EP Review: Afrofuturistics - The Enigmatic

Do we here at BGM know the first damn thing about jazz?  I don’t want to speak for Chris, but I’m going to say the answer is a resounding ‘hell no!’ (Although despite what some fans may say, I know enough to say that Angine De Poitrine is jazz, thereIsaidit.) Now, do we here at BGM know the first damn thing about hip-hop?  I’m gonna throw Chris under the bus here (sorry,) but while I’m sure he’d say no, I’m going to say yes!  While not as well-versed in those arts as I am in metal, I can say I have supped at hip-hop’s bounty.

Why the hell are we talking about this at all?  Isn’t this the space where I normally would talk about some gore-soaked overdrive fest, with art and themes about human depravity and the wanton destruction of the universe? Yes, it is! (Is that a raincoat?  Yes, it is!)

But not today.

It’s important to get outside the comfort zone.  To that end, today we’re taking on the debut EP The Enigmatic from Chicago jazz-hip-hop fusion combo The Afrofuturistics.  And man, is it fun.

The EP has a bunch of novel features to talk about, all of which add up to a cohesive whole.  As mentioned, jazz may not be the strong suit around here, but groove sure as shit is, and The Enigmatic has groove in spades.  The beat of opener “These Things Happen” is catchy enough, but dig down and tune into the rhythm, and there’s a saucy, thick bass line in there that subtly establishes the hook and never deviates while the vocalists above it create.

The low tones featured throughout the twenty-eight minute runtime of the EP are the central star, which means yes, as thoughtful as the lyrics are (more on this in a minute,) the music is really the focal point, which just goes to remind that this is a jazz album first, and everything else second (never mind the instrumental pieces.)  There’s an additional twist, though - conventionally, brass tones are used to brighten a piece, to make it prouder and more bombastic, but in the case of the title track, The Afrofuturistics make them sound uniquely dour and almost threatening.  This only serves to highlight the airy, ethereal saxophone interlude all the more.

The lyrics, and their delivery, are thoughtful and well-parsed.  This is more Saul Williams than DMX, with references sprinkled through both modern (DraftKings) and dated (Alanis Morissette and Calgon, which I’m not sure they make anymore.)  Still this is part of the novelty of the EP as well, as briefly discussed before - the lyrics are nearly secondary, or at least companion to the music, rather than the fixation of the exercise.  Even so, the bars we get to enjoy are a refreshing change from the false bravado and repeated cadences so pervasive in modern hip-hop, and they’re delivered in a slow-burning style similar to…well, does anyone remember Camp Lo?  They’re the closest analog.

There you have it, then.  If you’re looking for a different flavor to get you through the rest of the summer, try out The Afrofuturistics.  And if you’re unwilling to expand your own horizons and try something new…well, I don’t know what to tell you.  Must be a boring life.

EP Review: Alestorm - "Voyage of the Dead Marauder"

It is the pinnacle of satire when the artist performing it composes a piece of art that surpasses the original genre being parodied.  The most famous recent example of this is Joss Whedon’s “Cabin in the Woods,” where the movie not only successfully poked fun at all the tropes of the slasher film genre, but was simultaneously the best slasher film to be released in years.

Through this lens is how one could view “Voyage of the Dead Marauder,” the lead single on the new EP of the same name from Alestorm, the forever vitriolic and acerbic pirate metal band from Scotland. 

Intentionally or accidentally, Alestorm has always existed at something of cross purposes to power metal – always the kids at the back of the classroom, wearing sunglasses and napping during the lecture, and interpreting the lessons in their own idiomatic fashion, to the delight of their classmates but the stern disapproval of their teacher.  

And yet, here comes this title track, backed by the sanguine vocals of Patty Gurdy, and it might well be the best power metal song written by anyone not named Powerwolf in the past five years!  It hits all the right hallmarks – the soaring chorus, the singalong vocals, the powerful and melodic riffs that harmonize with the accessible rhythm underneath.  It all coalesces into Alestorm showing everyone how its done after years of thumbing their nose at the surrounding crowd. As a side note, Patty Gurdy was the best possible choice for the accompanying vocals.  If it had been Floor Jansen, or Simone Simons or whomever else, it would have been too much.  Gurdy’s voice is natural and believable, more apt for this kind of swaggering tavern shanty than the other singers’ inherent pitch perfection.

That’s not all the EP has to offer, though.  We careen into consecutive songs about Uzbekistan and pirates from Saskatchewan, both of which are enjoyable successes.  Alestorm’s chosen musical style only leaves them a certain number of avenues they can take without plunging into repetition, so the songs have to exist as functions of their themes and lyrics.  To that end, Alestorm makes this EP work by crafting fun and goofy tunes about unusual corners of the world, different than the ones they’ve written before.

And then, “Cock,” keeping alive the tradition of Alestorm writing one deplorable, gleefully and hilariously vulgar song per recording.  This does not disappoint.

At the inception of their career, Alestorm was too frenetic, too frothing and wild-eyed to really capitalize on their potential.  The intervening fifteen-plus years have seen the band mature nicely into their talent and become real storytellers while still balancing against the natural fun and lunacy of their music.  “Voyage of the Dead Marauder,” is, to this point, the apex of this combination.

EP Review: Dream State - Untethered

For some of us, a band's personality is often intertwined with their singer. It's the human voice that conveys the most emotion, that tells the stories, and that can't be replicated by a producer manning the boards. Whatever style of music you pick, you can find the gear to replicate the sound of the guitars and drums, but finding a singer who can evoke the same feelings from the audience is something far harder, if not impossible.

Dream State is going through that process here, as this EP is the introduction of a new lineup. CJ's singing and screaming, complete with hints of her English accent, were such an integral part of their sound, I must confess to being worried what the future of the band was going to be. Their "Recovery" EP and "Primrose Path" album were both fantastic, but it wasn't the instrumental parts that won me over the most.

This new EP is both reassuring, and disappointing. Let's start with the good side first.

