Music Review 020:: Kahuna - Hard Rock Cafe/Kahuna 1/2+0

 

Kahuna is a totally amazing progressive, noise rock group who answered a random internet post looking for sweet new music. And sweet it is. Angular, yet dancable arrangements, straight from New York City these guys take the groundwork laid out by The Mars Volta (a personal favorite), At The Drive In, Ex-Models, and other people combining no-wave guitars with full length macro arrangements in catchy song form to a new level. The guitar work is shred; vibrato picking abounds (Jotham Castillo); Gabe Huxley's shrewd and powerful vocals mixed with his adroit bass playing; and Anthony Taylor's aggressively funky drums. 

Hard Rock Cafe is a radio ready (which radio station I'm not sure), hard edged slam of a track. Lots of crescendos and decrescendos and lots of moving parts. The guitar tone is really what I love most. The pacing is genuine and the vocal melody is clever. A really impressive arrangement of mostly linear parts and an incredible drum performance. With each listen; the enjoyment increased.

Kahuna 1/2+0 is a catchy noise pop song (in the vein of Brainiac) that deconstructs into a full blown wall of noise over the course of seven or so minutes. There are some pretty significant tones, including some heavy fuzz bass and some abstract sections that would make U.S. Maple take notice.

This is definitely worth checking out if you're down with noise rock, deconstructed hard rock, early XBXRX, no wave, or any remarkably fresh hard rock acts.

Check it out here at KAHUNA - Hard Rock Cafe/Kahuna 1/2+0

and 

KAHUNA @ INSTAGRAM

and

KAHUNA'S OFFICIAL WEBSITE!

Music Review 019 :: Julie Hill - s/t

From the get, the new Julie Hill sounds like a progressive, synth-heavy fantasy. Combining modern classical rhythms with dense timbre designs, their are elements of dance music and hard sophistipop. Hill's vocal delivery is Liz Fraseresque and the drum patterns are really elusive with exceptional production. 

My mind wanders to Donna Summer/Giorgio Moroder, Gary Wilson and maybe even Gaucho era Dan, with a schmear of Gina X Performance and more disco like post punk. As the record progresses it becomes clear that Julie Hill is a very talented keyboardist and tunesmith with many clever chord changes and unpredictable melodies. 

The song "Octave" is a stand out; crossing between Goblin and Chick Corea's Return to Forever and a unique style all Hill's own. Some tracks smoother than others, the dynamics of the rhythmic interplay betwixt instruments gives the tracks a powerful live sound, even though a track could contain numerous different synths or synth patches. Her lyrics are bold, modern, and effective.

Another standout is the track Cr(i). Seemingly a minimalistic cyber jaunt through a broken relationship with synthesizer work reminiscent of Stevie Wonder (or Tanto's Expanding Headband); specifically the Wonder track "You & I". "You don't need to get me down/to get high," Hill croons to the listener. 

"Transcience", the first single, is a laid back, polyrhythmic jazz rock song. Video below::

"Avow" was by far my favorite song; a punchy and romantically critical song with exceptional keyboards and Julie Hill at quite a memorable vocal performance. It reminds me of Jazmine Sullivan and is more of a R&B swing for the jazz heavy record. The intricate and precise drumming by Steve Bartashav and exceptional guitar & bass work by Paul Millar throughout the record is really a hallmark to her overall sound. 

"Unmade" is a fun song; almost a smooth homage to "Between the Sheets" by the Isley Brothers with a catchy clavichord synth patch to boot. 

"Danse" is a fantastic disco jam with a groovy bassline and modular synth. "Work so hard in the city for time and money/work so hard in the country for milk and honey" she sings! 

This record is definitely worth racing out and grabbing (like all the Galtta Media records are) for a smooth, good time on 4/20 (whatever that means). For fans of Steely Dan, Cocteau Twins, Isley Brothers, Black Moth Super Rainbow, and many other smooth, stylistically diverse, synthesizer heavy groups.

