Bed, Me and You - The Mellowdees

 Thank you all for the continued, overwhelming support. If you emailed me with a request some weeks ago, I want you to know that you are not forgotten about, I'm trying to take the care and time that each of your requests deserves, but I also have a lot going on outside of this blog. So I apologize for any and all delays, I'm getting to your song/EP/album as soon as I can, I promise.

Today I have the joy of looking at the newest album from The Mellowdees, an Indie Folk group from Rome, Italy. What I appreciate about this record is something I rarely see in the music world today. Listening to it, it very much feels like a concept album that should be listened to in order, in its entirety. Each song shares a similar tone that creates an immediate feeling within the listener. Picture for me, if you will, a gray and drizzly Sunday morning, you and your significant other are slowly waking up, snuggling in bed, maybe you have coffee and breakfast, maybe you don't. Its a dreary day outside, but it isn't affecting your happiness on the inside. Everything you need in the world is in that bed next to you. That's the feeling I get when listening to this. But the beauty of concept albums is that the feeling you get, depends on you. The mood is unique for each listener, depending on what is going on in their lives at the time. If I listen to this again a year from now, I may hear it differently.

This albums greatest strength, however, could be it's biggest weakness. While I find it a refreshing change of pace to have a conceptual-sounding record, not all music listeners like when every song sounds the same. But what must be appreciated here, is the depth that the artist achieves, even in the songs' seemingly simple sound. The only layers that stand out here are an acoustic guitar and the singer's voice. But they blend beautifully, and are mixed quite excellently. While this does sound simple when you see it in black and white, it's when you listen to it that you can really appreciate the depth of feeling that they achieve here. It is the vocalists solemn, low hum that really serves as the shining star here in conveying the most feeling. Call me crazy, but I even think I can hear some overdubs and harmonies on some tracks such as "Oh, Me Too," and "Did I Already Tell You Today I Want You" that adds to the depth even more.

The big thing I would consider tweaking on this album, is the beginnings and endings of each track. When I listen to this album, I find that because each track is so similar to the next, I actually wish that there was no beginning and end to each song, but rather a beginning and an ending to the album as a whole, and that each of the 8 tracks just blended together seamlessly. Still have the 8 individual titles on there, but have each of them just flow into the next song. I think that by doing that, they would really drive home the concept album feel, and the mood set by each song would never get lost even for a second.

Bed, Me and You - The Mellowdees

12 - 22 - 2020

1. She's Calling Me To Bed

2. Monday, Not Sunday

3. You Lost Something

4. Hair Dressed Blue

5. Oh, Me Too

6. Will You Smile At Me

7. Did I Already Tell You Today I Want You

8. Stay And Sleep

Favorite Track: Did I Already Tell You Today I Want You

Least Favorite Track: Oh, Me Too

Synic Selects Vol. X - The Songs That Shaped Me: Revisited

 Well guys, here we are. Volume 10 already. That means it's been 10 months since I started doing this. Crazy how time flies when you're trapped at home and can't go anywhere, do anything, or see anyone. Anyway, I wanted to do something special to celebrate Volume X of my Synic Selects compilations, as I did for Volume V. But what? It was actually my mother (who tells me regularly how much she enjoyed Volume V) who suggested I do all the same artists, but with my current favorite songs. Brilliant, no?

So anyway, here it is: Synic Selects Vol. X - The Songs That Shaped Me: Revisited

1. AC/DC - Riff Raff

How could I not pick the best song from their best album? 1978's Powerage featured their most experimental and diverse tracks to date. Anyone who says "All AC/DC songs sound the same" clearly never heard this record. In fact, casual fans of AC/DC's radio hits would likely not even know a single song from the record. Maaaaaybe "Sin City." Maybe. But this song has it all, a killer riff, hard percussion, and some killer lyrics delivered in Bon's harsh vocal style. Special shout-outs to "Hells Bells" for getting me started, and "Shot In The Dark" for being arguably the best song AC/DC has released in over 30 years.

2. The Offspring - I Choose

This is a tough one. In fact, if you ask me again next month my favorite Offspring song may be different. "Come Out Swinging," "D.U.I.," "Race Against Myself" and plenty more all gave this track a run for its money. But I picked this one because it has a little bit of everything you would want from an Offspring song. Catchy riff, dark lyrics delivered in a light and whimsical manner, and their signature sound that bounced between skate punk and ska-rock. It also has one of my favorite lines that Dexter ever wrote: I'm not De Niro / I'm amarillo

3. "Weird Al" Yankovic - My Baby's In Love With Eddie Vedder

It's no secret to my readers that I have an unending and borderline unhealthy obsession for "Weird Al." But as much as I love the man, and his entire musical catalogue, I do have to admit that some of his songs just don't age super well. Many of his pop culture references are completely outdated, and some topics he covers may even be considered controversial today. But what else could you expect from a satirical musician/comedian with a career spanning 4 whole decades? I picked this song because it's a highlight from my favorite record of his. 1999's Running With Scissors. Maybe the subject matter was outdated after the 90s ended, but it doesn't matter. This song has musical brilliance and lyrical charm, wrapped together beautifully with, you guessed it, some masterful accordion work.

