Tag Archives: Geoff Wilbur

Album Review: Viruette – Your Lacuna

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Viruette band photo

photo by Jimmy Del Ponte; photo courtesy of Viruette

Album Review of Viruette: Your Lacuna

Viruette is a Boston-based indie rock outfit with a very cool, uniquely original sound. I dug into Viruette’s off-kilter delivery last year in my review of the band’s EP Waylaid in Aspic. Well, Your Lacuna is thirteen tracks of offbeat alt-rock uniqueness, allowing Viruette to explore more song formats, vocal patterns, and stylistic influences. It’s a feast for the ears. And hellish to try to describe. (Yeah, um, thanks for that, guys.) Seriously, though, if anyone ever approaches this sound, now I’ll be able to say “well, they sound kind of like Viruette.” So who does Viruette sound like? A little bit of a lot of people but not a lot of anyone. Tuneful, lyric-driven, progressive/experimental alt rock, I suppose. I’m really just trying to avoid repeating what I wrote last year, but what the heck, Viruette’s music is, as I said in my Waylaid in Aspic review, “long form, loosely structured, tunefully-sung musical poetry with an edge.”

Viruette – Your Lacuna album cover

image courtesy of Viruette

Viruette is Harry Bee (vocals/guitar), George Heffernan (bass), and Andrew Ring (drums), with Harry the songwriter for most of the tracks on Your Lacuna, with George also writing a couple songs.

Like a baseball team giving their starters a night off, Viruette uses an opener, the 38-second, mildly floating table-setter “I Bloodied My Fingers,” to kick things off on Your Lacuna.

“You Are the Belletrist” brings on the first real dissonance and frantic vocal delivery, very clearly diving into Viruette’s trademark style, a bit frantic with tempo changes, unique musical interludes, and a raw, frenetic energy.

The first single from this album, “Big Fat Nothing,” one of several favorites in this collection, comes next, featuring one of my favorite lyrical runs, “I vomited twice at Euston and once in bed.” The song’s combination of topics and very-on-brand cadence-driven vocals in which thoughts, lyrical phrases, and vocal phrases are matched up at best randomly… well, that’s what you’ll come to expect and enjoy from Viruette. It makes the band unique and fun to listen to.

“Detach” combines Viruette’s style with a jazz lounge vibe. The press release says bossa nova, which is a great description, but one that escaped me until I read the promo material. I’m guessing this song has the most memorable lyric on Your Lacuna; namely, “You are the best ex-Soviet lesbian I ever met.” Top that!

Viruette band photo

photo by Jimmy Del Ponte; photo courtesy of Viruette

“Something for the Dread II” takes the mood down a bit, but “Faceblind” brings the energy right back up with a really fun mish-mash of lyrics that… well, I’m not gonna turn this review into a collection of my favorite lyrics. Just listen for the lyrics when you hear these songs.

Viruette continues through the rest of the record by altering tempos and moods, with experimental music arrangements and well-placed use of dissonance supporting its creative, lyric-heavy vocal delivery.

Several more favorites populate the back half of the record. For example, there’s the floaty, not quite dreamy “Capture,” which might have the best shot at crossover success with ’80s/’90s mainstream alt-rock fans.

The album’s second single, “Lamenter,” is airier and more jazzy than most songs on the disc but features cool subject matter and a word I actually had to look up. “Threnody.” So much cooler than “lament.” Plus it sort of rhymes with “remedies,” which made it the perfect choice for this song. (If “threnody” starts finding its way into my writing, now, Viruette, it’ll be all your fault!)

“Maimed” is another standout song, probably the one song on the record I sway along with. And I’m now singing along with the lyric “in a recursive way.” Yes, in falsetto, obviously. But the more obvious singalong lyric is “I’m getting maimed again.” Though not entirely standard, the song structure of “Maimed” may be the most straightforward on the record. I know I love Viruette’s uniqueness, but here they prove they could clearly excel at more standard alt-rock fare. (Keep in mind, this would be the least standard song on most of those bands’ records, so “normal” is a relative term.)

