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: The Glass Child - I Must Be Gone And Live, Or Stay And Die

Let’s be honest, the life of a music reviewer isn’t one that’s laden with too many perks. Granted, we get to hear many albums prior to release date and get kept in the loop a little bit more than the general public on musical happenings here and there but we’re also tasked with meeting deadlines, trying to write intelligently about the albums, and are constantly on the lookout for new synonyms to color our reviews. Add in the stellar pay rate (sarcasm fully intended) and you might find yourself wondering while we even bother, right?

Artists like The Glass Child are exactly why reviewers keep writing, for the sheer opportunity to run across an artist with such great promise that you’re sure to find yourself saying one day, “Yeah, I was listening to them back in the day.” Yes, friends, The Glass Child and her latest release, I Must Be Gone And Live, Or Stay And Die is that type of album, the elusive diamond in the rough that helps keep reviewers like me going when all the music threatens to sound the same.

Yes, kids, it’s a great album and is one you’ll be glad to give a listen to when you get a chance.

The Glass Child, better known to her friends and family as Charlotte Eriksson, is an artist who gives new life to the concept of fully believing in her dream, leaving home at the tender age of eighteen to move to London, dedicating herself mind, body, and soul to her craft. And over four years, largely due to her ability to harness the power of social media, the artist has released five EPs and a full length record, scored high on the charts, and is now set to release her latest offering, I Must Be Gone And Live, Or Stay And Die.

Eriksson operates in a creative space that’s very alternative pop, drawing favorable comparisons to artists like Florence and the Machine and Paramore yet her sound is still resolutely hers as listeners will find through the thirteen tracks found here. Her voice is strong and resolute, her phrasing beyond her years, giving her a stiff leg up on the competition as she delivers soulful takes all along the way.

“The Fall” is an instant hit right off the bat with great lyrics like “I never knew that love could be/This much pain and misery” while surrounded by emotive keyboards and a warm, acoustic-based arrangement that frames the artist’s voice perfectly. Some eclectic percussion infuses “Heroes” before the artist lets loose and lets the rock out, her voice showing its full range and impressing while “Yesterday” showcases her voice against an acoustic guitar backdrop, her passion evident throughout.

“I’m Hidden So Well” is an inviting contrast between subdued tones and rocking notes, fueled with raging guitars and pounding guitars while “Winter Girls” is pleasingly experimental and atmospheric, hitting a stride at the end that presses things forward to the end. A poignant piano intro lays the groundwork for that ultimate question of youth, “Who Am I,” infusing some near reggae tones within before “London” offers up more acoustic vibes.

Relational angst colors the pulsing beat of “The Water’s Edge,” resounding guitar threads providing extra emotion as “Running Up That Hill” showcases Eriksson’s vocal creativity, layering vocals over against a sparse piano lead that is one of the more intriguing tracks to be found here. “Who I’ve Grown to Be” celebrates the artist’s journey to this point, breathing in the victory of her accomplishments and hard work with humility and honesty while “I Took His Smile Away” is a rocking explosion tempered by moments of quiet, Eriksson’s voice haunting. Things arrive at a close with an unplugged version of “The Water’s Edge,” still powerful in its stripped down setting and acoustic track, “Lonely In This Love,” which ends things on a high note.

I Must Be Gone And Live, Or Stay And Die is a great album from a wonderfully promising artist. If the Fates go the way of justice, this is an artist that we’ll all be glad to say that we were listening to back in the day for the road is bright ahead of this budding star.

Review: Hello Echo - Echo

Today’s musical landscape is littered with a plethora of indie rock bands, each trying to develop and to promote that certain something that will help them rise to the top. All you have to do is screen through obscure music site after music site to see the incredible breadth of bands, all fighting to stay above water with gimmicky names and clever tricks. Yet, for rising act Hello Echo, there’s no need for tricks, gimmicks, or over-the-top antics; they simply let their music do the talking.

The band was formed when vocalist and guitarist Sean Aylward, who’d spent two years recording and touring with Apollo Sunshine, headed to the West Coast and began working on some solo material. A chance meeting with Mike Silva (drums, vocals) and Mike Sarno (bass) while on a surfing excursion in Baja, Mexico, led to an impromptu jam session and an explosion of chemistry which the trio couldn’t deny, leading to the birth of Hello Echo. Their debut release, Hello, grabbed great reviews and that’s something that’s bound to continue with the release of their sophomore project, Echo.