4. Van Halen - Judgement Day

"Unchained" has to get a special shoutout here, because it is in my opinion, among the greatest rock songs ever written. But when I'm itching for a Van Halen record, 9/10 times I will go for 1991's For Unlawful Carnal Knowledge. This is the second track on there, and it is arguably the hardest rocking track the band released during their time with Hagar as the frontman. It's also one of the handful of his tunes that wasn't written about love or vaginas. And I have to mention Michael Anthony's killer backing vocals, and the Mikey/Eddie harmonies are the unsung hero of what made Van Halen so fucking great.

5. War - Low Rider

Yeah, this one hasn't changed. What was my favorite then is still my favorite now. That cowbell intro still makes me feel like a kid again when I hear it today. It also gives me nightmarish flashbacks to waking up at 3 A.M. in a cold sweat with George Lopez's giant head floating around my TV screen. Admittedly I think I only really know a few War songs, and this one easily wins over "Cisco Kid" and "Why Can't We Be Friends."

6. Nickelback - Yanking Out My...

Also called "Yanking Out My Heart," this one is I believe some kind of bonus track from The Long Road. It's hard, aggressive, and one of the more metal-sounding songs that Nickelback has released over the years. I get a lot of grief from people for liking this band, and when I hear some of their lame love ballads, or their odd inspirational anthem songs, I understand why. But when I hear songs like this, I forget about all that and bang my head along with it. Hate them all you want, but they've been around a long time. Nickelback is clearly doing something right.

7. Disturbed - No More

This is going to be the newest song on this list. Released in 2019, It was one of the few tracks from Evolution that featured the aggressive metal sound that long-time Disturbed fans know and love. It's got everything that a great Disturbed track should. Hard percussion, face-melting riffs, and political inspired lyrics that call to end warfare and worldwide violence. This song could have been written by David in 2004, or even just this morning. And while that may be some tragic commentary on the world / this country, it is a testament to the brilliance and longevity of Disturbed.

8. Bruce Springsteen & The E Street Band - Adam Raised A Cain

This one was a tough one to pick as well, believe it or not. I wouldn't exactly call myself a Bruce fan, but I know a good songwriter when I hear one. And The Boss is certainly one of the all-time greats. I chose this one for it's lyrics, and hard-bluesy sound. I tell my mother when this song comes on that Brucey is takin' us to church. Listen to the song and maybe you'll see what I mean. Plus, you know, Cain? Adam? Duh. Anyway I love this song. See also "Working On The Highway" for a catchy and up-beat little ditty about a blue-collar pedophile.

9. Styx - Music Time

Don't get me wrong, "Too Much Time On My Hands" is still very much a close second. But that would be what, the 3rd time that song has appeared on one of these lists? Enough is enough. But really though, "Music Time" is absolutely excellent. Catchier than Corona itself, it's got everything you would want from a Styx song. Guitars, keys, rhythm, fun lyrics, and harmonies for days. Look it up right now, and you'll hate yourself for letting this much time go by before hearing it for the first time. And when it gets stuck in your head for days at a time, don't blame me. Or do. I don't care.

10. Creedence Clearwater Revival - Up Around The Bend

The only song I ever played drums and microphone to on Rockband at the same time. I saw Fogerty in concert several times, and each time I would get most excited when the beginning riff to this song started. Something about it just always gets me fired up. This track, like all of CCR (and Fogerty's) hits are just so 70s yet so timeless.

11. Queen - Radio GaGa

What can I say about this song that hasn't already been said? I guess I can say that for years my favorite Queen song was "Tie Your Mother Down," but that changed after seeing them perform live a couple years ago. Being part of the crowd, clapping and holding up our hands to "Radio GaGa" is actually life changing, and hands-down (heh) one of my favorite concert memories.

12. Joan Jett & The Blackhearts - Tube Talkin'

This was another tough one to pick. A lot of my favorites of hers, like all of her other fans, are a cover of someone else's hit song. I had to dig through her catalogue of songs that she wrote herself. This one, "Riddles" and every track from Unvarnished stood out pretty strongly to me. Something about this song gives it the edge though, and I'm not quite sure exactly what it is. There's something about it that sounds so classic Joan Jett, yet also sounds completely different from what we know of Joan Jett. The beauty is in the mystery, perhaps. I don't care if I ever figure out why I love this song so much, just as long as I get to listen to it as often and as loud as I want.

13. The J Geils Band - Flamethrower

An underrated gem. I discovered this song because of my early love for Freeze Frame. In fact, that whole album is packed with great songs. One of my favorite CDs my mom would play in her car for little 6-year-old me was Flashback: The Greatest Hits of J Geils. And each and every one of the songs on there became favorites. I can still hear "Land of 1000 Dances" ringing in the back of my brain to this day. But anyway yeah, "Flamethrower." Good shit.

14. The Sweet - A.C.D.C.

Is it a cop-out, or maybe too on-the-nose of my character to have my favorite Sweet song conveniently share a name with my all-time favorite band? Perhaps. But it doesn't matter, because this song absolutely kicks ass. As does the rest of Desolation Boulevard. In fact, the Joan Jett cover of this song kicks ass too.

So lads and ladies, there it is. Volume X. I can't believe we're here already. I hope you're enjoying these as much as I'm enjoying them, because I certainly don't plan on stopping them. I look forward to the next 10.