“Anhedonia” and “Wrecked Car” close the record, the final two of the thirteen unique songs, with Viruette’s original sound not quite like any other you’ve heard, yet not so far outside musical convention to make it truly alien. In fact, if you’re going to become a Viruette fan, it’s probably because you dig the band’s one-of-a-kind overall sound. It’s interesting from the start, then it grows on you. Plus, beyond just being a cool recorded listen, Viruette’s style suggests an exceptionally fun live show, particularly at a seedier-than-you-might-think college rock venue. Viruette’s Instagram account mentions a couple opportunities to see the band live in the near future. Check ’em out!

Album Review: Cryin’ Out Loud – Play Loud & Smoke Often

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Cryin' Out Loud – Play Loud & Smoke Often

image courtesy of Frank Roszak Promotions

Album Review of Cryin’ Out Loud: Play Loud & Smoke Often

This is a good ol’ rowdy, smoky barroom-era rockin’ blues (and bluesy rock) record. On Play Loud & Smoke Often, Cryin’ Out Loud, comprised of Ben Chute (guitar), Brandon Stallard (vocals, guitar), and Jim Fratini (bass, background vocals), welcomes guest appearances from Erik Lawrence (Little Feat), the late, great Paul Nelson (The Paul Nelson Band), and Brooks Milgate (Ana Popovic’s band).

The first three songs kicks things off with some raucous, playful, rockin’ blues energy, letting the listener know this band knows how to create (and enjoy) a good time. Right off the bat, vocalist/songwriter Stallard leaves no doubt about the band’s proclivity with the raucous, fun, rockin’ blues number “I Smoke Cigars and I Play the Blues.” The energy level remains high with “I’m Gonna Drink My Way to Memphis,” at least once the song amps up and gets groovin’. And a swingin’ opening provides a new nuance to the bands style while maintaining the fun energy, as “You Can Dance to the Blues” kicks into groove. Play Loud & Smoke Often, a great record throughout, is front-loaded with electric energy.

Finally, the band slows things down with the methodically thumpin’, slow blues wailer “If You’re Gonna Leave.” Personally, I like the lyric, “When you leave, honey, be sure and take your momma, too.” That’s some downhome blues.

The rest of the disc remains solid and varies a bit more. I won’t name every song to rest of the way; I’ll focus on a few personal favorites. “Unconditionally,” for example, is soft and heartfelt – the only song on this record that doesn’t seem to be at all blues, but rather more like a Southern folk number. However, you can see why it’s on the disc. It’s a sweet song about daddy missing his little girl that’ll put a lump in your throat. “Tell Her” is a blues-based rocker featuring very Bob Seger-styled vocals, with maybe a hint of The Boss, and sporting a pace of delivery that maybe a little Mellencampy. “Moonshine Love” is another cool departure, a more swingin’, ’50s rock-influenced blues number with an almost Joe Cocker-ish edge to the vocals.

Finally, “Time Away From You” closes things with a fun energy, opening with the nifty line “I need a drink. I need a smoke. I need to run around with a girl I don’t know. I need to laugh. I need to sing. I need time away from you, if you know what I mean.” Its moderately-fast tempo and bluesy lyrical snark are a great way to end this entertaining record.

Looking Ahead

The “Events” tab of Cryin’ Out Loud’s Facebook page lists numerous shows around Maine throughout the rest of the year. Mainers, this is good news for you. For the rest of us, especially here in New England, it might be worth a trip. I mean, a visit to Maine is always a great idea, but it might be worth wrapping the trip around a Cryin’ Out Loud gig.

Single Review: D.C. Anderson – “No Kings Live Here”

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D.C. Anderson – "No Kings Live Here" cover art

image courtesy of D.C. Anderson

Single Review of D.C. Anderson: “No Kings Live Here”

This timely single, D.C. Anderson‘s “No Kings Live Here,” was released on April 4, the day before the “Hands Off” protests occurred in 1,000 cities across the U.S. It would have made an ideal song for the events, if those in attendance knew about it. But it can serve as a reminder and a rallying cry for those who attended.

I’ve seen social media posts, like this one, asking where all the protest songs are. Well, this is one. D.C. notes that “No Kings Live Here” was inspired by the t-shirt U.S. Representative Maxwell Alejandro Frost wore at this year’s U.S. State of the Union address.