Drawing from a template that does recall acts like Modest Mouse and The Pixies, Hello Echo still crafts music that is altogether their own, bridging together elements of rock, folk, surf, punk, and blues, stirring it together to create a savory gumbo.

“Growing Old and Sleeping” kicks the party off to a shuffling start, the arrangement simple and almost sing-song like before giving way to the garage rock of “Country” with its big bass lines and gritty vocals. “Watch Through the Lines” connects a lot of dots, with a funky island groove in the bass lines while a rocking guitar riff rages over the top while “Coffee Cups” hints at some old school rock influences with its melodic jams and radio ready sound.

“Under a Spell” is appreciably funky, a swirly guitar line weaving its way through the composition with some creative flair which gives way to the plaintive Americana folk of “Tumbleweejy” and its sweeping strings and plaintive piano tones. In contrast, “Lion” is a slow builder assembled around Silva’s tight percussion and ambient tones that gradually develop while “A Drop is an Ocean” is a good, old fashioned blues rocker, Aylward’s guitar work and vocals well suited to the task.

Keeping listeners on their toes, the band then delivers the lighthearted island-tinged jam “Big Sur,” bright and simply beautiful before seguing into the ambling “I Wore it Too,” a track that hints at island tones with a plodding drive and smooth harmonies. “Don’t Add It Up” shifts gears back into the more creatively eclectic, blending harmonica, strings, guitars, and more to deliver a subtly moving soundscape before closing the record out with “And We Both Know,” a track that is gentle and moving.

On Echo, Hello Echo continue to impress, delivering hefty slices of creativity alongside solid musical chops and a poignant delivery. The result is an album that you want to hear again and again and there’s no better compliment to give than that.

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: 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: True Nature - You Shouldn't Have to Shout So Loud EP

The best types of music are always those that are wise enough to give praise and acknowledgement to their influences, honoring them openly while injecting a new dose of creativity and energy, taking those sounds to a whole new place. True Nature founder and front man Lou Barlow understands this and on the band’s latest EP, You Shouldn’t Have to Shout So Loud, takes great pains to honor his predecessors while crafting music that is wholly his.

Barlow grew up in a home that celebrated the works of Bach as readily as they did Earth, Wind, and Fire and Led Zeppelin. The artist was drawn to the drums and, with urging from his parents, also took up the guitar, eventually heading off to college and landing at New York University, further developing his skills while majoring in theory and composition. Those New York experiences also opened up the artist to tons of vibrant influences, eventually connecting him with The Spin Doctors’ drummer, Aaron Comess, who would go on to produce True Nature’s celebrated debut EP, Feels Like Centuries.

Now, True Nature is back and on You Shouldn’t Have to Shout So Loud, Barlow and his new stable of musicians, guitarist Steve Dawson, drummer Devin Collins, and depending on the show, either Randy Runyon or Matt Basile on bass, deliver five songs teeming with universally spiritual lyrics and solid modern rock sounds that hint draw from the same well as U2, The Foo Fighters, and Pearl Jam.

The album opens up with the muscled rock of the title track, Barlow and company painting with a layered intensity of electric guitar and pounding drums. There all hits of all the aforementioned influences here but True Nature makes the sound all their own, leaning on Barlow’s versatile vocals for additional help.

“Only Love” follows hard after, electric guitar and thumping percussion building into deeper layers, Dawson conjuring the Edge and Barlow bringing his best Bono to the party. It’s a driving, passionate track that works well while “One Soul” tones things down, a bit of acoustic guitar leading the quiet lyric ahead.

But it’s “My Freedom Lies Behind the Sun” that is the real star here. From its moody, bluesy intro, complete with tom-tom drums and a gritty tone to the fully realized outbreak of sound as it segues into the full song, it’s the brightest highlight here. Barlow’s vocals are insistent and nuanced, his wails reminiscent of Eddie Vedder at his best while drummer Collins hammers on the skins, setting the tone for Dawson’s vibrant guitar fills. It’s simply a great rock song and that’s the best compliment one could pay here.