Dream State comes out of the gates in this new era hitting hard. Their post-hardcore is still heavy and aggressive, with pulsing rhythms full of energy. The writing is tight, and new vocalist Jessie Powell does an admirable job on both fronts. The songs are still catchy bangers that get better the more you listen to them. They are able to perfectly balance their hardcore tendencies with more melodic parts, both challenging and satisfying those of us who don't share their same roots.

But for every satisfaction there is a disappointment. Or two of them, in this case. One of those being that this is just a three-song EP, which even for this kind of release doesn't feel like enough. To reintroduce the band, this bite-size offering is barely bite-sized. The other disappointment is that while Jessie is indeed a very good vocalist, she isn't CJ. The band is cleaner and more polished than ever, and it's the rough edges I find myself missing the most. There was something charming about their previous sound, where it felt like a reflection of the mental battles the songs were addressing.

This EP is, oddly, too perfect. The playing, the production, and the vocals are nearly flawless, but because of that they don't have as much feeling in them. At least not to my ears. So while Dream State shows they have plenty of life left in them, and they're going to keep making good music, I'm going to have to wait to see if that spark returns. I miss it.

EP Musing: Saint Asonia - Extrovert

Sometimes, it seems like I'm perpetually annoyed. Both as a critic and a philosopher, I find it easy to nit-pick and find flaws in just about everything. They're usually easy enough to ignore, but at a certain point, when everything starts to annoy you, even that fact becomes annoying. And with the music industry in a state where no one knows how to release music, plenty of experiments are being done that wind up annoying me.

Case in point; Saint Asonia. I really liked their last album. For the genre of radio rock, it was excellent stuff, and far exceeded any expectations I might have had. I was just listening to the album a few days ago (as I write this), and it holds up really well. I was a fan.

Earlier this year, they put out an EP I also thought was pretty good. It didn't hit me quite as hard, but they still had good songs I enjoyed a fair amount. I was still on board with them.

Now, they're putting out their second EP of the year. This shouldn't matter, but it does. We're getting one album's worth of songs, but they're split up in two batches. The end result of that is to make things harder for those of us listening. The 'album experience' is gone, because to put the two EPs together into what would have been the album is to alternate between new songs and those we have already experienced. And I know I praised an album just last month that did something similar, but the situation is very different to me, because those were all singles we had been given in doses over the years, and there would have otherwise been no way to have them collected together. With these two EPs being released so close together, the band could have easily put them out as an album.

I will admit this much; not being a follower of the charts, I don't know how successful Saint Asonia was at making any or all of the tracks off "Introvert" into radio hits. This could all be me yelling at clouds if this was a massive success for them, but I can only give my experience with their music. That experience is one of frustration, as my attention has been divided between the two releases, and I tend to give EPs less attention to begin with. The whole thing set up to make me far less engaged with new Saint Asonia music than if they had put all these songs out as an album to begin with.

I also think this strategy didn't work for me, because Saint Asonia is making music by all the blueprints of radio rock. They do it very well, but it isn't a style of music I am energized by, and asking me to get excited about two batches of music that are nearly indistinguishable is asking too much of me. I only have so much energy to go around, and I'm going to struggle to be jazzed about something I've already hear just a few months ago.

With all that being said, "Extrovert" is once again high quality mainstream rock. I definitely enjoy these songs, and when I get around to putting both EPs together to listen to them in my preferred format, I'm sure I will find it a record nearly comparable to "Flawed Design". Saint Asonia is good at this, and I'm never going to take that away from them.

What I will do, though, is be honest about how the only way I was able to find enough to say about them again this soon was to look inside myself, and not in the music.

EP Review: Yours Truly - Is This What I Look Like?

Yours Truly was already on my radar with their first two EPs. I don't remember how I came across "Too Late For Apoogies", but it quickly became one of the few EPs to make a real impression on me. I loved their sound, and Mikaila's strident voice, and by the time they released "Afterglow", I was already saying they were one of the new bands to watch. They had the potential to become one of the shining stars in our musical sky, a southern cross guiding our way.

"Self Care" was what I had been waiting for, a full-length album that showcased more facets of the band's sound. It was everything I could have hoped for, updating the sound of pop-punk with more emotion and introspection. It was my clear-cut Album Of The Year, and it elevated Yours Truly exactly the way I envisioned. But what's interesting is how they are choosing to follow up on that success, which comes in the form of this new EP. The band is getting a bit more experimental with these songs, and they're giving us only a bite-sized taste of their next chapter. Is that enough?

I'm not sure how to answer that question, because I can make the case for both 'yes' and 'no'. Let's take those one at a time.

The answer is 'no', because EPs rarely feel like complete musical statements to me. Even with seven songs, the experience is over fast enough that I keep thinking there is more of this current mindset that needs to be said. The band explores this new sound, but I'm not sure if they have dug deep enough to fully get to the bottom of it. These songs take on a different aura, turning down some of the harder rock influences in favor of a more modern and rhythmic approach. The hooks don't rise as high, the riffs don't hit as hard. The songs are a bit more subtle, preferring to ingratiate rather than burst through the door.

Because of that, I need to hear more. With a few more songs, I would better understand the how and why of the shift in tone, and perhaps the result would alter my reaction to the music. Something similar happened with Halestorm, where I didn't fully understand the shift they made with "Into The Wild Life" until I heard "Vicious" three years later. It took me two albums to fully embrace that change, and I'm thinking the same is true here, and I'm not going to completely buy-in to what Yours Truly are doing until I hear what comes next.

The answer is 'yes', because I'm not sure if I want a full album of this new style. I still like what Yours Truly are doing, and they are doing it well, but I don't connect with it the same way I did the songs on "Self Care". With the change in guitar style, I miss the power of the heavy chords. The backdrop isn't as powerful, which undercuts some of Mikaila's singing. She can't go all out the same way, which hinders the emotional resonance of her voice. They write songs about issues, and getting past them, and these songs don't have the same outpouring of her soul (in audible form) I heard before.

