Stern on bass, Willard Lozano on guitar and shredder, and Emiliano Almeida on drums. With members boasting an eclectic citizenship that ranges from Colombia, Argentina, Mexico, the United States, and Canada, this was a musical collective bound to bring some excitement to the table.

That excitement grew in 2012 when the band opted to dive in and collectively develop original songs rather than seeking out demos from others.

“Sharing in the creative process solidified the band as an artistic entity and yielded our strongest material,” Montero shares. “The next stage of our evolution happened as we experimented with how to fuse our different stylistic elements together, and add electronic beats to give our music a unique groove and very contemporary feel.”

That fusion turned into a beautiful thing and helps to make Duplicidad a truly delightful listen.

The album’s sound draws broadly between borders, finding the multicultural group sample from obvious Latin elements and bridging them with healthy doses of pop, rock, and even electronica, creating a sound that is altogether Cinco Santos. “Candela” gets things off to a fiery start, rich, full guitar chops layered across tightly played percussion and accented perfectly with Jimenez’s pitch perfect vocals while “Azuca y Amor” shines with its bright Latin acoustic guitar and soulful rhythms.

Those same elements color tracks like “Caramelo,” organic percussion bringing extra life, and “Te Cantare Todos Los Dias,” which is solid bridge between the old and the new, traditional sounds leading into more contemporary pop flair. “Te Quiero Aqui” makes the transition complete as Cinco Santos deliver a stirring pop ballad with vibrant energy and musicianship but it’s the title track, “Duplicidad,” that really surprises. It’s a jam that finds the band infusing their roots alongside some powerful rock notes, chunky riffing guitars alongside acoustic fills that form a killer sound while Jimenez continues to deliver vocally. And the sheer energy of “No Me Digas,” complete with a raging string solo, really highlights the band’s great musicianship, allowing all the parts to shine.

There’s only one track that really doesn’t register strongly here, and that is “Loco.” It’s hampered by a musical soundscape that is one of the more uninteresting, although still masterfully played, as well as a chorus that is a bit too repetitive to really have any staying power. But its one small hiccup on what is otherwise an impressive output of spirit and sound.

Cinco Santos’ debut, Duplicidad, is truly an album that escapes borders and stereotypes, tapping into the simple emotion that music is. As tight knit a musical collective that you’ll find, this record showcases them at their best, delivering a compelling mix of traditional and modern rhythms, resulting in an album that will find you coming back for more.

Review: Joe Tripp and the Hops - 6 Songs

It’s been an uphill battle for Joe Tripp and the Hops. From having to change their name to avoid identify conflicts with a UK-based band to earning their stripes playing gig after gig in and around the windy city of Chicago, theirs has been a band in a constant battle for survival.

“We are a band of talented individuals, but maybe not talented enough,” Tripp humbly offers. “We have had many ups and downs. At some of our low points it seems like we have lost every contest we’ve entered but then something turns around like being named one of Chicago’s best local acts by the Illinois Entertainer.”

It’s those moments of success that Tripp and company continue to mine for inspiration and encouragement, continuing to work at their music and tirelessly promoting themselves. Their 2011 release Won’t It Be Fun was a big step in the right direction, garnering some solid praise as well as the opportunity to work with Doug McBride (Fall Out Boy, Veruca Salt.) And now the band is set to try to maintain that moment with their latest release, the aptly titled EP, 6 Songs.

The band’s been compared to acts like Weezer, Incubus, and The Gin Blossoms and those influences are definitely evident throughout these tracks, replete with plenty of pop accessibility, but there’s also something of an old school punk vibe that undergirds their overall sound, lending just the right amount of edge when needed. “Signs” leads things off with a jangly lead guitar and three-part vocal harmony that works well, giving added energy. That’s followed by “There’s Something” which draws from much of the same cloth, a set of bright keyboard fills and some vocal distortions providing contrast.

“Fantasma” ups the energy with a rocking intro and more harmonies in the chorus while “Heart Cries Out” slows the pace, Tripp showing off his vocal chops although this time around the harmonies don’t deliver quite as true, hindering an otherwise well-crafted jam. “Let Go” is another slow-jam, its effervescent feel hinting at a lazy day lying along the beach with solidly pop-flavored guitars and strong beats from drummer, TJ Walker. Lastly, the band closes things out with the gently rolling “Who Knows,” atmospheric guitars providing a launching point for Tripp’s impassioned vocals.