Not to be outdone, however, album closer “New Father” is no slouch. Beginning with a plodding drum line and a sparsely decorated soundscape, the track builds itself slowly, Barlow’s vocals gaining strength, hitting a smooth groove at the chorus line undergirded by bright guitar. And from there it’s on, Barlow chewing off lyrics with aplomb and letting his band show their stuff, moody elements floating here and there and closing the EP out on a strong and engaging note.

True Nature is a product of its influences, drawing inspiration from artists far and wide. But Lou Barlow and company work hard to take those influences and channel them into their own sound, crafting music that is truly theirs and on this latest EP, they do just that. An engaging fit for fans of those influences or for those simply looking for some great, insightful rock and roll, You Shouldn’t Have to Shout So Loud is a strong release from an exciting, up and coming band.

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: Cookie Rabinowitz - Four Eyed Soul

The old adage holds that you can’t judge a book by its cover and, in the case of rising artist Cookie Rabinowitz, that’s doubly true. For, if you were to just glance at Rabinowitz with music in mind, you might be tempted to see his hipster jeans, oversized pimp glasses, and kicking Vans and label him as some sort of electronica wizard. Yet, one listen to the artist’s debut, Four Eyed Soul, and listeners will realize that this is a singer who’s a little less Moby and a lot more Marvin Gaye.

But Rabinowitz didn’t start in the world of soul, R&B, and hip-hop. Rather, the eclectic artist began his journey as “an introspective folk singer with reclusive tendencies.” Yet, when finances became an issue, the artist found himself working at a gentlemen’s club as a DJ where he became entranced with the beat-heavy music and swarthy hooks, drawing him into a new creative space.

Along that journey, Rabinowitz came alongside hip-hop pioneer Schoolly D who helped to mentor the young artist. The tandem worked together with guitarist Erik Horvitz on the animated urban music interview show, The Cookie Rabinowitz Show, which later led to Rabinowitz heading out with Schoolly D and a plethora of other rappers, with Public Enemy among them, on a tour that would change the artist’s trajectory forever.

“The hip-hop community really embraced me. It was eye opening. Schoolly let me do my thing and shine – I was able to sing and play guitar at 3,000 capacity venues,” he recalls. “That inspired me to dive into that world.”

That inspiration and the artist’s creativity collide in full harmony on Four Eyed Soul, a term the artist coined to describe his blend of sounds which borrows the best of the old while bringing it firmly into the future with swells of hip-hop, soul, R&B, as well as rock. And backed by some of Philly’s finest, Rabinowitz steps out and makes some lovely music.

“Sing Alone, Sing Along” gets things off to a killer start, a smooth, funky groove carrying forth the artist’s silky vocals, complete with playful falsetto while he offers up introspective thoughts about the lack of disconnect in a digital age. A rich guitar solo provides some additional color while “Crakka Smile” employs some sweet keyboards and more falsetto to hammer home its message.

“Every St.” lets Rabinowitz’s hip-hop side out a bit, his lyrical flow solid while the arrangement draws from a multiplicity of ranges and is followed by “Life on Mars,” carrying similar tones complete with some sampling and vinyl scratches, providing some bonus texture. Rich funk steps to the forefront on “Pass You By,” vintage guitar effects in use alongside thumping bass notes and bright keyboards while “Text You With My Mouth” lets a persistent beat carry the load as the artist again implicates the age of social media.

“Get Yer Own” is a beat-centric hip-hop jam, a collection of sonic textures merging together while “Blue” hearkens back to 70s soul for a commentary on racial tension. A bit of alternative rock makes its way into the set list with “Underground,” the programmed beats melding with raw guitars and Rabinowitz’s nuanced vocals as “Self Loathing” and “Rock & Roll Karaoke” again bridge the gap between soul, R&B, and hip-hop, the artist again breaking out his falsetto for the high notes.

“More Tired Than Lonely” is an album highlight, solo guitar opening things up as the artist sings of his reluctance to enter into a relationship due to the finger-pointing and baggage he’s experienced, “too tired to take the blame, too tired to hear you told me.” It’s a smooth, simple groove that carries the lyric well and definitely stands out while “Talking to Pigeons” closes things out in fine fashion, another mash up of genres flowing together in sweet success.

Cookie Rabinowitz might not be what you’d expect when you first see him but after you hear him you wouldn’t want anything else. Bridging the gap between multiple urban genres and infusing his own introspective folk leanings, the artist successfully crafts tracks that carry their own sense of soul for a new generation.