So this EP leaves in an uncomfortable place, where I definitely like what they are doing, but I can't say it isn't a disappointment when compared to what they had been doing before. The band started high, and rose even higher, but this EP feels like a step back down. Perhaps that is necessary, and the next great chapter simply can't be reached in a straight line from where they were, but this detour isn't quite the road I want to go down.

This is a case where good is overshadowed by great. What a thing to complain about, huh?

EP Review: Saint Asonia - Introvert

Radio rock is a hard genre to really get into, because so many of the bands follow the exact same blueprint. They do it because that is what gets airplay, and I totally understand that, but it leads to an entire genre of music that sounds so similar it's sometimes impossible to distinguish one band from another. And now that there are also offshooots to the successful bands drama necessitated that also sound the same, sometimes the only way to cut through it all is to have audible charisma the others don't. Saint Asonia did that on their first record. Adam Gontier's voice is just a bit better at selling the songs than many of the also-rans, which gives them a leg up.

They are following that well-received album with this EP, which is an interesting choice. It does seem to be the way a lot of bands are going these days, and if you're primarily aiming for radio play and streaming numbers, focusing on just 'the hits' makes sense. On the other hand, having fewer songs gives you less options to pull a rabbit out of the hat if the original picks don't climb the charts as expected.

The six original songs on this release continue the Saint Asonia formula. The guitars are there to give a comfortable rock feeling, even if they are just playing the usual types of rhythms. The vocals are top notch, as Adam is one of the best at doing this style. The melodies are where radio rock can feel stale, and it's where Saint Asonia is able to use their veteran presence to their advantage.

Whether it's the towering hook of "Above It All", or the slower grind of "Chew Me Up", there's enough movement to the melodies where they become memorable in a way a lot of the flatter crooning you can hear from the style isn't capable of. The band proves that point themselves, with the latter of those songs having a bit after the first chorus where the vocals turn into an almost rap cadence. It not only sounds a bit out of place, but the way any melody gets sapped out only to be rebuilt later on, is proof maintaining that edge is hard even for people who know what they're doing.

But I think the best comparison I can make is this; during parts of "So What" in particular, Saint Asonia sounds like the band Fozzy wishes they could be. There's a similar tonality to the music and vocals, but one band is able to use that to write powerful sounding songs, while the other sounds like they are wearing a costume of a better band. Adam's voice strains as he sings lyrics questioning himself, while Chris Jericho's voice isn't strong enough to carry his bragging words. That's the difference, and it is audible in every second of the music.

We also get a cover of The Weeknd's "Blinding Lights", which fits into a trend I used to love; the 'rocked up' pop song. For as much as rock fans don't want to hear it, great pop songs and great rock songs aren't that different at the core of how they are written, and embracing that doesn't make you lesser in any way. We do want people to like our music, after all, don't we?

Saint Asonia are good at this. They should be, with as much experience as they have. The only problem with this release is that it's only an EP with six new songs. I might want a bit more than that when I sit down to listen, but exiting on a high note is not such a bad thing. It sort of worked for George Costanza.

EP Review: Waxflower - The Sound Of What Went Wrong

'Music for the over-thinker' is how Waxflower describes the songs for this new EP. That's a phrase that hits home, because I am certainly one of those people. My mind is always running through scenarios, envisioning different ways things could play out, trying to find the one where I won't be left with a trail of regret to follow home, or to be followed by whatever demon is following my scent. You can tell just from that last sentence exactly what I mean, which is why I sat down to listen to this new EP, and also why my judgment of it might be harder than for many other people. As an over-thinker, and as someone who uses lyrics as a means to tie threads of doubt into knotted tapestries, I'm comparing them to what I would do with the same thoughts.

"Ring" kicks things off with a synthetic drum loop and an angular guitar figure. It borrows from the modern sense of indie-rock I've never liked, but quickly moves into a more traditional alt/pop-punk chorus with sunny guitars and a smooth melody. It bears resemblance to Yours Truly, whose "Self Care" shares a producer with this effort. It's a fine song, but there is an issue apparent from the very start. For an album about over-thinking, and all the mental gymnastics that go along with it, the lyrics are obscured. Whether that's the delivery of the vocals or the mix I can't quite say, but the end result is I feel like I'm missing out on an important part of the song. It was difficult to tell even what the titular ring was referring to. It's their job to get the meaning across, not mine to decipher it.

That clears up on the following songs, whether it's the duet with a few more hardcore tinges in "Soak", or "The Drama Scene", where the chorus doesn't really put any noticeable backing vocals behind the lead in the chorus. That choice is an odd one, as the start-stop guitars are crying out for a big sing-along, but that's not what the band gives us. It almost comes off sounding a bit 'less' for their absence, because my mind is trying to fill in the missing data. Or perhaps I am over-thinking yet again, which is the danger, after all.

The comparison to Yours Truly is one that makes a lot of sense. Not only do the two bands have a similar tone to their music, understandably, but it serves as a way to explain the difference between this EP and "Self Care". Waxflower is a softer band, in terms of how they dig into their music. They aren't playing or singing with as much power or passion, preferring a more laid-back style of introspection. That's fine, but the punch they lack means these songs don't hit quite as hard. The hooks can't reach the same heights, they can't bowl us over the same way.

Waxflower is a band more about charm than raw power. That makes for a fine EP to listen to, as these five songs do a fine job of giving us a dose of pop-punk energy. It's an enjoyable little listen, but I don't think the barbs can dig into my skin the way Yours Truly did. These songs will scratch the surface, and may even draw blood, but there won't be a scar left afterward. Yours Truly left one, Waxflower doesn't. That's the big takeaway here.

EP Review: Smith/Kotzen - Better Days

I was not expecting to get more music from Adrian Smith and Richie Kotzen this year. In the spring, they released their debut album, which was one of the biggest shocks of the year. And considering that Iron Maiden put out their new record this fall, and Richie has been writing again with The Winery Dogs, this project didn't seem destined for a quick turn-around. And yet, here we are a few months later with four new songs to prove to us their record was no fluke.