6 Songs does suffer from the occasional hiccup, less than stellar harmonies at one point and a production that feels somewhat muted at points, leaving vocals difficult to discern in some junctures and contributing to a boxed in feeling at others, but, those issues aside, there’s plenty to recommend here. Joe Tripp and the Hops showcase some strong chops on this EP and as they continue to develop their signature sound, there’s a good chance we’ll be hearing from these guys again down the road.

Review: Painted on Water - Chicago Issue EP

When one typically thinks of music with a Turkish influence, you rarely consider elements of rock, electronica, or even R&B soul to play a role. Yet, when longtime collaborators and lovers Demir Demirkan and Sertab Erener, musically known as Painted On Water, made way for Chicago on the next leg of their musical journey, there was no telling what would happen.

The result is the Turkish-based duo’s latest work, the Chicago Issue EP. Following on the heels on the duo’s prior work which saw them channeling elements of Turkish folk together with jazz, rock, and electronica, the Chicago Issue EP finds the tandem taking a new approach.

“For this album, I wanted to change the way we collaborate, change all the methods we use to compose, and come up with new production techniques,” says composer/guitarist/producer Demirkan. “It’s been really liberating.”

That liberation, in large part, involves Painted on Water tapping into the roots of their new home in Chicago and plugging in their guitars for some big, rocking sounds.

“When I Need You Most” gets things rolling with Demirkan showcasing some Peter Frampton like guitar effects alongside some solid synth fills and kicking beats. Erener’s vocals are solid if the lyric is a bit less than inspiring. Still, it’s a strong start, bringing plenty of textures to bear on the opening track.

Painted On Water draws from their Chicago surroundings on “A New Me,” showing off some hints of funk and R&B with jangling guitars and soulful background vocals. It’s a chunky arrangement, letting the track build smoothly through the verse and bump during the chorus and is somewhat reminiscent of work by No Doubt and Gwen Stefani with its pop-flavored elements.

Yet, it’s on “Hating You Loving You” that the band truly hits their finest of strides. Erener’s vocals are at their strongest, rich and resonant as she sings over Demirkan’s perfectly rocking guitar work, ebbing and flowing at exactly the right moments and drawing plenty of emotion into the equation. The lyric is equally strong as Erener pleads, “You’re my addiction I can’t do without/Hungry for you I keep/Hating you loving you/A blind ambition I can’t see without/Leaving you, missing you/I keep hating you, loving you.” It’s clearly the highlight of the EP.

“Why Do You Love Me” draws from more of those pop-rock elements, finding a solid balance between the two, enhanced by some solid keyboards that complement the restless guitars and emotive vocals as much of the lyric draws from none other than the Bard himself, William Shakespeare. An insistent keyboard tone opens up closing track, “Despite Ourselves,” pressing Erener’s vocals along as the track builds, joined by synth and eclectic percussion before emerging into a full-fledged jam as Demirkan plugs in and rocks out. It’s the perfect high-tempo conclusion to the Chicago Issue EP.

And on that EP, Painted On Water do a great job of landing on U.S. soil with their artistic guns blazing, conjuring up a sonic soundscape that brings rock, pop, and soul all together in a signature package. While hints of artists like No Doubt, Dave Gahan, and Evanescence are there, this sound is distinctly Painted on Water’s and it will no doubt leave listeners ready for more.

Review: Aradia - Possibilities: Light EP

Some artists come into their musical lives unexpectedly, discovering their talent and love for the craft later in life. Others, like up and coming artist Aradia, are simply born into it.

Aradia was born in metropolitan New York City to a musician/musical therapist and a ballet dancer. With music in her blood, she took to playing the piano at the age of three, flute at eight and guitar at fourteen while constantly honing her voice in any which way should could. She eventually enrolled in the Aaron Copland School of Music at Queens College but became disenchanted with the unexpected politics of the classical music world and turned to the world of rock for a new muse.

That turn led her to a gig with Some Band, performing at legendary venues like The Bitter End and The Wetlands before she eventually headed to Atlanta by way of Los Angeles with her longtime collaborator and musical mentor Wirth Lawson. There the two formed Twelfth Planet and rocked the Atlanta clubs for nearly three years, garnering the artist some much needed seasoning and experience, finding her ready and prepared for a solo career as the band came to an end.