Synic Selects Vol. X - The Songs That Shaped Me: Revisited

1. AC/DC - Riff Raff

2. The Offspring - I Choose

3. "Weird Al" Yankovic - My Baby's In Love With Eddie Vedder

4. Van Halen - Judgement Day

5. War - Low Rider

6. Nickelback - Yanking Out My...

7. Disturbed - No More

8. Bruce Springsteen & The E Street Band - Adam Raised A Cain

9. Styx - Music Time

10. Creedence Clearwater Revival - Up Around The Bend

11. Queen - Radio GaGa

12. Joan Jett & The Blackhearts - Tube Talkin'

13. The J Geils Band - Flamethrower

14. The Sweet - A.C.D.C.

Boston Rock And Roll Anthology - Chapter #21

 This one was a long time coming, and an unusual but fun one to write. The Boston Rock And Roll Anthology features 21 tracks by almost that many different artists, all coming from the Boston Massachusetts area. This is gonna be a super long one, but to keep it a readable length, I'm not gonna go super deep into each track individually the way I originally thought I would. So to save your eyes, both our time, and my fingers, I'm gonna very briefly get into each track and just spew out the major points: who they sound like, what works for me, and what doesn't work for me. This is gonna be the first post of this kind that I've ever done, so hopefully it works out OK. I'll post it the way it turns out, and we can decide together if it works well or not so maybe I can do more like it in the future...

Anyway, here we go.

1. "Everything But Peace" - 3D

This one has a classic blues-rock feel to it. I think the mixing and cool guitar riffs are the best qualities, as well as the simple but appropriately simple percussion. My one note is that there seems to be one cymbal of some kind that stands out rather jarringly over the rest of the percussion. It gets to be pretty distracting.

2. "Space and Time" - Pamela Ruby Russell

This track is very reminiscent of the 80s power-pop girl groups, such as the Go-Go's and The Bangles. My favorite part of the song is found within the vocal style and harmonies. They shine here. My biggest draw back with the song is that its very simply structured without much variation. It's not very engaging as a first time listen.

3. "As It Is" - Karmacar

This one is very reminiscent of 60s-70s groups where the vocals are kept prominent and the instrumentation is left very simple to leave the voices as the main focus. It reminds me specifically of The Mamas & The Papas, with some minor BeeGees flavors in there. The Brothers Gibb only appear in here because of the falsetto nature of the vocals. The mixing and overall sound work pretty well, but I'm not sure I'm a fan of the slow tempo and falsetto sound.

4. "Downtime" - The Complaints

The vocalist has a very Bryan Adams-like tone about him, that adds a pretty unique flavor to the track. It's mixed and mastered quite beautifully, with a plethora of subtle changes and build-ups sprinkled within the meat and potatoes of the song. All that with a sweet little solo thrown in makes for a really interesting first listen. If I had to nitpick, I would say that maybe he says "Downtime" a bit too much.

5. "Faraday" - Phil daRosa

This one has a very unique and interesting sound to it. It almost makes me think of 00's-10's electro-indie pop rock? Kinda? But again I'm not entirely sure what it sounds like. I really dig the overall tone of the track, as it creates a very mysterious and haunty feel while listening. My big drawbacks with the song, however, include the long drawn-out intro, that seems to last forever. I'm not sure about the percussion style here, either. It feels really sporadic and abrasive, almost random in its placement.

6. "Proud Soul Heritage" - Kitoto Sunshine Love

This one is really fun. It's got some gospel flavors mixed with a folky feel-good base. I love the harmonies, and the backing vocals are really the shining star of this track. My one peeve with this song, and maybe it's just the nature of the genre, but she says "soul" so many times it almost gets annoying.

7. "Guardian Angel" - Slapback

This is a fun one too. The whole song has a really full sound, with many layers to peel back. It reminds me very much of No Doubt, but without the nauseating vocals of Gwen Stefani. I think the vocalist is more reminiscent of Alanis Morrisette with her tone. I think the song as a whole is done extremely well. My biggest issue is that the bridge and outro feel a little lazily done compared to the rest of the song. With a little more time and focus spent on them, the whole song would really shine.

8. "Until The End" - Empty County Band

I love this one. It's got a lot of Seattle grungy punk rock sound to it, with maybe a sprinkling of Faith No More. The best parts of the song are the edgy bass groove, wonderful solos, and its overall surprisingly raw sound. What doesn't work is the way it is mixed and mastered, as it doesn't really fit within the compilation with the other, more highly produced singles.

9. "Blackenstein" - Joe Black

This one was unexpected, but definitely a pleasant surprise. Simply put, it's a hard-rock instrumental. It features some impressive guitar work, and some excellent solos done by the guitar, drums, and even the bass. It all works. My one note is that the transitions between the solos could use some more polishing. It feels a hair disjointed at times.

10. "Table Scraps" - Tom Mich Jr.

This is another unexpected gem from the compilation. It's a bluesy funk-rock number with some hints of gospel and soul. It reminds me a bit of Clarence Carter, actually. The vocals, funky guitar tones, and backing vocals/harmonies are all my favorite elements of the song. If I were to tweak it at all, I would say the ending was a little abrupt. And I was hoping for some kind of solo, maybe a harmonica thrown into the mix. But that's just me being nit-picky again.