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: Cole Hermer and The Ravens - Quoth the Raven EP

Sometimes it’s the most innocuous of things that can have the most surprising impacts in life. For instance, consider the story of Cole Hermer. Raised on a diet of classic rock artists like Black Sabbath and Alice Cooper, juxtaposed against an alternate soundscape of Bruce Springsteen, Neil Young, and Simon and Garfunkel. When a writing disability led his mother to purchase the ten year old a guitar to practice with in hopes that it would help with his dexterity issues, the experiment failed. What didn’t fail, however, was the budding artist’s love for music and by seventh grade he’d penned his first original song.

That love continued to grow and develop, Hermer voraciously devouring music wherever he could find it, exploring metal, progressive rock, and more. High school found the growing artist engaging with groups like Mumford and Sons, The White Stripes, and The Black Keys, those formative bands helping to hone Hermer’s evolving sound.

It was another chance encounter that led to Hermer’s latest adventure, the recording of his first EP, Quoth the Raven.

“My philosophy is take every chance you get because it will lead you to an interesting place. I got cast in this reality show about musicians in the Durham region, and that’s where I met Michael (Hanson),” he shares. “He is a big deal; the well-known songwriter-drummer of Glass Tiger. He heard me work with this music group on the show and liked my voice. Out of the blue he offered me the chance to do an EP.”

The EP captures a formative point within the young artist’s creative development, finding him move beyond the straight metal angst of so many teenage artists and segue into a set of five songs that capture elements of classic, garage, and folk rock, among many others.

Speaking of the EP’s diversity, Hermer offers, ““As I was recording, my music tastes were growing so much, the EP reflects that diversity.”

“California Breakdown” opens up the record with a rich tapestry of roaring garage rock, raging guitars and relentless percussion holding sway as Hermer unleashes his passionate vocals, conjuring images of Jack White and Robert Plant. The track oozes emotion and has a free flowing vibe going for it but, a closer listen seems to hint that the arrangement is actually much more rehearsed and tightly woven than it appears.

“Exploitable Youth” follows hard after, big crunchy blues rock guitars setting the table for Hermer’s indictment upon the treatment and experience of so many young performers in the music industry who are used and chewed up by the machine. With serious vocal chops he sings, “Hey kids do you want to be the star of the season?/Into the abyss where mom and dad make every decision/Burn your salvation when you’ve got nothing to lose/And follow blindly till they find someone new.”

Hermer takes his sound in an unexpected direction on the subdued platform of “Friends,” maintaining those blues rock elements throughout a quieter template that really let his lyrics and vocals shine. He brings in some playful background harmonies that provide a glossy sheen against his raspy lead vocal, offering up a solid contrast before bridging into the acoustic driven folk rock, “Maybe In the Morning,” co-written with producer Hanson. Album closer “Teenage Creed” finds the artist coming full circle, more bluesy garage rock taking center stage as the artist spits out lyrics with a sneer and a snarl, ending things on a high note.

While some of Cole Hermer’s opportunities have come by way of the classic “right time, right place” concept, the artist has not let those opportunities lay dormant, working hard to build his art and on Quoth the Raven, Cole Hermer and The Ravens stand up and stand out, showing why they’re worthy of a listen. Passionate, youthful, and energetic yet intelligent and skilled as well, this is a band to watch.

Review: Mobtown Moon - Mobtown Moon

There are few albums that hold the iconic status of Pink Floyd’s epic recording, Dark Side of the Moon. Released in 1973, the album marked a shift in direction for the British progressive rock band, combining a number of the ideas and concepts hinted on in earlier works into a cohesive and tremendously artistic package. Utilizing breakthrough recording methods and a pointed them that outlined issues of money, greed, and a slow spiral into madness, Dark Side of the Moon became a tent pole that rising artists measured themselves against, seeing it sell nearly 50 million records and trigger numbers of covers and tribute records as well from artists like Phish, The Flaming Lips, and more.

Baltimore-based outfit Mobtown Moon is the latest to venture into the wilderness of Dark Side of the Moon. Fueled by the city’s distinct creative vibe, Mobtown Moon is the vision of co-creators Sandy Asirvatham & Ellen Cherry who have essentially envisioned the album as a conceptual art piece, channeling a singer-forward template ahead surrounded by an eclectic musical palette that samples from jazz, hip hop, soul, choral music, chant, and, it goes without saying, rock.