AVAILABLE IN LIMITED EDISH FROM THE EVER SO SLEEK GALTTA MEDIA ON 4/20/21! CLICK HERE TO LISTEN AND GET!

Music Review 018:: The Controversial New Skinny Pill - Big Whoop!

 

The Controversial New Skinny Pill is one of my favorite pop groups of the last few years. While this release isn't their most recent (this is from 2016), this is an album I found infectious enough that I felt like re-listening again! Hailing from Minneapolis, Minnesota; the Controversial New Skinny Pill is the brainchild of Houston, TX songwriter, guitarist, and vocalist Skyler Nowinski while the live band consists of keyboard player Mariel Olivera (also of IE and XOXO Tech), Alana Horton on drums, Dan Dukich on bass, and Jared Hemming on auxillary percussion. 

The album takes elements of hauntology and mixes it with some really extremely funky and progressive twists and turns in terms of melodic and harmonic surprises but with the backbone, downbeat, and counter rhythms of a funk or R&B group. 

Nowinski is a stellar guitar player with an oftentimes heavily effected (particularly wah or auto-wahed) timbre, which matches his hauntingly soft and floaty voice. The drums are particularly fun and flossy with many subtle dynamic touches and crunchy grooves. The bass is smooth and in part funkier and more complex than you'd hear in many pop bands. This band has elements of the Bee Gees, 70s Beach Boys, and smoother post punk like Magazine as well as elements you might find in the Residents, early Beck, the poppier side of Chrome, or R. Stevie Moore. Raw pop appeal is really what this down low mid-fi production goes for with each track sounding like it was recorded in a unique, exotic studio. The keyboards are bright and synthy. Parts are constantly flowing in and out of one another with transitions like a prog band.

If I can express one thing enough; is that the songwriting on this album is crucial. The band has a style that speaks for itself and that style is laid back. The arrangements keep me re-listening but the lyrics are mind blowing. My favorite song on the record is definitely "Backsnapper". In the song, Nowinski says "a two way ticket to hell/shrug your shoulders and say oh well".

In conclusion, this was definitely one of my favorite albums from that 10s and worth checking out if you consider yourself a progressive listener or a pop listener or a progressive pop listener.

LISTEN TO THIS DOOZY HERE!!

MUSIC REVIEW 017 - The Funky JCs - 07307

This is some sensationally smooth funk played by some masterful pocket musicians flying free. Dynamics abound with exceptional drumming of Michael Advensky (also of the far more in pocket Blue Jazz TV of my previous post), the outstandingly tasteful guitar of Arthur Rodriguez, and the low down bass of Mike Todd. What really stands out the most to me is the comfort of syncopation each player has against the other's groove.

The songs are tuneful and soulful with a heavy groove and recognizable melodies but with many unpredictable changes and minimalistic approaches to keep the listener on their toes. All three player's have a virtuosic technical gift but really they're building on something fresh; complex and sophisticated. There isn't a bad track on this release and my favorite would probably have to be "Mosquito Park Party" with the outstanding bass harmonic runs. If I had to choose a group to compare their sound too; it sort of could be compared to an overstimulated version of the Meters. The elements of jazz funk and soul jazz are apparent, with elements culled seemingly from acts like Jimmy Smith, the Isley Brothers, The Headhunters, Steely Dan, and other tasteful yet technically accomplished groups. The production is as smooth as the instrumentalists with clarity and clever touches. This is really a special group of musicians with a really appealing sound. 

Their bio reads: 

"All three members grew up in “The Heights” section of Jersey City, NJ, and this common background has influenced their unique approach to songwriting and improvisation."

 

AVAILABLE ON SPOTIFY NOWWWWWWWWW!!