On this song, Gantt Kushner mans the guitar, while D.C. sings. D.C.’s delivery, as is his style, is very theatrical. You’d almost wonder if, in addition to being a singer-songwriter, maybe he’s also a highly-regarded stage and screen actor or something. “No Kings Live Here” is delivered enthusiastically, in such a way that it seems as if D.C. is leading a singalong. And that, my friends, is what makes it a good protest song.

Lyrically, the song is a little word-dense, and its storytelling style – really more of a combination of teaching and fact-proclaiming in addition to storytelling – is along the lines of Schoolhouse Rock. Remember the one about how a bill becomes a law? OK, maybe it doesn’t sound like that. But “No Kings Live Here” would still make an entertainingly educational soundtrack for a Schoolhouse Rock cartoon.

Lyrics in the song include “The man who would be king has put democracy on pause. The man who would be king thinks he’s above our U.S. laws” and various versions of the chorus such as “No kings live here. No tyranny, no fear. No kings live here. The Constitution’s clear.” And “No kings live here. We do not serve him whim. No kings live here. We will not bow to him!”

But hey, check it out for yourself. You can watch the lyric video here on Vimeo if you want to learn the song. It’s also handy if you want to sing along while listening. If you’ve been searching for a modern-day protest song, this might just be what you’re looking for.

Album Review: Dirtbag Republic – Bad Decisions

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Dirtbag Republic

photo courtesy of Dirtbag Republic

Album Review of Dirtbag Republic: Bad Decisions

On the heels of the instant classic Tear Down Your Idols, Dirtbag Republic returns with the band’s fourth studio album, Bad Decisions, a new collection of raw, rowdy, unrepentant rock ‘n roll songs pandering to fans of cleverly-phrased, energetic, filthy-catchy anthems. Recalling the early-eighties Sunset Strip bands whose gritty demos belied their mammoth hooks and blistering axework, Dirtbag Republic is energetically raucous, and this album is like a slow-moving virus. Slowly, as your battered brain begins to adept to the album’s fast pace and the music sheen of white noise, it discovers an album of soon-to-be favorites. If I had to pick a band to compare them to, Hanoi Rocks would come closest, but these guys are Dirtbag originals.

The album kicks off the a jangly dirty-glam rock guitar riff before Sandy Hazard’s inimitable voice – a tuneful, rough-hewn, does-he-gargle-razor-blades?-tinged classic rock wail – takes over, and by the end of the song you’re singing along with “I don’t care about nothin’.” And, like most of the disc, the music elicits the sound and feel of the sort of dark, sticky live music clubs that smell like flop sweat and desperation, places where all the best nights of your young life happened.

Dirtbag Republic – Bad Decisions album cover

image courtesy of Dirtbag Republic

One of the coolest things about these guys – and I’ve gotta go here in part because there are only so many ways to describe fun, raucous, guitar-driven rock songs – are the songs’ lyrics. Someone here is a songwriting savant. Sure, some song titles give it away – for example, you know you’ll soon be singing along with the title lyrics of turn-it-to-ten, energetic “Bipolar Rollercoaster” – and others sound interesting (“Streetlight Parasite”) while the memorable lyrics are thematically title-adjacent, but sometimes the coolest lyrics – and the ideal sonic and vocal deliveries – come in less obvious locations.

“I Fought Them All,” for example, amid its fast-driving tempo and relatively blistering, attention-grabbing, late-song axework, and what you think is going to be the singalong title lyric, “I fought them all, I fought them all,” sneaks in surprisingly clever elocutive riffs like “Beatdown a-comin’, don’t stop a-runnin’. It’s up to you, my friend. Bitchslap a-comin’ don’t stop a-runnin'” and the Mr. T-esque “you think you’re better than me, fool.” Yeah, I know. It’s not just the lyrics; it’s also the delivery.

And on dive-bar anthem “Bad Decisions,” the band paints a vivid picture with the lyrics “I’m warning you lady, I know you’re on a mission. Don’t come any closer, you smell like bad decisions” supported by the appropriate steady, thumping drum beat, jangly guitar riffs, and grizzly vocal tone. Again, the well-oiled, favorite dive-bar sound makes sense… and, in this case, scents. Well, OK, I guess mabye that one is title-adjacent.