The title track leads things off with a bluesy riff and groove underpinning Adrian's vocals, before strumming chords take over and Richie sings the melodic chorus. Along the way, they both throw in some lead guitar licks, reminding us this is as much about having fun playing guitar together as it is writing songs. For once, I don't mean that as a criticism. They clearly enjoy playing off one another, but they always do so in the context of the song. They aren't interesting in playing for playing's sake.

"Got A Hold On Me" ups the tempo, fitting in with "Solar Fire" off the album. To me, that was the weakest song of the bunch, and this one follows suit. There's something about the way these two play and sing that doesn't quite mesh with the faster tempos. I won't say you can't have soul playing faster, but it doesn't come across as well on this song, that's for sure. It just doesn't feel as vital or important.

"Hate And Love" returns to their sweet spot, with a slinkier riff and a real sense of dynamics. When Adrian and Richie share some lines, it reminds me what's missing from this EP. There aren't as many obvious harmonies between the two, whether that's their actual vocal approach or the production burying them. That was such a key part of the album's sound, I have to say I miss hearing their voices blending together as well as they do more often.

Finally, "Rise Again" serves almost as a segue to the next chapter, as things make a dramatic shift towards a more technical style of playing. The bass opens with an acrobatic line, which the guitar later echoes, while the drums move along playing far more than on any of the other tracks. What I'm saying is that, other than Adrian's voice being included, this one sounds like a song from the next Winery Dogs album, not what we've gotten to know of Smith/Kotzen.

So while I appreciate these two releasing more songs this year, I'm not sure this EP is quite what I was hoping it would be. There's less focus here, and the sound the two had established on their album is put aside in favor of some experiments I don't feel worked out all that well. Two of the songs tell us they were not a fluke, while two tell us maybe they were. It makes for a bit of a disappointment, hearing them veer from the winning formula.

EP Review: Creeper - American Noir

Last year, Creeper released a whirlwind of an album called "Sex, Death, & The infinite Void", which ventured back into rock history to pluck bits and pieces from inspirations to build a dramatic world that was a load of fun. A mixture of "Bat Out Of Hell" and "Born To Run", Creeper was trying something new and something daring, when they could have made a sophomore album that hit all the same points as their debut and made people happy. They wanted to show they are artists, and that's what the album was all about.

Part of making a conceptual album is setting the scene and telling the story, so every song needs to serve those purposes. For Creeper, that meant there were songs from those sessions that didn't quite do that, and they are what make up this new EP. And as soon as they teased this release, it became very clear how committed they are to their art.

Why? Because the lead single here, "Midnight", is bloody fantastic. Sure, it cribs a fair amount from Springsteen's "Because The Night", but that was sort of the point of this whole chapter. Remember, "Thorns Of Love" pulled more than a little from "Bat Out Of Hell", after all. The point I'm making is that "Midnight" is such a good song, you wouldn't think it could have been left off the album, since it would have made that good record even better. Yet here we sit, and this is the reality we face. At least we're getting to hear it now.

Likewise, "Ghosts Over Calvary" is a rollicking tune with the same Springsteen feeling, but vocals from Hannah that completely belie the lyrics saying "I've got evil running through my veins." It isn't a dark and devilish song, but rather the sort of disguise he wears when trying to temp you over to his side. This song might just do that.

On the other hand, this is clearly an EP of parts left on the cutting room floor, and not a fully fleshed out work of art. We get three segue pieces that pad the running time without adding much, and two songs that were left off the main album for obvious reasons. "America At Midnight" is fairly drawn out and boring for only being three minutes long, while "One Of Us" is repetitive and builds to nothing. They fill time on an EP that only lasts 19 minutes, which is one of the worst things I can say.

So really, what we have here is a great two song single that's stretched out to an EP. Do yourself a favor and listen to "Midnight" and "Ghosts Over Calvary", because they're Creeper doing what they do so well. You can forget the rest of the EP exists, because it doesn't need to. It's merely an excuse to release two more songs that, if I'm being honest, should have been on "Sex, Death, & The Infinite Void". Who knows how high that record could have climbed with them included.

I wish I got the chance to find out.

EP Review: Paper Citizen - Wandering Ghost

I often hear people talking about music that is 'fast' or 'heavy' as though those are descriptions of how good the music is. The fact of the matter is slower, softer music can be more demanding of our faculties, and we don't always have the ability or patience to give everything to what we are listening to. If we could, we might find things that give us new perspectives.

"Scratching The Surface" starts things off with a slow building riff that is part blues, part indie rock. There are hints of The Strokes and Sleater-Kinney in the guitar tones and angular riffs. Claire Gohst's voice embodies the lo-fi rock world she has created, harnessing the authenticity of a sound stripped of the gloss that often covers up the flaws. These songs are telling her story, and that can't be done as effectively if pieces are kept hidden.

With "Lifeline", we are treated to strains of dream-pop in the chorus, where Claire gives the callout to the titular character an ethereal musical bed. Given the importance she places on this person, it's a sly little trick to give an implication of being Heaven sent, or angelic, or whichever other term you want to use. You may not even notice that on first blush, but it speaks volumes.

On "Wandering Gohst", Claire tells us about how certain things follow you around, no matter how far and wide you may travel. There are inescapable realities, and they are either blessings or hauntings, depending on how you want to view them. As the song builds to its climax, it feels like a realization coming to life. Paper Citizen's music is laconic and introspective, but that allows the few moments where Claire hits the strings harder, or pumps a bit more volume into her voice, to hit harder. Tonally, their music is not far removed from Pale Waves' "My Mind Makes Noises" album, but with the more somber tone and more demure production, there is a shyness to Claire's story that is endearing.

There aren't too many writers I can think of right now who would come up with a line like, "Will you give me a tincture of sunshine?" It's a poetic statement after my own heart, and it illustrates the best parts of Paper Citizen. "Indigo September" is a beautiful song, with some lovely forms of language. It gives us more to think about than just the sound entering our ears, and to me it's the key track to this collection.