Involving forty-one musicians, Mobtown Moon seeks to do more than recreate the record in a rote fashion. Instead, the collective draws from a rich diversity of genres, capturing the heartbeat and melody line while showcasing them in entirely new surroundings. Using live performances, digital loops, and sound effects, Mobtown Moon is purely successful in crafting a vision of Dark Side of the Moon not yet heard before.

Things kick off with the ambient flow of “The City Speaks,” random noises, static, and more setting the table with an anxious opening while segueing into “Breathe (Chant Version).” It’s an unusual track, an almost barbershop feel with a rich bass vocal and more sounds of life that eventually open up into the rich and sultry jazz-improv of the more conventional “Breathe.” Smooth piano presses things forward, supported by tasty horn fills and accented by a stirring electric guitar solo, allowing the female vocal plenty of room to sway.

“On the Run” takes a wholly different approach, further recorded sounds of life and electric distortions opening up onto a madman’s banjo-driven bluegrass. It’s relentless and a bit unsettling; the slight swells of guitar and vocal making it even more so while “Time” draws from soul and rock ‘n’ roll, resonant organ undergirding the solid male vocal. “The Great Gig in the Sky” takes those elements and ups the ante, letting a string quartet open the proceedings before moving into more moody experimental territory helmed by Asirvatham’s unique vocal.

Cris Jacobs steps to the forefront on the hit track, “Money,” his Ray LaMontagne-esque vocals gritty and real against the jazz and blues-flavored backdrop which then smoothly blends into the hip-hop of “Dream/Counterfeit.” There’s a slam poetry vibe to the proceedings, with bright piano tones and riffing guitar fills that gives the lyric new life while “Us and Them” is sultry and beautiful, smooth jazz melting with Ellen Cherry’s warm vocals. Those jazz notes continue on “Any Colour You Like” as wandering saxophone and clarinet join with persistent percussion before opening up onto the soul and gospel infusion found on “Brain Damage.” Things come to a close with the collective’s eclectic take on “Eclipse,” choral tones and funk grooves holding sway and leading to an abrupt conclusion.

Dark Side of the Moon has always been one of those pivotal albums that separate music lovers. While most applaud Pink Floyd’s artistic achievements and experimental progressions, there have always been those that, well, just didn’t get it. Mobtown Moon’s cover of this great record will no doubt have it’s detractors as well, those that don’t “get it” but for those with an open listening palette, what this musical collective has achieved here is rather intriguing. It’s a record that both stands in testament to the greatness of Pink Floyd as well as pointing to the keen talent of the rising generation; a win-win all around.

Review: YUCA - Rebuilding the Fallen Empire

Today’s musical landscape stands in current need of an injection of passion and energy. While there are plenty of fine bands and great artists on the market working in the industry, there’s been a dearth of epic, sweeping rock that conjures great emotion and creativity in one concise package like imports Muse, Coldplay, Sigor Ros, and U2. It’s the kind of art that music fans love and search for, probing here and there in hopes of finding the next great band. And with the discovery of the Canadian three-piece outfit YUCA and the release of their rousing debut, Rebuilding the Fallen Empire, that search may have just ended.

Hailing from Langley, Canada, the trio has spent the last five years cutting their teeth on their music, tirelessly working on their sound and performing nationally and internationally, garnering acclaim and grabbing some great headlines and opportunities along the way. Among those include the chance to perform at the 2010 Vancouver Olympic Games, having a song placed in a video game honoring those Olympics, and sharing the stage with artists like The Killers, Metric, Lifehouse, and more.

The record benefits greatly from the group’s shared experiences, their five years of touring and work coming to fruition, the title carrying a double meaning.

“It means reviving rock n’ roll,” shares lead vocalist and guitarist, Matt Borck, “But it’s also personal. We’ve been in the trenches and working our butts off for the band, so it also symbolizes making our dreams a reality.”

Part of that dream was to capture the energy and excitement the band has come to be known for in their live performances. And in an effort to capture that live vibe, the band opted to produce the record themselves and recorded with “an organic first-take tracking aesthetic.” “I wanted to be exposed and free. We strove for imperfection as perfection, going for first takes and picking emotion over anything else,” says Borck.