Dirtbag Republic

photo courtesy of Dirtbag Republic

But I think my favorite lyric, certainly of the last year and quite possibly of the decade, comes in “Hard in the City.” Compared with the other songs here, there’s a bluesier, blues-rock edge right from the start. But the sneakiest favorite lyric is hiding in plain sight in the chorus: “Raining hard down in the city, washing away the piss and despair…” Yes, that’s right. Now try not thinking of that lyric whenever you’re in a city in the rain. Makes me think of Paris. Fondly.

Of course, it’s not all about the lyrics. Even without the clever wordsmithing, Bad Decisions would be a fun favorite record. And it’s not all an adrenaline ride. Dirtbag Republic can take it down a notch, too, though they rarely do. However, this disc contains one of those classic open-space songs – is that organ in there? – “Here I Am,” replete with a Billy Joel-ish late-song keys solo and some lyrical runs that remind me a little of Blog favorite rockabilly-ish alt-country singer Adam Lee.

The album’s penultimate track, “Cocaine Heart,” digs a little deeper and channels a little more ’70s classic rock energy. And it’s followed by energetic disc-ender, “Light Your Fuse,” with a tempo that’ll get your blood pumping.

So yeah, Bad Decisions is yet another instant-classic record from Dirtbag Republic. The production and delivery are a little rawer than I typically favor, which causes my listening habits to recall the first time I heard Dirtbag Republic. The music grows on me slowly, with the sneaky hooks slowly digging in, and by a few listens, I can’t imagine these catchy songs – so many of them new favorites at this point – being performed any other way. Give these guys a listen. You’ll probably love the whole album like I do. But for sure you’ll at least find a couple new favorite tunes.

Single Review: BJ Sam – “Marry Me”

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BJ Sam

photo courtesy of BJ Sam

Single Review of BJ Sam: “Marry Me”

On his single “Marry Me,” officially a 2024 release, Nigerian-born recording artist BJ Sam is accompanied by Greek guitarist Nikolas Gialtrinos, German-born saxophonist Biggi Vinkeloe, Norwegian drummer Helge Hanssen, and Swedish musicians Magnus Rosen and Mikael Erlandsson. Truly an international ensemble. The music video for the song, which you’ll find here on YouTube, is mostly beach resort themed, though cameos by some of the performing musicians are clearly filmed in remote locations. It’s all nicely blended.

BJ Sam – "Marry Me" cover art

image courtesy of BJ Sam

Musically, “Marry Me” features a rhythmic beat and frequently-repeated main lyric that offer a rather hypnotic vibe. I see the song self-labeled in at least one spot as “afrobeat,” and that seems appropriate. My first thought when hearing “Marry Me” was that it has an island vibe, but the style is distinctly different; I admit my stylistic perception may be influenced by the beach that appears in the music video. The most important question is whether or not you’ll enjoy the song, and I bet you will; this single is, simply put, a fun slower-tempo romp. BJ Sam’s vocals are varied with a smooth, comfortable tone that’s easy to listen to while still having enough of an edge to slice through the music bed.

If you like pleasant, rhythmic music, you’ll dig “Marry Me.” And while I’ve seen it referenced as a wedding song, it seems more like a wedding proposal song; however, with its fun beat, it will certainly also be an enjoyable wedding reception song. I’m glad this pleasant romp found its way into my inbox, even though I’m long past needing a song for either a proposal or a wedding.

Album Review: BlitZ – Kicking Up a Storm

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BlitZ band promo photo

photo courtesy of Head First Entertainment

Album Review: BlitZ – Kicking Up a Storm (Shock Records/Vanity Music Group)

BlitZ has a timeless hard-rockin’ style all its own, but it’s clearly rooted in a classic ’80s-style hard rock (“classic melodic metal”) sound. Comprised of Stuart Corden (bass, lead vocals), Kevin Simpson (guitars, backing vocals), and Mat Davis (drums, backing vocals), BlitZ has been rocking the world from its Nottingham, UK base since 2015, first earning recognition for its self-titled debut EP in 2016. After several more releases, garnering a fair amount of attention, particularly in the UK, BlitZ released Kicking Up a Storm in 2024.