Often, I say I wish EPs were full albums, because I usually want more of something good. In this case, I think an EP is the right way to digest Paper Citizen's music. Doubling the number of these songs might lessen their impact, if listeners aren't paying close attention. With just five songs, it's easy to give each track the chance to speak to us. When you do that, you can hear an artist who is writing the story of her life one song at a time.

EP Review: Waxflower - We Might Be Alright

When someone cites a band as an influence who happens to have had distinct chapters in their history, it's not as helpful a touchstone as they might think. Let's take Waxflower as an example. They arrive with this new EP touting among their influences Jimmy Eat World. What does that have to do with what I'm saying? Jimmy Eat World have plenty of jangly pop/punk in their career that plenty of bands draw inspiration from. They also have "Futures", the 2000s version of "Pinkerton" in their catalog, and no one ever points to that as their biggest influence. What a shame.

Anyway, Waxflower is playing pop/punk of the more reflective variety. They are not about the fast riffs, bouncing energy, and walls of guitars. Their music is more layered, more restrained, and tapping into feelings that go beyond rebellious anger. In that sense, the Jimmy Eat World comparison is absolutely on point. The ethos behind the music is indeed the same, even if they can't match Jim Adkins' melancholy wail.

There's another comparison to be drawn here; Yours Truly. They took home Album Of The Year honors from me in 2020, and it was because they used to bright and sticky sound of pop/punk to examine themselves and document a journey of growth and evolution. Waxflower's music has that same feeling to it, which is reflective of the silver lining in the proverbial clouds. Or perhaps it's more akin to how the moonlight makes a dirty puddle look like mirrored glass.

When they say "We Might Be Alright" in the title track, the uncertainty is a dose of reality. We will survive, surely, but there is no guarantee we will come out the other side without feeling broken. Part of putting yourself back together is admitting you have fallen apart, and even now it takes some courage to write about such things. Music with this tonality, that embraces the shades of gray we live in, is more important than the brightest, shiniest pop that distracts us momentarily. Sugar highs never last.

Like "Integrity Blues" from Jimmy Eat World, Waxflower is able to meld slightly colder textures with soothing melodies to conjure up a sound that bridges the light and dark. "Fake Frown" could easily be a pop/punk hit, but the band doesn't lean into making the song a ploy for that goal. It feels organic, and weightier than something that doesn't carry a true meaning behind it. That may make their rise a bit slower, but it portends endurance.

This EP shows Waxflower is threading the needle, and they are joining the ranks of bands using their music to reflect the tumultuous emotional reality we have been living in. I commend them for that. I'm sure there will be people helped hearing that.

EP Review: Jo Below - No Control

It's funny that 'classic rock' has become it's own particular sound, since it was originally meant as an indicator of a period in time, one where there were tons of bands who didn't sound very much the same. Over the years, it has come to mean any music that is a bit simpler, more organic, and indebted to the 1970s. And to add on top of all that, now we have bands like Jo Below, who are calling their music 'modern classic rock'. Parsing some of the syntax of music can be a bit of a headache.

Opening with "Ms. Death", the band quickly makes me question their own nomenclature. The riff that comes out of the speakers is less Aerosmith and more Godsmack. Other than Johanna's vocals, the song is far more of a post-grunge modern rock than anything to do with the classic era. What's oddest about the song is how the chorus is the least energetic section of the track. The main riff has some power, and the verses have a slinky muted riff, but the chorus just sort of hangs there without doing a lot.

"Where Are You Now?" takes a different approach, with a hint of "Complicated" era Avril Lavigne to the layered guitars and Johanna's vocal tone. This song feels much more natural, and perhaps a better indicator of what Jo Below is best suited for. Not every band is equipped to play as heavy as the possibly can, and that's where I feel "Ms. Death" get the band pointed in the wrong direction. Making that the first thing we hear isn't the right indication for what Jo Below is really all about.

When they are content to be a bit lighter, and draw more from the alternative scene, I like them. "Another Dimension" is a solid track that could admittedly use a bit more punch through the verses, but has enough melodic power to win you over by the end. The same is true of "I Confess". Really, everything past the opening track is good stuff, if you're of the mind to enjoy the time period they are most referencing. Given their own choices, I'm not sure they are.

The biggest problem with this EP is that it doesn't deliver on what the band proposes. This is not at all a modern take on classic rock, nor is it going to become classic when it is no longer modern. I realize they're just words, and they don't really make a difference, but they do. Expectations matter when you're assessing the emotional response you get to music, and when the band sets us up for one thing and delivers another, it invites disappointment that otherwise wouldn't have been there.

What that means is "No Control" is an EP with four good songs, one mistake, and a bit of an identity crisis. If they can just commit to being who they are and wear it with pride, Jo Below can be a good band.

EP Review: Wild Truth - Drift

Words have always been flexible, but within the world of music, 'rock' is one that has truly been stretched to the limit. Rock has encompassed Jerry Lee Lewis pounding his piano, Bob Dylan playing electrified folk, Led Zeppelin's massive blues, Bon Jovi's sheen, Nickelback's dinge, and now music like Walk The Moon that doesn't quite fit in with the pop scene. There isn't a logical through-line between all of them, yet they all embody 'rock' in some form or fashion. As much as the endless sub-genres become too much, I absolutely understand why they are needed.

Wild Truth are a rock band in the same sense that Walk The Moon is. They are more of a pop band, but there isn't really a place in pop for music right now for what they are doing. Guitar based pop music is a bit of a throwback, even when it's trying to be very much of the moment. Hearing the slightly funky guitar riff open "Pressure" sounds so unusual, given how little guitar is out in the mainstream these days. Things build to the chorus, where the band remains restrained and doesn't go all-out. The vocals are completely different, but we're in the same realm as Maroon 5 when they were actually a decent band (that would be "Songs About Jane").