MUSIC REVIEW 016 : Blue Jazz TV - Blue Ragu Volume 2 - Live at Magick City

 

Blue Jazz TV is a super band of Galtta Media stars including label head Dave Lackner, sophistipop super producer Adrian Knight, the polished guitar & bass work of Max Zuckerman, the smooth drum work of Mike Avensky, and vocal appearances by Galtta luminaries Billy G. Robinson & Alice Cohen. This is perhaps one of the most technically polished live albums I've ever heard. From the first note its clear that these are some nasty musicians. The tightness to their sound is palpable

My favorite song on this record is Chiba Girl with a command vocal performance by Billy G. Robinson. When I first heard this song's refrain I asked myself "where has this song been all my life?"

-------------------------------

3 months later::::::::::: I forgot to finish this post but I absolutely love this album and listen to it regularly in the whip. I can't stop listening to "Chiba Girl" but the entire album is a stunning collection of what is a somehow technically beyond perfect sophistipop jams that make for some smooth driving and fun times. Every re-listen includes a schmear of new sounds and details I didn't notice. This is definitely a must listen if you like Steely Dan, Tears for Fears, or any group where you could combine the ideas of jazz, pop, and virtuosic luminaries! 

AMAZING CD AVAILABLE HERE THROUGH GALTTA MEDIA!!

MUSIC REVIEW 015:: IE - Terry Riley's Keyboard Study No. 2

IE is a Minneapolis drone orchestra and super group. This is a live arrangement they made of a decadent Terry Riley drone piece. It features cascades atop cascades of notes where you can clearly hear sequences of overtones and percussive subdivisions building and sinking. This is a bold performance where magnetic precision meets an endearing level of human interplay. While it might sound like chaos to the novice, IE has a clear grasp on the complex piece. The dynamics, mixing, and the warm hum of the wall of sound itself are worth the price of admission. Definitely a great place to start with a great band, IE.

LISTEN HEAR AT DRONE NOT DRONES! ALL PROCEEDS GO TO THE CEDAR CULTURAL CENTER LOCATED IN SUNNY MINNEAPOLIS, MINNESOTA!!

RANDOS 006:: Happy Halloween!!!!!!!!!!

 

MUSIC REVIEW 014:: Mar10 - THE NIGHT WITCHES

 

The Night Witches is an opera composed and performed by Mar10. Best spoken in his own words::

 " THE NIGHT WITCHES is the end result of a labor of love begun around 2010.

Originally, I conceived it as a total improvisation, following only the lyrics. Vocals and all instrumentation would be improvised. As Chairman of the Oxford Cultural Arts Commission (in Oxford, CT), I attempted to resurrect the Nine Mile Players theater group by using my play/musical as a springboard for actors, musicians, and dancers to tell this story. Unfortunately, life certainly gets in the way, and things fell apart. Not forgotten. Just on the back burner, always being tweeked. Until now. It is complete and it is dedicated to my Muse, Karen. Without her encouragement I would have cast this aside, years ago. Thank you, my forever love.

Covid has us all under it's thumb for now, but my isolation began over 2 years ago with a Lung cancer diagnosis and treatments.

With a compromised immune system, I locked myself down. This afforded many musical opportunities. In particular, live videos. I have over 230 to date. These spontaneous, looping jams kept my chops up and offered me song ideas for The Night Witches as a complete song cycle. It is in essence a love story. Since then I have completed my History based Musical, die Nachthaxen. It is live, start to finish, warts and all. I present it this way for documentations sake. Also, for a few other reasons.

Since my access to professional recording equipment is limited, I've had to work with my old Windows XP computer which barely runs my Sonar 7 recording program. Since I can't predict when it will give up the ghost, I felt a live performance of TNW will at least present a BLUEPRINT for my vision, which includes a small orchestra, choreography, acting, and 3 female leads! I can perform the whole piece on my own but I would dearly love to replace my croaky, unstable, (yet surprisingly powerful with a decent ear), voice, with the more dulcet tones of a female(s). Considering this was written about one female in particular, and it remains on the to do list in the post Covid world.

While reading the NY Times for a friend afflicted with Alzheimer's, I came across the obituary of this remarkable woman. Thus began my obsession.

Nadezhda Vasiliyevna Popova was born Dec. 17, 1921, in what is now Dolgoye, Ukraine. She planned to become a teacher or a doctor, until one day a plane landed near her home and she met the pilot.