BlitZ – Kicking Up a Storm album cover

image courtesy of Head First Entertainment

From the latest disc, Kicking Up a Storm, the explosively, energetically melodic “C.O.G.” (Crawling on Glass) is the song that’s stuck in my head most often from this record, but it’s also the cleanest, most straightforward rock track on the record. Similarly energetic, “Give Me Tonight” adds just a hint more grittiness and slightly more sidewinding guitarwork. If I were to make it a trio of the most mainstream melodic hard rock songs on Kicking Up a Storm, I’d include “I’ll Find You in Yesterday,” an old-school classic hard rock ballad – every melodic hard rock album’s gotta have one – that reminds me of Skid Row’s ballads.

BlitZ band promo photo

photo courtesy of Head First Entertainment

You like things a little heavier? Well, BlitZ has you covered there, too. In fact, that’s how the record starts. “Break Neck” is an energetic classic metal rocker with a heavy rhythm driving the song forward and vocals that seem on the verge of becoming ragged several times, though they don’t as Corden’s vox is up to the task. That’s followed by the really heavy-thumping “Shell Shock,” which firmly establishes the band’s metal street cred before they start to mix in a little more melodic-focused finesse on some of the following tracks.

Several other songs stand out, too, on this ten-track release. In the band’s notes about Kicking Up a Storm, BlitZ mentions AC/DC as in influence in “Keep Moving On” and Freddie Mercury/Queen as an inspiration for “Freddie Said.” Yeah, you’ll hear those influences, though there’s a really un-AC/DC-like, very cool, creative funky midsection in “Keep Moving On”; “Freddie Said,” a uniquely theatrical hard-rockin’ must-hear, remains more Queen-reminiscent throughout.

BlitZ band promo photo

photo courtesy of Head First Entertainment

“We Are the Power” is a uniquely BlitZ song I can’t entirely compare to other bands, with a little funky hard rock vibe mixing with a straight-ahead rock rhythm and the audience participation-inducing shout-along lyrics “we are the power!”

In fact, the whole record is a great listen, serving up a nice variety of classic hard-rock/classic metal songs. It ends with the title track, “Kicking Up a Storm,” the track with the funkiest rhythm on the album, with a few abrupt direction-shifts and tempo changes to keep you guessing. It’s a cool song, and by closing the record with it, BlitZ jolts you into pressing play and re-listening, if you’re so inclined.

If you’re a classic hard rock fan, this record is a must-hear. It’s influenced by a lot of your favorite bands, but BlitZ combines those influences into a sound that’s all its own.

More Recently

Kicking Up a Storm remains BlitZ’s most recent original recording, but in November they released a cool cover of Billy Idol’s “White Wedding.”

Album Review: A Doll’s House – Annum

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A Doll's House

photo courtesy of Thermal Entertainment

Album Review of A Doll’s House: Annum

A Doll’s House has an interesting backstory. To summarize the “About” page on the band’s website, Dav Petrunich (guitar), Seth Rafkin (bass), and Tony DeFranco (drums) were in a band together in the late ’80s, playing gigs at the big LA clubs – The Whiskey, The Roxy, The Troubadour, etc. After parting ways for about 30 years, they reassembled, joined by LA vocalist David Santos, to release Annum, an album produced by Brian Wheat (who rock fans may know as Tesla’s bass player).

Something about A Doll’s House’s sound reminds me of The Moody Blues, America, Bread, Cream and similar seventies-style rockin’-yet-laid-back classic rock bands. Interestingly, from perusing the band’s bio, none of these were mentioned as early influences. Regardless, there’s a cool, smooth rock vibe permeating Annum, an album that would fit well into AOR playlists of almost any era.

A Doll's House – Annum album cover

image courtesy of Thermal Entertainment

“And Time” kicks things off with an opening, smooth flow, with a hint of slow progressive styling and modest-tempo guitar noodling driving the song’s sound.

“Hey Wait,” the first single, somehow moves steadily forward despite a a floating hauntiness. If playlist companioins were a wine pairing, I’d match this with Buffalo Springfield’s “For What It’s Worth.” “Hey Wait” is slower, smoother, and more richly produced – and I may really just be vibing on the “hey,” as in the latter’s “stop, hey, what’s that sound” – but it still strikes me as a solid two-fer.