"No Filter" opens with a falsetto vocal line that is half Fall Out Boy, and half "Feel It Still". Once I heard that, it was a bit hard to shake the thought. It works as a pop song, for sure, but I'm not sure if it is working entirely on its own, or because of the comparison it evokes in my mind. Or perhaps that is the point, and the band is shrewdly using my memory to welcome their own song in.

"The River" is my favorite track here, with a laid-back flow and a chorus that hits just right. This might sound an odd thing to say, but I almost with the band went even further down the pop route. There is definitely that approach across these five songs, but it almost feels subdued compared to how far they could go. That fits with the times, where pop music is rather dour, but something even bigger and brighter might stand out from the crown even more. There is such a thing as too much, but Wild Truth isn't close to crossing that line yet.

Other than Taylor Swift, I have been largely divorced from pop music for quite a while. The reason is that pop music and I grew apart in different directions. If pop sounded like Wild Truth, I would buy in again. "Drift" is five songs of smooth, fun, and accessible music that mixes pop and rock together into what could be the modern template. There are plenty of reasons to enjoy Wild Truth, even in this condensed format.

EP Review: The Lickerish Quartet - Threesome, Vol 2

Last year, members of the band Jellyfish got together and recorded for the first time in almost thirty years. I was of the wrong age, nor did I listen to anything off the beaten path at the time, so I have no recollection of Jellyfish, other than hearing other people talking about how influential they were in certain circles. In fact, this is the second EP this reimagining has put out, which means I completely missed out on the first one. That goes to show how much of an impact Jellyfish had on my life.

But since the start of the year is a slow time, I have the chance to take on a release like this I otherwise wouldn't have time for. Is that a good thing?

"Do You Feel Better" kicks things off with a pulsing rhythm and plenty of Beatles-esque touches in the melodies. It's a perfectly lovely sounding track, except for the fact it doesn't have a strong enough hook. Some people might compare it to vanilla ice cream, but I like vanilla. This is more like a sno-cone before the syrup is poured on it. It does the job, but with no flair whatsoever. It lacks a moment that tells me what idea the musicians had they felt they needed to turn into this song.

"Sovereignty Blues" follows in much the same mold, but this time it's how far back the vocals are mixed that make the hook come across flat. Instead of sounding like a big, rousing moment, it sounds small and timid. That can't be what they were aiming for. I'm also not sure what the aim of "The Dream That Took Me Over" is, as the band moves into making essentially a dance song. It sounds so unlike either of the previous songs the move is jarring, and I can't speak on whether it's good dance music or not, but that's not a sound I wanted to hear.

The closing "Snollygoster Goon" is perhaps the best song of the four, since it has a bit more energy and hook to it, but even that one comes with its flaws. I like the moments where it sounds like the era of Fastball you would have possibly heard of, but the backing vocals are placed in a very odd way, leaving the song a bit unpleasant to listen to.

If this is what Jellyfish was all about, I see exactly why they are revered by musicians, and forgotten by everyone else. For people who are bored with doing things the normal way, their almost abstract songwriting is a lot of fun. For people who want to hear great songs, and don't care about breaking down norms, they're a bit much. I'm in that camp.

EP Review: VRSTY - Cloud City

"If Justin Timberlake fronted Killswitch Engage". Those are the words that accompany this EP, and those are the words that caught my interest. There are so many metal bands out there that write within a tidy little box, it often sounds like every idea has been done before. And since metal isn't always known for being the most melodic of genres, that means it gets rather stale for me. So when I hear this group could be blending a more modern pop aesthetic into the vocals of heavy metal, I'm interested in hearing the results. Lord knows it's better than listening to the twentieth band this year trying to replicate 80s soft rock.

"Massive" does indeed kick things off with a metallic flurry, as the riff jumps out with power and weight. There's a slight bit of metalcore in it, but the song doesn't follow that old formula. In fact, the selling point of this release isn't apparent at all on this song. It sounds more like Linkin Park than anything, and while it's not a bad song, there isn't anything outside the norm of modern metal here. Given the promise made, it's a disappointing first taste of the band's sound.

"Dig" takes us in a better direction. The not quite trap percussion through the verse is a new wrinkle, and definitely plays up the pop sound. It works well against the heavier chorus section, where the heaviness is balanced with the non-metallic vocal lines. It might not quite be as far afield as they want, but it does have a unique feeling. Despite their talk about defying genres, lyrics about Instagram stories and a name with the vowels removed is all entirely rote and played out.

"Shameless" goes further, with even heavier riffs, and even more plastic production in the verses. Now, here's where I can say something positive. If we remember back to the beginning of the year, Poppy gave us an album trying to put modern metal and inane pop together. It was an absolute mess of a record, and VRSTY is an example of how you can put modern pop and metal together without it sounding like torture. Sure, some metal fans might find it torture how the vocals and hook of this song sound like Fall Out Boy, but we'll ignore that for now.

I don't think VRSTY is as interesting as they think themselves to be. The songs on this EP are pretty good, but they aren't all that subversive of where metal is anywhere. If anything, it sounds like a natural extension of where we are headed anyway. That's not a bad thing, but an observation nonetheless.

If I have to sum up this EP, most of it definitely sounds to me like Fall Out Boy playing metal. That's actually more interesting to me than what I was expecting, since Fall Out Boy has fallen into disrepair, and this shows me what an alternate universe could have given us. For that alone, it might be worth hearing.

EP Review: Dendera - Reborn Into Darkness

One thing that has disappointed me is how few metal bands have come up in recent years and made any sort of claim to be the next wave to move the genre forward. So many of them have followed in the footsteps of those who came before, but done little to differentiate themselves. They have spent their time rewriting the classic songs, and that has left a lot of metal feeling rather static and played out. Dendera had the potential to be one of the bands to buck that trend when they released "The Killing Floor", but I will admit they fell off my radar when they released an EP rather than a full album. This next one found its way to me, so let's see where the band is heading now.