“I had thought only gods could fly,” she said in an account published in the book “A Dance With Death: Soviet Airwomen in World War II,” by Anne Noggle. “It was amazing to me that a simple man could get in a plane and fly away.”

Ms. Popova joined a flying club and later graduated from an aviation school. When the war started, she was working as an instructor. She said that she decided to join the military after losing her brother in the war and after watching Germans abuse her townspeople.

“I saw the German aircraft flying along our roads filled with people who were leaving their homes, firing at them with their machine guns,” she said. “Seeing this gave me feelings inside that made me want to fight them.”

Over the course of the war, Ms. Popova said, she fought in Belorussia, Poland and Germany. In 1942, she was shot down in the North Caucasus. Retreating with the infantry, she met her future husband, Semyon Kharlamov, also a decorated pilot. They were married for many years until his death; together they had a son, who grew up to be a general in the Belarusian air force. A complete list of survivors could not be determined.

Minerva, an academic publication on women and the military, cited Soviet records indicating that the women’s regiments flew more than 30,000 combat sorties. Their ranks produced at least 30 Heroes of the Soviet Union — about a third of all women so honored — and at least three fighter aces. Decades after the war, Ms. Popova, who often was called Nadya, reflected on the perils she had endured. “At night sometimes, I look up into the dark sky, close my eyes and picture myself as a girl at the controls of my bomber,” she said, “and I think, ‘Nadya, how on earth did you do it'?" - Mar10

Considering it is one person performing everything live in real time (alongside minimally pre-programmed layers) the continuity of the story is not lost on the listener. Besides the clear storyline the album is highlighted with timbre driven guitar solos morphing alongside the melodies to the song. Mar10 is a really spectacular guitarist mind you so the morphing solos really accent the motifs and themes of the songs the way a good Pink Floyd album would. 

His drum programming, both sample wise and rhythmically is deft and clear. Perhaps the most memorable element of this record itself is Mar10's superbly powerful voice and clever lyrics. There is a great amount of awesome synth bass and some really refined looping tricks. Its hard to explain the catchiness of songs within a modern any modern opera but Mar10 tells the story with whimsical terms and memorable tunes. The album concludes with a beautiful cacophony of noises into the most beautiful song of the opera with Mar10 repeating "and quiet flows the don.." in harmony with himself. 

This is definitely a record for progressive rock fans but the songs have an appeal that would go well beyond that world. His guitar playing might really be the showstopper with a really fresh, dynamic style that sounds great on all his records. I think this is a great release for this time right now due to it being confidently upbeat and positive. The symbol of female aviators antagonizing Nazis is one that seems totally appropriate for this day and age. Kudos to Mar10 on his hard work to bring this modern classic to fruition.

LISTEN TO IT ON THIS BANDCAMP !! HERERERERRRE!!

MUSIC REVIEW 013:: The Always Right Reverend Doktor Robert Are - DR JAZZ IN THE GROOVE

 

DR JAZZ IN THE GROOVE is a complex jazz album by composer and programmer The Always Right Reverend Doktor Robert Are and recorded by the Nine Unknown Men. Immediately, I was gripped by the fabric of compositional density and the maturity in the themes and arrangements. At moments it sounds like Mingus, others like Zappa. The songs have strong melodies and bold rhythmic decisions that lead to cascades of notes and whole moments that sound like extended runs. Elements of fusion permeate but this would probably be described compositionally as some sort of advanced style of "third-stream".

The bass programming may be amongst the most standout aspects of the record along with a timbre palette evocative of 80s or 90s era of the Residents sequenced to aggressively rapid yet humanistic instrumentation. There are elements you'd find in Stravinsky, Varèse, Noncarrow, and even television theme music.

 The sheer amount of detail that went into each moment of each track of this record is very impressive. The harmonic direction of each song is dense to the point where at times it sounds like Romantic Era classical music but with unpredictable certainty (specifically the track A Past Outside of Time). Another element I greatly appreciate is the diversity in style from track to track, if not moment to moment. There are a lot of stop on the dime twists and turns on this album. Some of the songs even sound like they'd be perfect for action scenes in a David Lynch film.