With a full length album and an EP under her belt, the artist now calls Seattle home and mines that experience for material on her latest offering, the Possibilities: Light EP. The album is a set of six colorful tracks arrayed in pop, rock, and electronica sounds, blending a sense of 1980’s nu-wave sensibilities together with eclectic, modern vibes recalling artists like Blondie, Lady Gaga, and Bjork.

Aradia gets things off to a start with the synth pop fills of “The Light,” her vocals stark against an electronica background of sound that eventually fleshes out into something full and nuanced. It’s not the most accessible of tracks and, in that respect, will get things off to a rough start for some listeners yet “Trouble” will right that wrong quickly. A driving programming line provides an old school element while raging guitars and swelling vocals buoy the track to a new place, the layers of sound creating something that is definitely unique and interesting.

“Today” finds the artist working through a minor chord feeling jam as she lyrically deals with the danger of seizing the day, singing, “I thought I saw myself today/I asked her to come out and play/I traveled to another time/So I could make the moment mine.” In addition to the obvious electronica elements, there’s something of an indie vibe to the track as well, largely due to Aradia’s vocal delivery, that gives the track extra life as well while “On Fire,” with crunchy electronic elements and a rocking beat stands as the most accessible and danceable track here. Reminiscent of Lady Gaga and Madonna, the artist rocks through lyrics that outline her journey of coming to a sense of freedom, her vocals showcasing that with their emotional flair and are undergirded by the powerful arrangement.

“Slow Ur Roll” is something of a disappointment, the electro-pop blips and beeps well performed but ultimately uninspiring. Thankfully, “Keep On” closes things out with a track that will find listeners wanting to keep on listening. Colored with playful Middle Eastern flair, the artist brings the old together with the new, Sitar meeting with programmed percussion and more while her vocal ebbs and flows, showing solid strength on a solidly creative closer.

Aradia is an artist that, by her very nature, will not be embraced by all. Yet, for those with more eclectic tastes and adventurous spirits, the Possibilities: Light EP has plenty to draw their interest. The artist draws from a diverse palette and paints with broad, compelling strokes, crafting a set of songs that are eclectic, imaginative, and compelling.

Review: Steven James Wylie - Everything I Love EP

Sometimes you’ve got to hit rock bottom before you can start heading for the top again. That’s just what up and coming artist Steven James Wylie realized when he found himself and his expectant wife living in his parent’s basement after his real estate development company crashed and took his financial security and material possessions along with it.

“It was a brutally painful season, but as time went on I began to realize it was an opportunity. It was actually one of the greatest things to ever happen to me,” he shares. “Before that, I felt like I was 65 and my life was over, but after the dust settled, I reconnected with music and felt reborn.”

That rebirth found the artist pulling from two uniquely diverse influences. The first influence was that of his Spokane, Washington upbringing, where he grew up heavily influenced by the alt-rock Seattle sound. The second influence came as Wylie found himself unemployed and fallen, watching television and, interestingly enough, finding his creativity stoked once again by watching country music videos. With the juices flowing, Wylie took action and has since released three LP’s, one EP, and various singles and is set to make an impact with his latest work, Everything I Love.

Everything I Love definitely showcases the artist at his best as he performs five songs that cull from those differing elements while letting Wylie add healthy doses of his own creativity as well. The template holds stronger toward the pop country side, the alt rock taking a back seat this time but the number one star here is Wylie himself as he sings through well-crafted lyrics with his soulfully textured voice.

The EP opens up with the smooth, acoustic country strains of the title track, Wylie singing of a simple life enriched by intangible blessings, sharing, “These are the things that you can’t take away/The simple joys of living/That God gave me today/You can take the house and take the car/I’ll be okay/These are the things that you can’t take away.” It’s a warm and heartfelt start that gets the record off to a strong start.

Wylie puts his faith front and center on “This Is What Faith Is,” offering up an acoustic pop rock jam with some welcome guest vocals from CCM veteran, Christine Dente, who gives the track an additional lift while “Flower” draws some big, organic percussion together with piano and acoustic guitar as the artist sings lyrics of encouragement and love.