If Rebuilding the Fallen Empire is YUCA’s “imperfection,” look out for their “perfect” stuff. “Skeletal Desires” launches the album off to a powerful start, big, bright horns offsetting a relentless guitar drive before Borck settles in with his Matthew Bellamy-styled vocals, reaching and soaring for the skies. He keeps that soulful soaring going on “Melt You,” ripping through guitar chords with ease while Andy Boldt’s bass throbs heavy alongside Dave Atkinson’s pounding drum work.

“Maybe We’ll Riot” finds more pulsing bass lines and experimental flows but is one of the more accessible tracks, the rock ‘n’ roll passion ample while “Heavy as a Stone” introduces the band’s wall of sound approach, nuanced yet frenetic instrumental flows over Borck’s impassioned vocals as he sings of common human threads. A rising epic flair colors “I’m Alive She Said,” the moving vocals and Edge-like guitars invoking thoughts of U2 as “Love” opts for a progressively slow build, gentle notes building to a crescendo of sonic stimuli that resonates strongly.

There’s a moody element to “Where Are My Soldiers At?,” the tone somewhat dark and theatrical, Atkinson’s drums pounding the way ahead as Borck’s vocal range stretches high, singing with passion. Experimental is a good way to define “Anthem of Need,” the band opting for some inspirationally sound musical jamming before moving the track forward, the playfulness making one long to see the band live. Influences of Muse come to the forefront on “Give Up My Ghost,” the whole track showcasing those elements while still staying true to YUCA’s mentality as “Sparrow” closes the album out with a sweeping and subdued song that recalls the emotion of Sigor Ros.

There are few artists daring enough to even try, let alone succeed, in doing what YUCA has done with their debut, Rebuilding the Fallen Empire. Rolling the dice and hoping for the best with their live recording method, the band has captured that live sound without fail, the energy and spontaneity of it simply pouring more gasoline onto the vibrant creativity the group produces. Perfect for fans of Muse or U2, Rebuilding the Fallen Empire is an album poised to put YUCA on the musical map.

Review: Stone Diamond - We Stole the Stars From the Black Night

Rock and roll is a genre of music that’s oftentimes dismissed by more “serious” fans of music as raucous and uneducated. Its three chords, played LOUD, supported by more loud drums and throbbing bass. And the lyrics and vocalists? Oh, don’t get us started on them. And while there are no doubt plenty of fly by night bands who unwittingly help to support this viewpoint, the deeper music aficionado knows that there is a lot more to rock ‘n’ roll than just loud guitars. And that music fan might readily point to independent act, Stone Diamond, as a case in point.

The players of Stone Diamond each came to music at an early age, Cy (vocals/guitars) kicking off his musical journey by jamming with his uncle at the age of six while, Josh (vocal/guitars) followed suit, beginning playing at eight as The Tongue (drums) started humbly banging a lone drum at the age of six. The youngsters would eventually meet at form a garage band, working to hone their skills together as a tight-knit unit. Now, older, wiser, and well-seasoned, Stone Diamond is ready to unleash its debut, We Stole the Stars From the Black Night, on the world.

The music is intensely all Stone Diamond’s, largely due to Cy’s tackling of producing, songwriting, and engineering, insisting that the band record the album on livetracks, bolstering the live sound and delivering the band’s signature sound just like it’s apt to feel in concert. And with some assistance from drum legend, Ricky Lawson, keyboardist, Toby Philippen, mixer, Noah Shain and for mastering, Grammy Award winner, Brian Lucey, the results are great.

Lawson makes his cameo in the first track, “Love Stays,” a mid-tempo track buoyed by some jangly rhythm guitar and Chris Cornell-feeling vocals. That moody vibe leads into the sterling blues-tinged flow of “Let It Roll,” filled with plenty of soulful guitar licks. The Tongue’s heavy drum beats open up “Flavor of Tears,” banging out a steady intro that unveils a driving guitar line and brooding vocal delivery while “Tattoo” is an emotive rocker that showcases some shredding guitar work, moody and edgy.

“Dark Lover” holds sway with a dark vocal delivery and lyric but the arrangement is bright and energetic, possessed by just a touch of funk before segueing into “U Know,” one of the top tracks on the album. Featuring guest vocals from Mimi Moo, the duet is a slow burner and more vocals reminiscent of Cornell inform the track. The guitar work is solid and Moo’s brooding voice provides the right note of that something extra, giving the track even more life.