11. "Counting Down to Zero (From 1)" - Greg Walsh's New Ghosts

This one reminds me a bit of some kind of strange indie-punk and Motorhead combo. Sounds weird, but actually works quite well. I love the aggressive guitar tone and hard-driving rhythm section. I also love the lyric patterns and harmonies, they created a really unique and engaging sound here. My one comment is that the ending could use some polish. The effect seems to last a bit too long. With the sound of the song, I actually wish there was a more abrupt ending here, believe it or not.

12. "The Letter" - Mad Painter

For a compilation of indie artists from the Boston area, I'm surprised at the lack of Boston-rock sounding artists. This song was the first. Imagine Dropkick Murphys, only without the bagpipes and general ridiculousness. The best parts of this track are that they are not the DKM's, and I especially love their use of keys. I only wish that it were mixed a little better and the keys were turned up.

13. "Monster" - Joe Black

This was another really fun jam. It's kinda bluesy hard rock, with hints of grunge and even metal throughout. It actually reminds me of 80s metal band Krokus. The crescendos and full-band jam during the chorus work especially well, as do the solos. My only gripe is that the vocal harmonies could have used some more polishing.

14. "Skeptical" - Empty County Band

This is another one that sounds fresh out of the Seattle grunge-punk scene. This one, to me, sounded a little more Soundgardeny. I love the tone of the bass, and the hard driving rhythm section. The solo is also particularly special. This one has a similar issue to the previous track I mentioned to sound like Seattle. The raw production quality works great on the track, but it doesn't exactly fit within this compilation.

15. "Walk Thru Fire" - Pamela Ruby Russell

This one sounds kinda celtic-rocky, or if Lacuna Coil, or Kobra and The Lotus weren't metal bands. Its got  a solid, driving bass groove, great percussion, and a wonderfully unique vocal style. There is a ton of sound variety here, with a lot of experimentation. However, there is perhaps too much experimenting here, and I'm not so sure all the different elements blend together that well. There's chimes, horns, different percussive instruments, spanish guitar, woodwinds, etc etc. It's a little much.

16. "Love You" - Kitoto Sunshine Love

This is a nice little gospelly-sounding folk ballad with tremendous vocal work, accompanied by keys and percussion that compliment each other beautifully. My only note is that the mixing could use a little more polishing, as the piano seemed a little too loud at times throughout.

17. "Who's Foolin' Who" - Karmacar

The 60s-70s reminiscent, Mamas & Papas-esque group are back, but they picked up the tempo a bit and dropped the falsetto tones. The harmonies are stronger here, the pacing is better, and overall it's a more enjoyable listen than their previous single from the compilation. My only gripe, and this may sound familiar, is that they say "foolin'/who is foolin'" a few too many times.

18. "I Thought About You" - Joe Viglione

This is a truly fun, vintage sounding rock and roll track, that reminds me a bit of the Animals or the Turtles maybe. It's mixed well, has a nostalgic feel bringing me back to the days of early harmonic rock and roll, with catchy and relatable lyrics. My only note is that the heavy vocal overdubs get a little distracting at times.

19. "Eleven And A Half" - Dalia Davis

This track features a strong female vocal lead, with subtle guitar and keys flowing delicately underneath. It's mixed quite beautifully, I actually love the choice to keep her voice up front and the other song elements subtly playing underneath her. I especially love the harmonies here, in fact my one drawback with this song is that I wish there were more harmonies.

20. "Bossman" - Fire in the Field

This is a cool little rock tune that for whatever reason reminds me of Jet. It's got a bluesy guitar riff, an edgy vocal style, and angsty harmonies in the chorus. It all comes together magically. My only comment on this one is the solo itself. I love that they included a solo, I've kinda been obsessed with guitar solos since Eddie died, but this solo feels a little disjointed to me. It could use a little more polishing.

21. "Ballad of a Rock Star" - Matty O

This final track is a spirited rock and roll jam, and for some reason it reminds me of "The Entertainer" by Billy Joel and "Keep Yourself Alive" by Queen. They don't sound alike at all, but it's something about the vocal patterns during the verses that makes those other songs pop into my brain. It has a very full, layered sound, and a damn-near flawless solo. It's mixed beautifully, too. My biggest draw are the "hoo-hoo"s that came fresh out of "Sympathy for the Devil." I hated the hoo-hoo's when the Stones did it, and I still hate them now.

Hum of the Hidden Machine - Say Yes, Do Nothing

Gang, I've got a heavy one here for you tonight. "Hum of the Hidden Machine" is a new single by Say Yes, Do Nothing. It is a dense single, because with it comes the weight of the songwriter's personal experience with his girlfriend at an abortion clinic. It is aimed to encourage the Supreme Court decision preserve the mother's right to legal abortions, it also serves as a painful reminder that sometimes making a decision can be tragically difficult, but ultimately necessary.

How else would you open a song with such a heavy statement, besides with a lone harmonica? The harmonica is quickly joined by solemn guitars and the low, somber rasp of a hurt man's voice. All of the components of this song come together quite beautifully, really. You have to consider, however, that this is not the kind of song you would put on your daily mix. This song creates too strong a feeling. A specific mood. It deals with pain, loss, and moving forward. The feeling is truly nailed here, with the melancholy tones and overall grayness kept very consistent throughout the song.