“Butterfly” is an upbeat lullaby of sorts, Wylie singing to his baby daughter over against a bright, mid-tempo pop background with rich guitar fills and tight melodies, the artist’s vocals warm and resonant. Those vocals continue to shine on album closer “Beautiful Souls,” Wylie’s voice recalling elements of Chris Daughtry as he sings the soulful lyrics, “Family ties can never break/And that explains all of the heartache/Here today then say goodbye/I will keep your legacy/God knows I will try.”

Losing his real estate business may have been the best thing to have happened to Steven James Wylie. The artist has emerged from his difficult season, buoyed not only by God-given talent but also a renewed purpose in his craft. His work on Everything I Love speaks of hard work, dedication, and honesty while capturing a warm and creative essence as he encourages listeners going through hard times. It’s one that’s well worth a listen or three.

Review: NMERCER - Crossroads EP

It’s the rare individual who finds that a move to South Central in Los Angeles will serve as a creative point of inspiration but for rising artist NMERCER, that’s just what happened.

Originally hailing from Vashon, a small island near Seattle, NMERCER was raised on the expected fare from that region, citing influences like Joan Osborne and Alice in Chains alongside more eclectic choices like the Pharcyde, Beastie Boys, The Doors, Björk, Easy E, NWA, and Too $hort. A move to Los Angeles found her eventually searching out and moving to South Central due to the more affordable rent and stumbling upon a new community of friends and artists.

“For the first time since I moved to LA, I felt like I was part of a community,” she shares. “The guys on the block were all rappers or musical in some way or another. They’d would bring by sick beats and ask me to sing hooks on them.”

Soon, in moments of privacy, NMERCER took to writing her own songs, a new experience for the artist.

“It was the first time I wrote music where I felt like I had a sound and voice. I think it came out real because I made those songs for no one but myself,” she explains.

Those experiences and those songs have fueled a burst of creativity in the artist and she’s released a rapid fire set of releases with her self-titled debut, a remix album, and the Crossroads EP. Those recordings have found her enjoying favorable comparisons to artists like MIA, Missy Elliott, Ke$ha, and Gwen Stefani, and the Crossroads EP gives a good indication why.

Produced by Justin Lassen, who’s done remixes for artists like Nine Inch Nails, Linkin Park, Apocalyptica, and Evanescence, the EP features four songs of NMERCER’s signature style. That style is a combination of hip hop grooves, electro-pop vibes, and plenty of EDR fills, all informed by the artist’s versatile vocals.

The title track kicks things off with plenty of electronic-fueled distortion, kicking programmed drums holding the beat while NMERCER drops her flow, her delivery somewhat slow and dreamy as her vocals mix things up with some added effects. The lyric is an encouraging one, the protagonist of the song standing at a crossroads and making the decision to push ahead and make a change.

“Steal It” keeps the positive vibes rolling as the artist sings, “Move/Dance/Now’s the chance/Go/Hard/Let down that guard/You’re in the spotlight/C’mon, steal it” while surrounded by an electronica-infused sonic backdrop that flows into a full-fledged radio-ready jam. NMERCER’s vocals are in full effect, the swelling music only giving her more energy while “Why U Gotta B So Fine” is something of a disappointment. True, the track does have a Ke$ha feel but after hearing the artist’s solid vocals on the preceding tracks, her nasal delivery and subpar lyricism just leaves one wanting.

Thankfully, NMERCER’s final track “DB” steps in and rights those wrongs. Sultry, sexy vocals and an old school feeling jam, complete with huge bass notes that propel the track forward, buoyed by a bright horn section in the chorus give the track bonus life. Singing of dropping a lover, the artist brings a sense of playfulness to the song, her rhyming legit and infused with a smile.

All in all, NMERCER’s Crossroads EP showcases a young artist who’s bursting at the seams with talent and has the potential to break out into the big time. Granted, there’s still work to be done but with NMERCER’s creative output and her star shining bright, the sky’s the limit for this promising new act.

Review: Kelley James - The Pattern Transcending

California music scene is almost as diverse as its landscape. Where the California horizon boasts warm and sunny beaches, hearty mountains, and dusty deserts, the corresponding music scene is no less colorful. California has given birth to genres as diverse as psychedelic and glam rock, pop punk, West Coast hip-hop, folk revivals, and great acoustic pop. It’s a music scene that benefited greatly from the state’s call to the creative, seeing great talent emerge year by year.
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National recording artist, Kelley James, is among that talent and he showcases some of the best that California has to offer on his latest album, The Pattern Transcending, offering up his own signature blend of pop, rock, reggae, and hip hop.