Unfortunately, “When We Were Young” drops the ball a bit, largely due to its overly repetitive chorus line that becomes redundant very quickly. The song as a whole feels like it’s trying to do too much and just feels forced. “No Boundaries” rebounds nicely though, bluesy guitars paving the way for solid vocals and an energetic chorus. It accomplishes the juxtaposition of quiet and loud in a way that “When We Were Young” just didn’t. “Just 4 1 Day” follows after, The Tongue banging out a heavy beat while Cy and Josh carve out a bright melody.

“Traumatized” is a track that hearkens back to the great mournful rock ballads of the past, the music sparse yet heavy while the vocals capture the listener, soaring effortlessly and making this another must hear on the record before closing things out with the high energy of “Long Hard 5 Days,” a touch of Lenny Kravitz-styled vocals and funky guitar ending things on a high note.

It’s been a long journey for Stone Diamond, from junior jammers to garage band to what is now a polished and studied rock outfit. And on We Stole the Stars From the Black Night they showcase it all, their musicianship sound and solid as they perform stirring arrangements that provide broad canvases for great vocals. It’s a win-win all the way around and any fan of quality rock and roll will find something worth a listen here.

Review: Jensen Reed - The Left Coast

What’s that? You say you’ve never heard of Jensen Reed? Well, you might be surprised. Because, since his move to The Left Coast, this kid’s steadily been making a name for himself.

The rising artist’s career started humbly in the Tar Heel state of North Carolina when a classmate asked him to duet on the Beastie Boys’ “Pass the Mic” for a talent show. The crowd loved it and so did Reed. He set his sights on the big time and, drawing heavily on the influence of the Beastie Boys, along with bands like The Doors, The Beatles, Led Zeppelin, among others, and set about making music. Eventually, Reed was performing with his college band, Plan B, for crowds of 5,000 in Raleigh-Durham. Yet, the artist soon found himself feeling the need to make a move.

So, in 2007 the budding artist set his sights on Los Angeles. While keeping his day job as a tennis pro, as well as stepping out and getting his real estate license, Reed kept pushing ahead with his musical dreams in the difficult L.A. scene.

“At first it was somewhat intimidating,” he admits. “But then I rocked a couple of shows and it gave me a lot of confidence.”

That confidence has brought Jensen Reed far, seeing him sign a deal with a publishing company and has "had song placements in the lauded series “Friday Night Lights,” Showtime’s “House of Lies”, the Oscar-nominated film “The Messenger” and several MTV and VH1 shows. And with the release of his debut album, The Left Coast, his star is only sure to rise higher.

For, with this release, it’s easy to see what the buzz is all about. Reed carries himself musically in a way that is far beyond his years, crafting quality rock and hip-hop elements together into a mélange of power and poise. Underlying many of Reed’s tracks is an overwhelming side of darkness and moodiness, as evidenced in standouts like “American Psycho,” colored with Kid Cudi-esque riffs and effects and the Linkin Park-feeling “Countdown,” complete with riveting keys and a haunting arrangement. “Ricochet” carries the theme along as well as on “Throw You the Rope” which features a guest performance from Johnny Pacar.

Yet, all is not epic and moody with Reed as he ably displays throughout the rest of the recording. The title track is an appropriately sunny, driving track that begs airplay on a hot summer afternoon, windows down, as you drive to the beach, while “Something Missing,” featuring The Mowglis, is another bright ray of sunshine, the communal chorus lines bringing a distinctly indie feel to the proceedings while incessant piano tones plunge things forward. “Rocketship” pushes ahead with positive lyrics and a driving bass drum kicking throughout as “Lights Come On,” which showcases Lauren Mayhew, is a pop driven track that lets Reed showcase his skills as an arranger.

The keyboards play a role once again in the multilayered “Can’t Downplay (Going Home)”, accented by a catchy percussion arrangement and “So You Know,” which finds Reed drawing help from Drew Seeley, is another worthwhile listen, Reed’s synth fills meeting with the percussion notes nicely and forming a great gumbo of sound.

Jenson Reed? You might not know him now but, mark this reviewer’s words, you soon will. The Left Coast is a great record and it’s only a matter of time before this young artist is rocking the charts hard. Reed’s about to blow up and we’ll be glad to say that we knew him when.

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.