“Woven” sneaks in some Beatles-esque soaring vocal runs. And “Change Your Mind” seems like an unpsychedelized (yeah, I know, not a word) version of a slow-tempoed, classic psychedelic rocker.

“Over Easy” could be a semi-acoustic ballad from a top ’80s/’90s band, with soft opening lyrics “You wish it wasn’t over, but it looks like it is. Try to straighten up your shoulders from that kick in the ribs.” Of course, the musical and vocal power kicks in whenever the song exits its verses, as in the immediately following lyrics, “And I can tell you, ‘Honey, you’re gonna be alright.” This was a great, AOR-friendly choice for the album’s second single.

A Doll's House

photo courtesy of Thermal Entertainment

By now, at Annum‘s halfway point, A Doll’s House has established itself as a diverse, soft-tempo classic rock band that’s an easy, pleasant listen. If the “B side” doesn’t disappoint, this’ll be a good beginning-to-end listen whenever you want the mellower side of classic guitar rock on your turntable. Spoiler alert: The “B side” doesn’t disappoint.

“Woodwork” has almost a folk rock-influenced sound, simply smooth and flowing. “Steps to Summer,” next, opens with an almost country – maybe more Southern rock – guitar, with clever lyrics tying Summer, the woman, to summer, the season. In addition, the arrangement on “Steps to Summer” is unique from the rest of the disc, a cool diversion.

“Witch’s Tree” returns to mellow psychedelic-influenced rock, though it morphs into a guitar-screamer late in the song, channeling seventies classic rock stylings. I almost even hear hints of Boston in the song’s blistering axework.

As a Doll’s House nears the end of the record, the band really slows things down with the uber-mellow “Chimney” before flowing into the album’s closing track, the almost-as-mellow “Wisteria (Bloom).” Yet there’s something catchy about the song’s movements in “Wisteria,” from the flowing lead vocals to the richly harmonious “ooo-ooh”s to the soft, slowly-paced, perfectly suited mid-song guitar solo.

In total, Annum is a sneaky-good record, one I might have easily overlooked without a half-dozen listens. Fortunately, I gave the record its necessary spins. If this is your style of music, I’d recommend you give Annum a sufficient chance to win you over, too.

Single Reviews: Simon Scardanelli – “Young & Curious” and “Here We Go Again”

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Simon Scardanelli strumming an acoustic guitar

photo courtesy of Simon Scardanelli

Single Reviews of Simon Scardanelli – “Young & Curious” and “Here We Go Again”

Simon Scardanelli released these two singles recently, not too far apart chronologically, but a bit moreso stylistically. They’re the fourth and fifth singles released so far, if I’ve counted correctly, from the upcoming album Underneath the Singing Tree. Given the diversity before just these two songs, I suspect we can look forward to a very varied collection.

Simon Scardanelli – "Young & Curious" cover art

image courtesy of Simon Scardanelli

“Young & Curious” is actually an exceptionally stereotypical Simon Scardanelli tune, its lead-in, tempo, and mood very much in line with many of Simon’s other best songs, so it’s sure to become a favorite among fans (like me). It treads along smoothly; Simon’s vocals are deep and serious, though not too heavy, occasionally hitting a well-placed high note. It’s a song about past connections, gone but not necessarily lost, at least not when viewed through the lens of memories. Also, a nifty horn part kicks things off at the very beginning and wafts in and out throughout, more reminiscent than haunting. I’m never certain enough to name a specific horn when I hear it, except this time. In the song notes, Simon says the song begins with “a trumpet lost in the ’70s.” So (I say confidently), it’s a trumpet; much like the emotions explored in the song, lost but not forgotten.

Simon Scardanelli – "Here We Go Again" cover art

image courtesy of Simon Scardanelli

“Here We Go Again” opens quite differently, with a very light strum. The song is a richly (though sparsely) instrumented musing about poor decisions made (repeatedly) when the lights are low. Presumably late at night, but I suppose not necessarily. The song clearly isn’t a complaint. More, rather, a bemused acceptance – “here we go again.”