James is no stranger to the music world, having spent the last five years hard at work, performing over 750 shows. He’s “received recognition from several viral entertainment sites including BroBible, BuzzFeed, ClevverMusic, Mashable and Tone It Up” and his formation of The Sorority and Fraternity saw him tour nationwide. He’s had the opportunity to share stages with the likes of Mike Posner, O.A.R., Schwayze, and Joshua Radin while growing a devoted fan base and playing for everyone from the PGA to Google.

The key to James’s success lies in James himself as he crafts slick, radio-ready tunes beginning with a clean and polished pop backdrop. He then inserts elements of rock, reggae, soul, and hip-hop, carrying them all forth confidently and crisply with his easy going, approachable vocal and confident delivery.

Thus it’s a surprise when “Marinade” kicks them album off with a mixture of synth fills, kicking drums, and a pop-rock vibe that gets the toes tapping but finds lyric to be James’ most glaring misstep on the album as he sings, “I love the taste of your marinade/Let me marinate.” It’s just a lyric that doesn’t work and, while the arrangement is strong, it just can’t overcome that lyric.

It’s all uphill from there, however, as James employs some rich piano to open up the lover’s lament, “Sucks,” showing off plenty of keen pop sensibilities while “That’s My Girl” lets the artist marry soul and hip-hop, funky fresh bass tones providing a rich bed for his effortless freestyle flow. More funk plays into tracks like “Secret Lover,” more smooth bass lines accented by tight percussion while James continues to spit rhymes before giving love to the state of his music’s birth with “California.”

James tugs at the heartstrings of his lady listeners with the lovelorn tale, “Don’t Want to Let You Go,” bright piano vibes offsetting the darker mood of the lyric while “Stalker” is just pure pop fun as funky reggae-tinged tones set the table for James’ playful tale of infatuation. It’s akin to Bruno Mars’ new classic, “The Lazy Song,” and is almost as fun and infectious while “The Legend of Rip Venice” takes its shot at jaunty storytelling over against a mid-tempo soul groove infused with some shiny horn work that gives the track additional life.

“Carolina” finds the artist taking things a bit more acoustic, guitar opening things up before moving back into familiar pop territory but “Wonderful Place” and “Brother” deliver much more fully on those acoustic promises, the latter colored with frenetic fingerpicked guitar and tasteful fills of piano and strings that recall the sounds of Joshua Radin. They’re two of the more subdued tracks found here yet they really shine.

Kelley James’ The Pattern Transcending is an album that is full of tracks just ready to jump onto Top 40 radio. Eclectic yet accessible, James creates a sound that draws from the pop tradition while infusing it with his own pathos, bringing danceable, sunny tunes all day long. Perfect for fans of Jason Mraz, John Mayer, or Jack Johnson, The Pattern Transcending is an album that showcases a star on the rise.

Review : Brian Larney - At the Starting Line

It seems that within the heart and soul of many successful band members, there always lies that
powerful question of, “What if?” Most specifically, “What if I were to try and do this on my own?’ And, for years, band members have been stepping out of the shadows of their comfort zones and have tried to forge ahead with their personal visions. In some cases it’s been wildly successful while others have unfortunately met with far less success.

Rising artist, Brian Larney, knows all too well those introspective longings and questions. A longtime member and collaborator within local Northeast bands, Larney has long felt the urge to venture out solo, seeing if his particular brand of pop-rock could stand on its own.

“It’s a triumph of the spirit,” the Bridgeport, Connecticut artist says laughing playfully. “I always hid within bands so everything about this is like starting over, hence the title, At The Starting Line.”

The product of a longtime musical education, Larney spent his early years honing his songwriting and focusing on the “art of harmonizing.”

“I would get to school at 6:00 AM and go into the piano practice room and pick out songs and work on harmonies,” he says.

And while his initial efforts resulted in over the top, “overly complicated 7-minute opuses,” Larney eventually found his way, merging his personal tastes as a listener, which encompass everything from pop to bluegrass and everything in between, together with his work as a traveling musician where he worked with bands playing everything from pop-punk, power pop, post-punk, and hardcore. Through all of those experiences, Larney found the strength and the skill to step out of the shadows and being casting one of his own.