While I actually love the mixing of the song, I do have a couple notes of things I would have tweaked. The harmonica, for example, is a little on the loud side, and it is only used sparingly on this track. I think it's an excellent component that adds to the folky-bluesy sound that they have here. I kinda wish they turned the harmonica down a tad and used it more throughout the whole song, rather than just the beginning and the mini instrumental break after the first chorus.

The biggest strength of this song, I would argue, are the lyrics themselves. The metaphors and the feeling behind them are dialed in so strongly that by reading and hearing them sung I could almost feel his pain, as if it were my own. The last lines, among the rest of the lyrics to this track, stand out as especially cutting. And when they let her back outside there was nothing in her eyes / And I knew they had finished the job of making it die These lines are particularly strong because not only do they capture the raw emotion - or lack thereof - of getting an abortion, but the words "making it die" refer not only to the fetus itself, but the relationship between the singer and his girlfriend as well. It's tragically beautiful how it was written, and its truly poetic in a very haunting way.

Perhaps its the somber rasp of the vocals, or just the overall sound the song creates here, but there's something very Springsteeny about this track. I wasn't always the biggest Bruce fan, but the guy can write a song. I've grown to appreciate the Boss's work, and I really think that Say Yes channeled their inner Bruce with this song. And to say it works would be a massive understatement.

Night & Day - Jack Phillips

Ladies and Gents I have a real treat prepared for you here tonight. But first, a question: What do you get when you combine the voice of Warren Zevon, with the musical ability of Elton John?

The answer? Jack Phillips. Night & Day is Phillip's newest album, dropping just last year. And truth be told, my first impression was that someone had thrown together a potential soundtrack for Rocketman 2. Apparently not the case, but you coulda fooled me.

The record opens with a mellow but hopeful "I Love New York," is getting plenty of attention on internet radio, and it is very easy to see why. While I find it to be a little slow for an album opener, I have to appreciate it's simplicity in its design and its reflective and happy message. The second track of the record, "I've Got Sophistication Too," is where we really see the musical genius of Phillips come to life in a damn-near flawless blend of blues and jazz. Personally, I think he ought to call it Blazz, cause Jues just doesn't seem right...

"Sophistication" brings some more horns into the mix, and what a welcome addition they are. Admittedly, there are a couple spots here and there throughout this song that could've used some more polish I think, after a certain instrumental break the vocals come back in and its a little bit of a rough landing. But it's very minor, in fact I forgot it happened as quickly as it did. I only am making note of it because being nit-picky is kinda my thing.

There's something expected, but unexpected about this record. It's charming and refreshingly nostalgic, in other words it sounds very vintage for a new record. It could have come from the classic jazz age, could have come from recording sessions during Elton John's career, or I suppose it could have come from 2020, because somehow it did. What makes this album unexpected, though, is the actual variety of sound you get with it. Phillips really takes full advantage of the full array of jazz and blues sounds, and on some tracks, such as "No One's Home," we get some funky flavors as well.

Some of the highlights of this record for me, are the parts when the bass takes more of a spotlight, because it adds such a deep groove to the sound, and it works beautifully with Jack's vocal style. I also love the use of harmonies, and some of the female backing vocals that we get here and there. A strong sonic presence on his own, Jack proves time and time again that he can sing and carry a song himself, but those backing vocals are very much appreciated, since you're asking me.

The record ends with "Down in the Jungle Room," a badass, jazzy-bluesy-funky instrumental that I had no idea I was waiting for the whole time. In my past I have discussed how instrumentals often bore me, and only a rare select few really grab my attention and hold onto me the whole time. Well folks, this is one of the fortunate few.

Night & Day - Jack Phillips

11 - 6 - 2020

Favorite Track: No One's Home

Least Favorite Track: Take Them To Manhattan

Stand Up & Fight - Future Radio

Todays review request is focused on the latest offering from South African powerhouse Future Radio. The single, "Stand Up & Fight," is set for release this Friday, January 15th. I love getting early access to your music, guys. It's truly an honor and I hope it continues.

The song opens with a driving drum beat, and I am immediately drawn into it. There's an indescribable energy that builds throughout this intro, and it comes to a head with the aggressive guitar riff that joins in mere seconds later. Now with any new single I listen to, I fear for when I hear the singer's voice for the first time. To me, the music can pull you in and build your energy up, but it can either be built further, or completely derailed by the sound of the singer's voice. I believe that the two biggest stand-out components of any song, are the main riff/melody, and the singer's voice. In the case of Future Radio, no energy is lost at all when the frontman starts to wail. His voice is a perfect fit, and the power within this track shows no signs of slowing down.

The timing of the release of this song could not be more appropriate. The lyrics behind this self-empowerment anthem are so poignant, especially at a time where all media; every channel, every newspaper, seems to be feeding the spread of fear in people. The message that I believe should be taken away from this is that we should all try to take it upon ourselves to continue to learn and grow in our own ways, and break past the barriers that are put in front of us by the powerful and wealthy. The world is ours, and you live your life for you and you only, so it's up to you to make it what you want, it's up to you to make yourself who you want to be.