Right out of the gates, I'm smacking my head with the decision to start off with an introductory piece. EPs are so short anyway, spending two minutes on a needless bit of instrumentation feels like a waste of my time. If you only have four songs, just give me the four songs. There's no need to pad things out just to make the track listing look a bit longer. Anyway...

"The Void" gets us going with a song full of heavy riffing, a sinister attitude, and vocals that bring to mind Ripper Owens. There is a feeling to the song reminiscent of Charred Walls Of The Damned, with some harsh vocals thrown in for good measure. It's all solid stuff, and certainly not wedded to the past, but at the same time I can't say it has the killer instinct I'm looking for.

"The End Of Days" is a stronger track, with palpable energy from the guitars, a bit more pace, and a far stronger melody. The hints of harsh vocals on this song work better, because there's more melody to play them against. The juxtaposition is much more effective when the two sides pull further apart. This is more in line with the Dendera I remember, where they are a pummeling metal band, but they retain a melodic core that widens their appeal. It's really good.

That continues on with "Endless Suffering", which takes on a slower, more ominous tone. The song pulls back from the onslaught to give a bit more space, and the break is both appreciated and effective. It also provides a backdrop for a fantastic melody in the chorus, although I know I've heard it before. It reminds me a lot of Bob Catley's song, "Win The Throne". That's a great song, so the comparison isn't a negative at all.

After one more solid track, the EP leaves me feeling a bit incomplete. I like what I'm hearing, and I just wanted to hear a bit more of it. There's plenty of room within the framework Dendera is working with to tweak the mood from song to song and put together a cohesive album that showcases the different sides of the band's sound. That's something I would very much like to hear. But, for the time being, these four songs are what we're given, and taking them as they are, it's an easy winner.

Dendera continues to produce modern heavy metal that updates the traditional sound into the current day, with songs that have plenty of appeal for the hardcore and those who aren't. "Reborn Into Darkness" is a nice bite-sized chunk of quality metal.

EP Review: Louise Lemon - Devil

Sometimes, a certain phrase will catch my attention in a way that a song or video wouldn't be able to. So when I saw Louise Lemon's new EP greet me with the description of her as 'the death gospel queen', I liked the turn of phrase enough that I had to listen to the music. To be fair, I reviewed her previous album, so there was a good chance I would have anyway, but that description won me over, for sure. And when the rest of the press materials say these songs are intended to be more raw and organic, that sealed the deal. In this day and age of everything being so plastic and perfected, music that sounds natural is often the perfect antidote.

The title track starts things off with a smokey atmosphere and an evil jazzy piano line. It immediately sets a tone that's a perfect fit for Louise's voice, which goes from cooing in the verses to an occult echo in the chorus. There's a laid-back sense of cool to the hazy darkness Louise is singing from. It's a sound that wouldn't be as effective with a more shimmering production. Choosing to keep things raw highlights the nuances of the performance. It was a wise decision.

The 'death gospel' vibe continues on with "Forever Alone", where we can imagine Louise singing these songs in a jazz club in a horror movie, a soundtrack that sounds sweet for an undercurrent that is more sinister. The songs are kept simple, letting Louise's voice and melodies shine over the top of the restrained instrumentation. This is a rare occasion where the slight muddiness of the production helps, because the fog her voice is atop is the most fitting backdrop. These songs shine when they don't shine, that is to say.

The only issue is that these five songs make for even a short EP, with a couple not even hitting three minutes. For music like this working so heavily on atmosphere, I'm not sure this is a long enough release to properly wash that sound over us. I'm only just beginning to feel the right sensation when it's over. I know it's an EP, and it's not supposed to be the same kind of artistic statement as a full-length, but it still feels a bit lacking. Leaving me wanting more is certainly better than giving me more than I want, so I won't fault her too much.

I'll say this; Louise Lemon has found something with this EP. These songs, and this sound, are a wonderful example of what she's capable of. This is a big step forward for her, and something well worth hearing if 'death gospel' sounds like it's your cup of tea. Twin Temple has been doing 'satanic doo-wop', and this could be a throwback companion. I wouldn't mind more, but I like what we have here. Well done.

EP Review: Nina Bergman - Resurrection

When I reviewed the second album by Letters From The Fire, the praise for the good the album did was always couched in the reality that they were a very different band than on the debut album I love so much. I'm not sure I ever heard it the way I should have, since there was a cognitive dissonance between the two albums. The biggest bright spot of the change was Nina Bergman, who capably filled the role of spunky bad-ass that was needed. The singer/actress/model delivered on her part, and for whatever reason I didn't get around to talking about this solo EP of hers when it was released. Since we have some time, let's rectify that now.

"Still Alive" opens with a marching drum-beat and soft vocals that have the cadence of a nursery rhyme, which gives way to a chorus with the guitar tone of mid-00s post-grunge. The bridge has a stomping rhythm, and there's a feeling of industrial metal to the guitars, which turns around again to the melodic chorus and Nina's voice. I can't escape the feeling of a bit of a time warp, but it's interesting.

"In My Blood" is more an an anthem, with overlapping vocals featuring Nina belting out the title, while the guitars try to provide a propulsive backing. It's the most arena-sized song of the bunch. Myself, I'm drawn to "Follow Me", the more balladic song where Nina's experience as an actress shows through, as she's able to use her voice in different tones and colors, telling the story with her performance. By going from her sultry early notes to her powerful belting in the bridge, she gives the song plenty of dynamics. That makes for a more nuanced and developed song.

"Something's Coming" is partly goth rock, partly dance rock, and something rather different from the other tracks on this EP. The beat is the main driver of the song, and I can certainly imagine a music video with dramatic lighting accenting the lines of hard bodies. It might be trying to be a bit too sexy for someone like me, but it works for Nina. Then we finish things off with "Come Find Me", a softer track built on a drum loop and piano line, where Nina gets to sound her most vulnerable.

These five songs make for a solid release, and they show Nina's ability to mold herself into what the song requires. Already multi-talented, these songs show there's more ability there than we might have been able to see as of yet. "Resurrection" is a quick listen with some upside easily seen.