And with the early verdicts coming in, Larney has nothing to worry about.

Larney’s number one coup was in snagging Americana songwriter, David Mayfield, to produce, the singer/songwriter lending a refreshing tone to Larney’s work. But, while Mayfield’s production keeps things clean and clear, it’s Larney and his compelling songs that are the star here and they don’t disappoint.

Fueled by Larney’s humble yet smooth vocals and an eclectic sense of composition that fuses soulful harmonies, tasty indie pop-laden hooks, and elements of country and Americana together in a highly listenable gumbo of sound. There are elements of bands like Wilco and others to be found but, through and through, this record resounds with Larney’s own signature.

That signature is most notably heard on the album’s highlight track, “Why God Why,” which finds the artist dealing with the loss of his father. It’s a simple arrangement, surprisingly mid-tempoed and driven ahead by subtle percussive notes as Larney sings, “Wake up, Dad, I need you now/Is this the place you were laid down/And why are you still sleeping?/And I ask/Why, God, why?” It’s powerful, haunting, and lovely all within it’s two and a half minutes and captivates the listener.

Not afraid to tackle other heady topics, the artist wrestles with religion on the bluesy “Dogma (On a Leash),” calling out his take on swarthy preachers who repeatedly speak with “forked tongue” and coax parishioners into giving money that they use to line their own pockets. Soulful pockets of both acoustic and electric guitar bolster the track, lending it a vital, swampy note.

“Whistling Past the Graveyard” is a track that makes great use of the artist’s pop leanings, featuring great harmonies, killer keyboard chops, and a toe-tapping arrangement, making it another favorite. Ditto that for album opener, “You, Me, and Alison” which captures an expansive Americana vibe, perfect for long summer road trips, and harnesses the great line, “Jesus in your tears.” Flipping the tables, “Solace” slows things down with a lyrical journey that explores spiritual oppression with stringent honesty, offering up the thought that, “There ain’t no difference if you’re good on the outside/Still got your demons locked up inside your heart.”

Merging genres and writing honest, poetic, insightful lyrics that speak to the heart and doing so while providing a great hook, Brian Larney’s At the Starting Line is a masterful work. And while Larney may have been content to rest in the shadows for some time, he’s going to have to get adjusted to the spotlights because if he keeps making music like this, they’re going to be shining on him for a long, long time.

Review - Zain Lodhia: The Leap

Most artists look back at their early days and recall hours of hard work, toiling away learning their instruments, honing their craft, and fighting the critical looks some would throw their way, calling into question the viability of a career in music.

Then there’s Zain Lodhia.

While the artist has no doubt fought hard to hone his skills, his early days recall a gentler, simpler time in college playing the now classic video game, Rock Band, with his roommates. Tasked with taking the mic and delivering vocals, Lodhia took a different path, discovering “his own musicality and embraced a new era of creative self-expression.” And most importantly, he found his voice.

That voice, as well as an uncanny understanding of what makes a great pop song, is a large part of what makes Lodhia’s latest effort, The Leap, so successful. Following the success of his 2011 EP, Memories, the artist enlisted the help of producers, Tim Brennan and Mark Sutor, formerly of the pop punk band, June. The result is a warm, creative, and polished record full of acoustic tones tempered with layered electronic elements and percussion with a purpose.

Lodhia’s sound has been likened to artists such as Maroon 5, The Script, One Republic, The Fray, and more but, through and through, Lodhia manages to craft a sound that, while revealing some of his influences, ultimately carves out his own comfortable niche within the music world. Perhaps the best example of that comes on “Send Me Away.” Compelling programmed percussion sets the tone while Lodhia’s smooth vocals press the track forward before bursting into the energetic chorus, featuring vocal assistance from Katie Foster. It’s as radio-friendly as you can get, the arrangement stunning and the delivery shows that this is an artist who’s ready to make an impact.

And the rest of the album manages to declare the same.

Songs like “Lost for Words,” which also receives the acoustic treatment, showcase a keen ear for pop sensibilities and production while “Beautiful Devotion” brings a slightly hip-hop element to the vocal, offering interesting sonic textures. Keyboards play a prominent role in “I Wonder,” giving the song that wistful, thoughtful edge as the title track carries across a plethora of percussive tones that hit all the right spots. It’s layered with notes that don’t just fill the voids but that contribute to the overall emphasis of the song and that blend solidly with Lodhia’s skillful acoustic guitar work.