What I like the best about this track is the overall tone and energy that it brings to the table. It revitalizes indie rock, and brings a fresh, punk-like tone to it. In fact, call me crazy but I would even argue that there's some metal flavors in there too - especially at the end when the energy of the track builds past its breaking point and seems to boil over. The only thing that I wish these guys did differently here, was include the passionate, face-melting guitar solo that I was waiting so eagerly for. They've got the hard driving rhythm section, they have the badass riff, the anthemic and powerful lyrics, the only thing missing was the solo. If they had dropped it in right after the bridge, it would've been the ultimate one-two punch to cap off an otherwise perfect song.

I would argue that the sound this band creates could be the second most beautiful thing to come from South Africa, right after Charlize Theron. Needless to say I will continue to look into Future Radio, just to see what else they have to offer. And I definitely am looking forward to hearing what they drum up next.

Survival Vs Creation - Nathan Peter Illes

 Ladies and gentlemen tonight I have for you yet another early peek at an upcoming EP. Survival Vs Creation is the next release by California native Nathan Peter Illes, due out January 14th. The exciting news is, your friendly neighborhood Synic is here with a heads up of what to expect. It was given to me with the heads up that it would be a mellow listen, but I'll go through it track for track and give you guys the lowdown- Boz Scaggs style. (Only a few of my cultured readers will get that joke)

The EP opens with "Holy Ghost," certainly one of the more mellow tracks to have passed through my earholes since starting this blog, but there's something about it that instantly worked for me. It's composed quite beautifully yet simply, however it is quite complex in its simplicity. You can give this track a real deep listen and pick out all the individual layers within it. Any of my loyal readers can attest to the fact that well-executed harmonies are very important to me, and this opening song nails it by all accounts. I find it almost reminiscent of Seals & Crofts, or Crosby, Stills & Nash. Maybe even a dash of Ben Folds. It certainly is a mellow listen, but it could have been several minutes longer and I wouldn't have minded.

Track 2 is entitled "Gold Mine," and it continues along the easy listening, decaf-rock tone that was set by the opener. This one, however, breaks up the pattern a little with a more interesting percussion part that keeps me on my toes as an avid air-drummer. It is subtle differences like these that keep a track unique from its predecessor. Otherwise, to the music listener that doesn't always indulge in the softer world of decaf-rock (like myself) these songs could potentially start to sound the same as each other. But that's not necessarily happening here.

Track 3, "Helpless To Your Magic," subs out the drum part from track 2 and puts in its place a melancholy but beautiful piano melody. Truth be told, I wasn't fully engaged with this one until almost the very end when I could hear the ever so subtle inclusion of a new instrument, and full disclosure I couldn't make out exactly what it was, but I wanted more of it. It could've been of the wind or strings family, again I'm not entirely positive, but throughout the whole song I was thinking to myself, this is BEGGING for strings. I really wanted a legato cello just weeping through the whole piece. And towards the end of the song, I got something to that effect, just not enough of it.

The fourth track is called "You'll Probably Never Get It," and right off the bat there was something about it that bothered me. It took me a minute, but i eventually got it. (Get it? Heh.) This 4th track features a lot of synthesized sounds and electronic percussion that takes me almost completely out of the experience. Nathan has such a beautiful Seals & Crofts style voice, but his light and melancholy falsetto is almost lost in the cracks here. With some different mixing, and real percussion over digital, he could have something really beautiful here. I'm all for experimentation, but it doesn't always work out the way you want it to.

The final track of the EP, "She Matters," brings the piano back into play, with more unusual percussion. It kinda sounds like a wood plank being dropped on a concrete floor with an echo coming a split second later. It's a fun effect, but my favorite parts of the song are the parts without this effect. Luckily, this song is mixed differently so that his voice takes center stage on it more so than on the previous track.

Collectively, I think there is a lot for Nathan to be proud of here. He has one of the best voices and strongest harmonies that I have heard in a long while. The musicianship is also pretty solid, I like the way it all comes together in its melancholy yet charming, simple yet complex design. Going forward, I really want to hear this guy singing with only a cajon and a cello behind him. Okay, maybe an acoustic guitar too. Mellow for my taste, sure, but I would certainly listen again.

Survival Vs Creation - Nathan Peter Illes

1 - 14 - 2021

1. Holy Ghost

2. Gold Mine

3. Helpless To Your Magic

4. You'll Probably Never Get It

5. She Matters

Favorite Track: Gold Mine

Least Favorite Track: You'll Probably Never Get It

Sailing Upon The Times - The Jobs

Evening, folks. Next up in my packed schedule of review requests is the upcoming EP from Cleveland-based, feel-good indie rock band, The Jobs. Sailing Upon The Times is due to be released on streaming services on January 8th, and tonight I have the honor of getting an early peek at it.

It opens with a mellow track titled "La Sirena," which, being totally honest, is not the track I would have chosen to open an album. That is not me saying that it is a weak track by any means, it is simply just a little too mellow for my tastes. I would've put this somewhere toward the end, maybe the last or second to last track. Mellowness aside, the composition of the song is really quite beautiful. It features a light and reminiscent guitar melody, with surfy undertones and charming simplicity. My biggest drawback with this song is that it is a bit repetitive for my taste, but listening to it transports me to a chill (and serene) tropical beach with a cold beer and a beautiful woman. So I don't mind being stuck there... who would?