EP Review: Candlemass - The Pendulum

I want to try something a bit different today. When is a review not a review? In this case, when talking about the new Candlemass EP, I'm not really going to talk much about the music contained herein. I have other issues this brings to mind, and I find them much more interesting than commenting on yet another Candlemass release.

For starters, I seem to be the only person tangentially related to the metal world who is still angry at the band for soldiering on after they promised us they were done. "Psalms For The Dead" was promoted as their final album, and it pains me to see how many people have absolutely no problem with the band going back on their word. Candlemass is not the only band to do that, but no one ever seems to be held accountable for their words and actions anymore. I don't like being lied to, and that's exactly what Candlemass did. You don't make such a life-altering announcement without thinking it through, and you certainly don't come back without some kind of substantial mea culpa, but Candlemass has never had to do that. We have let them get away with lying to us, and going back on their lie. In fact, they might be more loved now than before they sullied their reputation.

The other issue with this release is what it is. These songs are from the cutting room floor, the scraps that didn't make it into last year's well-heralded (not by me) album. That's the problem. Candlemass is now trying to push out this EP, and promote it as something we have to listen to, while also telling us these songs weren't good enough to be on their last record. If they weren't as good as a record that didn't impress me all that much, why would I want to listen to them? Saying you considered these tracks second-rate isn't a strong selling point, even to people who did like what the record had to offer.

Plus, half the tracks here are worthless, minute-and-a-half interludes. Interludes wasting time... on an EP. Ugh.

Furthermore, I don't understand why the band would feel the need to say any of this. While I don't like being lied to, we also don't need to be made aware of every dirty detail. The band could have simply told us these were new songs, or songs they had never finished until now. Something, anything that would indicate to us they believed in these tracks as more than a stopgap. But that's not what they did. They instead chose to take the route of honesty here, and not with their very existence, which is a confusing existential mess. I'm not sure what to make of their selective honesty.

And then there's the matter of "Porcelain Skull", the one song that wouldn't fit into that last paragraph's suggestion. This song appeared on Avatarium's wonderful album last year, and is now being given to us (presumably) more as Leif Edling envisioned it. I consider this a problem as well. Firstly, if Leif thought the song was good enough, he shouldn't have given it to Avatarium. Releasing it himself, and as a single no less, seems like he's trying to one-up a band that no longer needs him. It feels petty. Secondly, his version isn't anywhere near as good. Candlemass' version is rough around the edges, unrefined, and lacking the soulful, sultry emotion Jennie-Ann Smith can bring. If anything, putting the song out on this EP only shows that Leif needs help to get the most out of his songs, which can't possibly be what he intended.

So yes, "The Pendulum" is an interesting release by Candlemass. Just not for any of the reasons they might want.

EP Review: Dilana - Animal

At it's best, art speaks the truth in ways that we can't achieve by talking alone. Whether it's an image you can't stop seeing when you close your eyes, or a melody that means you can't get the words out of your head, art allows us to absorb a message we might not be willing to sit down and listen to otherwise. It's true that a lot of music doesn't try to say anything beyond platitudes, but we're talking about art here. Not every musician is an artist, not in the way that makes their music important, not in the way that gives their music weight. There is fluffy pop music, and there is art filled with earworms.

Dilana is an artist. When we last heard from her, on "Beautiful Monster", she was writing painfully honest songs about her life that spoke to the core of the human experience. At least for me, it was deeply important music.

With the new songs on this EP, Dilana is taking on the world. Several of these songs are issue-oriented, trying to shine a light on stories we don't necessarily want to hear, but need to. "Kids Must Play" addresses the state of the world, and the impact it is having on the next generations. They can see and feel society crumbling around them, and the fear that brings up robs them of their childhood. Mass shooting drills are more terrifying than we know, and current gun policies are doing nothing to stop the flow of violence that has numbed us to high body counts. The heavy guitar groove and the siren effects echo the adrenaline flowing as calls for help cry out the next inevitable time a shooting happens. "Who's going to save the kids?" Dilana asks repeatedly. There is no answer, but we can't find one without asking the question.

"Animal" takes on the exploitation of nature, with dramatic strings and Dilana's booming voice taking the world's leaders to task for not recognizing and protecting the beauty of our animal brethren. It is a plea to our humanity to do better, to put aside how easy cruelty can be in favor of a more compassionate reality. "Da Big Man" uses its stomping marching beat to throw us into a world of false patriotism where we listen to and accept anything that is said by the people who are supposedly on 'our side'. Loyalty has become blind, truth has become multiple choice, and power has become everything.

These songs stem from the autobiographical update that comes in the form of "Oh Jericho", a song about life, longing, and how no love can measure up to motherhood. It's that fierce love that forces Dilana to confront the world's problems, because she can't bear to leave them to fester until it's her child's responsibility to fix them. Her focus is singular, and wanting a better future includes changing her music to do what she can to make it happen. So instead of another album of bleeding her soul, we get this more eclectic collection trying to show the scars on society. That's why it makes sense for these songs to throw everything from slide guitar to world beats, from crooning vocals to rapping, into the mix. Speaking to everyone means speaking every language (metaphorically). Dilana tries to do that here, just like she did with her single "Behind Closed Doors" before, and it's nice to have a reminder that music can make a difference on more than a personal level.

And as a treat, we also get a cover of Audioslave's "Like A Stone", which can be interpreted two ways. We can take it on face value as a tribute to a great song, being sung by one of the few people with the power and tone to pull it off. It's a rousing enough success that way, but I think there's something more to it. Fitting the theme of this EP, we can also take it as a reminder that mental health struggles are real, they are severe, and far too many of us are impacted by the ripple-effects of suicide. It's a hard song to listen to, but even more beautiful, when you think about it that way. And that vocal.... dear God.

Yes, this is a very different Dilana than we might be used to, but as time has progressed, she has grown. She is now not just speaking about herself and to each one of us individually, but about everyone and to all of us. As much as sharing your soul is brave, so too is speaking up for what you believe is right.