“Long Run” showcases the artist’s ability to write a strong, ballad-based hook and deliver it which he does with passion and poise, maintaining a similar flow on the lyrically upbeat, “Close.” Acoustic guitar and skillful keyboards blend into a solid tapestry on “Keep Breathing” while “Shadow of Your Light” maintains a mid-tempo pace, accented with creative composition elements. Add in warm, heartfelt tracks like “Dreams Out Loud,” “Make It Through,” and hidden track, “Perfect World,” and you’re left with a smile on your face.

But perhaps no song captures the real essence of this record like the single, “Lifetime.” Upward bound with a lyric that focuses on second chances and the reward for hard work and sweat, blood, and tears, “Lifetime” hints at the heart of the artist behind it. And that artist is a grateful one.

“It’s a milestone being able to hold this album in my hands,” Lodhia shares. “Music has always been a passion of mine, but it wasn’t until later in my life that I discovered how powerfully songs can move us,” he says, pausing reflectively. “I’m so glad I didn’t let my fears hold me back.”

Don’t let anything hold you back from picking this one up either. Lodhia may be taking The Leap but if the musical gods are just, this is a job he’ll do doing for a “Lifetime.”

Review: Take Me To The Pilot - What Makes You EP

Canadian-based power pop quartet, Take Me To The Pilot, wants to know What Makes You on their sophomore EP, but for those of us in the dark, perhaps its best to start by understanding what makes them.

The band is the brainchild of lead vocalist and songwriter, Mike Bilenki, and simply started with a song. While tinkering in his basement, Bilenki found himself between bands and not really sure what direction he wanted to head when he started work on a new composition. As it turns out, that would be the song that would reenergize the young musician and lead him to record the track, build a MySpace page to promote it, and would soon add fellow members Adam Brown (bass), Eric Grabowecky (guitar), and Jonathan James (drummer) to the mix, completing the trifecta. With all the pieces in place, the band has garnered a fair amount of success, traveling across their native Canada multiple times and performing with acts like The New Cities, Fefe Dobson, Alyssa Reid, and Brighter Brightest, among others.

And one listen to What Makes You helps listeners to understand the quick rise of this young band. Featuring an overall sound that is reminiscent of bands like Yellowcard, Fall Out Boy, and Relient K, Take Me To The Pilot crafts a fine blend of power pop and rock, giving thing their own spin, largely through the able songwriting craft of Bilenki and his able crew of musicians. There’s plenty of the requisite hard hitting percussion, jangling guitars, and up tempo jams throughout this release.

“Baby We’re Gonna Be Rich” kicks things off with a solid punch, a simple opening flowing into a solid burst of sound as Bilenki sings of youthful love, Grabowecky’s solid guitar chops holding things in check as “Time’s Up” adopts a slightly more organic sound throughout, with some “wah wah” guitar notes and plucky bass from Brown. “Melody” delivers some nice synth tones to start while Bilenki is aided by some vocal effects and hand-clap percussion before the EP segues into “the song.”

The song that birthed the band is “Carry You Back,” and, by and large, it’s a solid track. Love-based lyrics are surrounded by a full-fledged pop sound, Bilenki showcasing some nice harmony vocal work and the overall appeal ending in something rather encouraging, buoyed by some soulful string section work throughout. “What About The Time” plugs the synth back in and gets things rolling from the start before things pull out into a more traditional flow, Brown’s bass getting plenty of work as the whole bands goes into overdrive, pulling together hook-laden, catchy pop fare.

Persistent guitar kicks off “Right Now” and when the rest of the band kicks in, bolstered by Bilenki’s passionate vocal delivery and the rolling bass line from Brown, listeners are going to be glad they tuned in to this upbeat track. Some acoustic notes and a quiet intro open “Travlin’ Heart” up and closes things out on a slightly subdued note that provides a nice contrast to the rest of the EP.

Take Me To The Pilot is a band on the rise, and with a median age of 21, they’ve got plenty of time to make that trek. And while What Makes You isn’t a perfect record, it’s not half bad. As these young men get a few more miles under their feet and diversify their sound just a little bit more, they’re going to be a force to be reckoned with.