Track 2, "Transmission Radio," opens with the vocalists showcasing their choral abilities by hitting high notes only paired with a piano. The beginning piano note ends a little abruptly for my ears, I would've considered holding it a hair longer, but it quickly recovers as the song moves ahead into its meat and potatoes; a boppy little groove that has you nodding your head from side to side without even realizing it. This is a strong contender for what I would use as the EP's opening track over "La Sirena," as I feel this has a higher energy while "Sirena" is a perfect winding down track to serve as an EP closer. Some of the notes the vocalist hits on this track remind me a bit of Anthony Kiedis of Red Hot Chili Peppers. That is just in the sound of the singer's voice, as the frontman of The Jobs clearly has a stronger sense of key, and just stronger singing ability in general, than Kiedis. My biggest drawback with this track, as I have mentioned in previous posts, is the abrupt ending. The outro is beautiful in its simplicity, as was the riff throughout the whole song, and it's over before you're ready. I was looking for one last note, held and faded out, but that's not what I was given.

Track 3's intro might be my favorite on the whole EP. A driving percussive rhythm is how we are introduced to "Sunrise Over The Hill," and I am bobbing my head and engaged with the song before it even truly begins. It's on this track that the singer's pop-punk sound really shines through. And whatever your opinion of pop-punk might be, it truly works here. It is not a punk track by any stretch of the word, but I believe in my heart of hearts that if they wanted to take a punk turn on a future EP, they could easily do it. I would have considered tuning the guitar down half a step, and maybe playing lower on the keyboards as well. The note balance between the singer and the instruments are just a tad off the mark for me on this one, but I still very much enjoyed the song.

Remember what I said about "Sunrise" opening with driving percussion? Here it is again. Marvelous. "On A Holiday" might be their most pop-punk sounding track. It moves, makes the listener move, it's light and heavy, and just fun. If Tony Hawk ever gets off his ass and makes a new video game, I hope it's American Wasteland 2, and this song needs to be on the soundtrack. (Okay, Underground 3 is also acceptable...)

Track 5, "If You Have No One," has a percussion part, similar to the prior song, within its intro, but it quickly changes things up as we move into the chorus. The chorus itself has some vocal overdubs, which are always fun, because they add some depth to the track. However, I really wish there were some harmonies from the background vocals. I was practically screaming for some on this track, and they never came. It's a fun song, and certainly just as well written and put together as the other 4 on this EP, but adding some harmonies to the chorus just before the overdub would really have taken it that extra mile.

Overall, this EP is a very strong studio effort. The musicians and vocalist all have damn near perfected their craft at a very early stage, and it really was a joy to review this EP. The whole thing was written and composed quite spectacularly, with few hiccups that I would have considered polishing a little more. The biggest overarching strength that these guys have here, in addition to their writing and playing ability, is the mixing. Normally, when I listen to indie artists and their early work, the production is either a little too rough and raw, or too electronic and overproduced. These guys, however, have found the perfect balance.

Sailing Upon The Times - The Jobs

1 - 8 - 2021

1. La Sirena

2. Transmission Radio

3. Sunrise Over The Hill

4. On A Holiday

5. If You Have No One

Favorite Track: On A Holiday

Least Favorite Track: La Sirena

Drop Dead Gorgeous - Satin

 New Year's Resolution: buy a calendar. I have to get my shit together here, guys. To keep track of the onslaught of review requests that I've been getting lately. It's humbling, overwhelming, and truly spectacular. Thank you all again for your tremendous support. Tonight I have the honor of sinking my teeth into the debut record Drop Dead Gorgeous by the alt-indie band Satin.

There's something refreshing about their sound right off the bat. They're not over-produced, which is good news for me as the heavy production on most indie bands today is often nauseatingly artificial. The second track on the record is particularly whimsical, as for whatever reason it reminds me of Ben Folds, and The Barenaked Ladies, though maybe without the dad jokes and cringe humor. Perhaps it is the lead singer's voice that is reminiscent of those other artists? I'm not entirely sure... but regardless, it's working for me.

"Intangible" is track 4 on Drop Dead Gorgeous, and it immediately stood out to me as a shining star. It is my honest belief that this track belongs on every alternative radio station out there. It is a damn near perfect alt-rock track. Maybe the outro could have benefitted from some tweaking, but nevertheless I would put this into rotation on any alt-rock radio. And please, for the love of all that is holy, remove Imagine Dragons from that list.

"Mad Love" comes a couple songs later, and serves as a really fun track featuring a more prominent rock guitar sound. While the solo halfway through may land a little on the sloppy side, I still more than appreciate its presence on the record, and it actually reminds me quite a bit of an 80's alt-rock single. Okay, maybe without the synth... For a stronger solo, check out "Pretty Little Machine." The solo is short and sweet, from the soul with no frills or filler. Executed well and fits beautifully within the bones of the song.

The biggest thing I think that could use some extra polishing is their harmonies. I'm a sucker for strong harmonies, and these guys are definitely almost there. I think they would benefit from turning the background vocals up a bit more during the choruses, so the lead singer doesn't drown them out as much as he does here. His voice is so unique and prominent on these recordings that the backing vox almost sounds like quiet overdubs of himself laid underneath the main vocal, rather than the rest of the group singing with him. Some extra mixing and a good spit and polish on these choruses would really make them shine.

