The song from STATHI offers a reflective journey into shaping a lifelong perspective. Vocally, “Chasing Dreams, Chasing Time” is reminiscent of a calmer version of the Scottish band Biffy Clyro. And the use of a landline answering machine recording from a loved one (Mom?) is similar to the far less positive, but equally introspective, single “Hate Me” from Blue October. With maturity comes perspective? Well, not often enough. But STATHI explains:    “This is a song I worked on with my good friend and producer Emmett Folger throughout 2023 in his Brooklyn ..read more

       "Big Cat Tattoos" holds the power to build an emotional fervor within the listener, who likely isn’t sure where to channel that emotion. The first-person lyrics clearly show that the protagonist is intelligent. How many of us replay Middle Age wars in our head? And clever – “You with all thе modesty of big tech in bloom.” With the assuredness is the vocals and the determined march of the melody, it is easy to jump into the sentiment of “Big Cat Tattoos” with both feet, but where is the landing spot? The lyrics are not intended to gently guide the listener alon ..read more

        The vocals in “Nagoro” possess a charisma that pulls the listener into the emotion of the song, regardless of any attempt to understand the lyrics or grasp any meaning. Simultaneously, the instrumentation offers another compelling element, adding to the allure of the single by Supercaan. Interestingly the song features a vitality profile that is the reverse of the Japanese village from which it borrows its name. “Nagoro” establishes energy expectations during most of the track, then exceeds those expectations beginning at 2:48. In contrast, the Japanese v ..read more

       Zach Bailey showcases his refined brand of sophisticated Pop Rock with his latest release, "See Ya Next Time," a heartfelt breakup recovery declaration. The Rock sensibilities are best displayed during the guitar-driven bridge that begins just before the two-minute mark. The sophistication permeates the entire track, with a standout moment occurring around 2:21, when the vocal processing sometimes carries an ethereal beauty reminiscent of monks delivering a Gregorian Chant.        Still, “See Ya Next Time” is best characterized by its ..read more

       With “Silver Stain,” Maudlin Strangers engage in another dark exploration of the complexities of human emotions. This time, this song intelligently delves into the difficulties of a troubled relationship. Their other 2024 release, “Don’t Worry, I’m Fine” addressed burnout and the need for recovery. That release is also included in this post. Late last year, Maudlin Strangers tackled the subject matter of addiction and the resulting inner conflicts and turmoil.        The first verse of “Silver Stains” is misleading in its description of ..read more

       The initial 21 seconds of “We’re Lost” share the tonal personality and charm of the guitars in The Beatles’ “Blackbird,” despite the melodies being fundamentally different. Then, the complexity and skillfulness of the instrumentation leap forward into the second part of the intro of Little Oil’s song. This two-part introduction establishes high expectations, and the entrance of an engagingly distinctive voice only serves to raise the bar higher.        Still, there is more to the appeal of the song than guitar and vocals. Shortly befor ..read more

     "In My Kingdom" offers a rare fusion of sophistication and unfettered entertainment. It possesses the ability to grab the attention of listeners, urging them to prioritize checking out The Bogmen's tour schedule immediately; the song encapsulates everything that makes a favorite among gig-goers. It's intelligent yet uncomplicated, and is substantial yet exuberant and full of life. It's akin to a 1960s muscle car that can kick into another gear (or two) even after seemingly reaching its peak performance. Those extra gears are engaged after the three-minute mark of “In ..read more

        “Close Enough” embraces dualities, notably in the vocals and the lyrics. The lead vocals convey an emotional vulnerability with a passionate fearlessness in a vocal register that invites listeners to join. In comparison, the song from Stress Dolls is sprinkled with an almost angelic declaration of “I can’t keep running” in a challenging-to-join, high-register voice, where vulnerability resides in the voice, rather than the words. It’s an impressive combination from Chelsea O'Donnell.        When initially focusing on the lyrics (i ..read more

       Reviews of “All She Was" have been posted, and there are comparisons to the storytelling style of classic Bruce Springsteen and modern-day Sam Fender. And we agree; there is an uncommon intelligence in the lyrical description (the lyrics are included in this post). But from the vocal and instrumental perspectives, our comparisons are to Kings of Leon and the guitarist of U2 (“The Edge”). The vocal comparison is most apparent at the start of the song from Midwave Breaks. On the other hand, the chiming timbres through echoing notes, which are perhaps most aligned ..read more

      The vibrance of the instruments shines brightly right from the outset of "Oh Emily." Powerful percussion initiates the song, soon followed by intertwining guitars. Energetic drums are a near-constant through the track from Somebody’s Child, while the accompanying instrumental contributions vary. Interestingly and creatively, “Oh Emily” does include a brief segment without drumming, followed by a Beatles’ George Martin tape-manipulation sound. The sans-drum segment begins around 2:25 and the appealingly uncommon sound is heard 12 seconds later.     &nb ..read more