All and all, this was a great, great listen. The Always Right Reverend Doktor Robert Are is a  brilliant composer and this album is worth some re-listens.

CHECK OUT THE ALBUM AT THIS BANDCAMP HERE!!

MUSIC REVIEW 012 : Karl Blau - "Children of All Ages"

 

Karl Blau's markedly beautiful voice finally graces his first homemade collection of children's songs, "Children of All Ages". With brilliantly counterpointed arrangements and idyllic lyrics, the album is almost like a children's television network's entire schedule of theme songs the way it morphs from style to style and genre to genre in a clever non-disruptive way. 

"Six Mini-Ponies On an Island" opens the album with dense children's music reminiscent of Moondog with spiraling tropical melodies surrounded by free floating saxophone and many detailed hooks throughout. His lyrics are clever and paint a clear picture of six mini-ponies on an island of some sort.

"Spin Around" is almost like a child's introduction to dub pop, Karl's signature sound from some of my favorite records by him (Dance Positive, Beneath Waves).

"Stuffing with Stuff" is a funky, modernized Rugrats (tm) Rap with many clever samples  *(including, spoiler alert:: cats).

"Elephant in the Room" is a disco song that's actually about elephants..I think..?

"Cryin'" is a laid back sophistipop ballad with some very sad chord changes and some very sad lyrics and some very delicate keyboard sounds..He sings "I can find a way to feeeeeeeel better/I just might need to cry to get betttttttttter".

"Rainbow" is a simple pop song about the vastness of the weather system with a really cool break beat.

Karl is really on top of his game production wise for this album, exploring ideas dense enough to keep adult's attention but catchy and fun enough to entertain children. If you're looking for a fun album that let's you travel in your imagination to a warm and friendly place, this is the record for you. Karl Blau is a ray of sunshine and this of course is a get record for "Children of All Ages".

CHECK IT OUT HERE!!

https://klaps.bandcamp.com/album/children-of-all-ages

GOLDEN OLDIES 001

 

MUSIC REVIEW 011 - Adrian Knight - Pleasure Center

I am exceptionally excited to hear a new Adrian Knight album in a time that seems to find new releases stagnating from quarantine ambivalence. From the get, Mr. Knight brings a denser direction to his notable harmonic language. With more sophistication than ever, the prolific sophistipop composer brings perhaps his heaviest synthesizer patches and most introspective lyrical content yet.

The second track "Pleasure Center" brings some amazing bass playing, deft songwriting, and really imaginative horn arrangements in a track that nearly evokes a "Boston Rag" ala Steely D. I'm eagerly anticipating the accompanying lyrics video so I can sing/sway along.

"Quarantined" is a real jazz-funk groove and was my favorite track on the album. Adrian Knight's chord changes fly where few other sophistipop musicians dare. So unpredictable are the harmonic twists and turns that I'm uncertain whether it would be appropriate to either laugh or either cry. 

"Captain's Log" is some straight break beat funk which finds Mr. Knight delivering some of his rawest bass lines to accompany an outstanding vocal performance! 

"Invisible Man" shows some real flash in the bass department with a catchy series of hooks throughout. There is a really fantastic synth solo in the outro.

"Lasertown" has some heavy grooves and some excellent woodwinds by David Lackner, head of Galtta Media.

"Drifter" finds Knight cooing smoothly over a synthesizer ballad.

"Waiting for a Ride", the album's closing track is a smooth trip down a street and back, which seems much less common in this day and age. 

Overall, I loved this album and I'm prepared for repeat listens. Its among the finest albums I've heard that have been released since the quarantine started and is a real envelope pusher in terms of modern pop in general. 

..AVAILABLE AUGUST 7, 2020..

....PRE-ORDER HERE!!....

https://galttamedia.bandcamp.com/album/pleasure-center