Drop Dead Gorgeous - Satin

4 - 12 - 2019

1. Magnolia

2. Lavishly Lavender

3. Piece By Piece

4. Intangible

5. Object Of My Love

6. Mad Love

7. Pretty Little Machine

8. Rising Sun

9. Avarice

10. Fall To Pieces

11. Afterglow

12. A Sliver Of Hope

Favorite Track: Intangible

Least Favorite Track: Fall To Pieces

Synic's 2020: A Year in Review

 Ladies and gents, as we march together into the beginning of a new year, I thought what better way to celebrate the end of 2020 than by reflecting on it and looking at where I am now compared to where I was last January. It certainly had its ups and downs, okay maybe more downs than ups because of the global pandemic BS, but there were some ups too. I'm going to skip over all of that, and we can take our minds off of it together while I discuss my year on this blog.

It started back in March, some nine months ago, with the release of In This Moment's Mother. Technically not my first post, but it was the one that started it all. For it was the discussion between my sister and me about that record that sparked her idea that I start this blog in the first place. But I didn't want to start there, no I wanted to start with the newest release from Five Finger Death Punch. It was my pick for metal record of the year since it first released at the end of February, and that statement held true throughout the remaining 10 months of the year. Though looking back at it now, it isn't as flawless as that review would lead you to believe. In fact, I sort of chuckle when I read that review now. It's very simple in its composition, and for whatever reason I decided to focus on Ivan Moody's singing skills rather than analyze any of the songs on the record. It was a fun 3 paragraphs to write, but readers didn't learn anything about the new record, other than the fact that the members of the band changed slightly and quit drinking. I would certainly have a lot more in-depth things to say about it now, but it is fun to look back and see where I started.

This year did bring with it some new music, though there was a tragic shortage of supporting tours. Looking back at everything that was released, I am going to stay true to my word and claim that 5FDP's F8 record was my favorite. A close second being AC/DC's Power Up, of course. While I was so very excited about the release of a new AC/DC record, I let my excitement cloud my judgement a little when writing that post. I just gushed about it for paragraph after paragraph when the reality of it is, it's better than OK, but certainly not their best. I find myself reaching for 2014's Rock Or Bust more often than 2020's Power Up, but more on that later...

COVID and other personal matters aside, this last year has been a lot of fun for me in writing these blog posts. We started alongside old friends who reviewed books, and continued to grow after they had retired. We have welcomed a couple guest authors onto the site, and together we discussed important records from Linkin Park and Lady Gaga. I even welcomed a Lady Synic into my life, who, while she has yet to have made an appearance in these posts, does provide me with some excellent insight and input into writing reviews of some of the indie artists that I have discussed. Speaking of these indie artists, I have to take a second here and thank each and every one of you for the tremendous support that all of you have given me thus far. It's truly humbling and overwhelming. The fact that you trust me with your art is incredible, and I sincerely hope that it continues for the foreseeable future. Reviewing your music for you is a tremendous honor and pleasure of mine. It keeps me going and keeps me writing; I wouldn't be here if not for all of you:

Vibraveil

Donnie Vie (Michael King)

The Pin Stripes

Pepe & The Bandits

The Unknown Brothers

Hip Bobsha

The John Michie Collective

Rufusking

Time To Act

OrangeG

Reckless Velvet

Satin

Nathan Illes

Joe Viglione & Club Bohemia

Say Yes, Do Nothing

The Jobs

The Mellowdees

More to come...

With all the good that somehow did come from 2020, every peak must have a valley. And two big valleys for me were the agonizing losses of two of my all time favorite musicians. Early this year we lost the drummer who put the RUSH in Rushmore, Neil Peart. And just a couple months ago as you saw in a previous post, we lost the iconic guitar god Eddie Van Halen. I'm afraid that these guys have joined Bon Scott, Malcolm Young and Stevie Ray Vaughan for rock deaths that I will never get over. It's been a hard road, and I'm afraid the music world may never be the same.

In some very helpful feedback I received from someone close to me, we discussed the format of my reviews, and what is working vs what isn't working so well, and we have decided to change it up a little bit. I will still continue to write and review in the way I know how, but at the end of each when I state my favorite track, least favorite track and numerical rating, I've decided to cut my numerical rating (at least from the review request posts). This is because some artists will read what I say and decide to ignore it all after seeing the numeric rating posted at the end, and that is not what I want to be taken away from my reviews. I want the artists to take my feedback and listen to what I am trying to tell them about their sound, rather than being distracted by a number. I could say a lot of nice things, and offer some ideas of what to do in the future, but the second I say 6/10 the artist is disheartened. I don't want to be discouraging, I'm just brutally honest. It's kinda my thing.

So I guess what I'm trying to say here is, thank you all for supporting me and coming to me for feedback on your art. In 2021, I hope we can continue along this path of mutual support and helping each other grow.

To wrap up my Year in Review, I wanted to leave you all with a special Synic Selects Bonus EP. It's just a small collection of songs I threw together, inspired by COVID-19. Enjoy it, and look forward to a brighter future ahead.

Synic Selects: Quaran-tunes Bonus EP

1. Germs - "Weird Al" Yankovic

2. Epidemic - New Years Day

3. Too Much Time On My Hands - Styx

4. Don't Stand So Close To Me - The Police

5. Dancing With Myself - Billy Idol

6. She Bop - Cyndi Lauper

7. Talk To Myself - Janet Gardner

Thank you all for your tremendous support, I hope you stay on the ride with me as we march forward into 2021.