So, I can guarantee there’ll be two new favorite songs on the upcoming album – these two – for those who dig Simon’s vibe. And that’s not a negative statement against the first three singles. I specifically only listened to these most recent two singles to be able to churn out my review more quickly… and to leave more “new discoveries” for myself when the whole album lands in my playlist. You, of course, don’t have to wait. You can find all of Simon’s releases on his bandcamp page. There’s even a YouTube video for the title track of the upcoming album. But aside from the little snippet I heard while grabbing that link for you, I’m gonna wait and be surprised when the full album hits my inbox.

Last-Minute, April 6th Addendum

A little new news just as I’m about to post this review. Per this Facebook video released just a few hours ago, the full-length album has an official release date of June 9th, but it is available starting today exclusively at Simon’s website or when attending one of his concerts. I look forward to hearing and reviewing the full-length disc.

Single Review: Essenger – “Silence” (feat. The Midnight)

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Essenger

photo courtesy of BJF Media

Single Review of Essenger: “Silence” feat. The Midnight (FiXT)

EDM/rock fusion artist Essenger tackles synthwave, with the help of synthwave duo The Midnight (songwriter Tyler Lyle and producer Tim McEwan), on the 2024 single “Silence.”

Essenger – "Silence" (feat. The Midnight) cover photo

image courtesy of BJF Media

“Silence” is a pop-friendly, engaging, synth-driven track. The soundbed is lush with a rhythmic beat, supporting vocals that soar when the instrumentation is sparse while hewing to the rhythm without losing their emotion when aligning with the beat. Indeed, whenever the music slows down, the reengagement of the rhythm is like an energetic catharsis. In all, “Silence” is a fun listening experience.

Says Essenger of the single, “‘Silence’ was an unfinished track off After Dark that Tim and Tyler from The Midnight helped me finish and release as a bonus track for the album’s 4 year anniversary.” One listen, and you’ll be glad the collaboration happened.

More Recently

You’ll find a few slightly more recent releases on Essenger’s bandcamp page – a couple remixes of “Sanctum Eternal,” a collaboration with Skybreak entitled “Mothman,” and the nifty, energetic Spanish-language single “Aniquilación.”

Album Review: Lori Triplett – When the Morning Comes

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Lori Triplett standing in a clearing in the woods with the sun shining through the trees behind her

photo by Taylor Christian Jones; photo courtesy of Skye Media

Album Review: Lori Triplett – When the Morning Comes

When the Morning Comes is a collection of well-written, lyrically interesting, catchy songs at the country-folk singer-songwriter end of the Americana genre. Lori Triplett‘s songwriting is compelling, and her delivery is envelopingly engaging on so many of this album’s tracks that you’ve gotta give this a listen.

While there’s a lot of introspection and profound thinking to unpack in this release, there’s also plenty of hope and whimsy. Triplett’s voice is sweet but powerful and emotionally adept at navigating such a heavy yet pleasant collection of songs.

Lori Triplett – When the Morning Comes album cover

image courtesy of Skye Media

Album opener “The Wishing Star” kicks things off with whimsy, with clever lyrics from the point of view of your favorite star light, star bright.

“The Good in Us,” next, is more of a weighty-seeming, shuffling-along song with a tone that’s consistently slightly foreboding and a delivery that keeps you a little off-balance while still being pleasant and cautiously hopeful, as voiced by the final phrase of the chorus, “We gotta find it – the good in us.” It’s songs like this, with its not-so-straightforward style and emotion, that help make Triplett such an intriguing artist, ensuring When the Morning Comes remains an interesting listen, even after it appears nearly daily on your – well, let’s say your (my) “review queue” – for weeks and months. Or your “playlist,” if you prefer.

“Sanctuary” is a darkly soaring, introspective number with a full sound bed. It’s followed by the more sparsely instrumented “All I’m Letting Go Of,” a song that asks questions you never thought to ask, with a chorus that starts with “I want to know where it goes when you let it go. Does it just take a lap and come right back around?” and leads to the payoff “I want to know where all I’m letting go of goes.” It’s a mostly slow song with a occasional advancement of the tempo occasionally, briefly, when appropriate. The delivery is sweet and pleasant with tiny instrumental flourishes adding to the lyrics’ whimsy while sustaining the song as a serious repeated listen.

Lori Triplett smiling in promotional photo

photo by Taylor Christian Jones; photo courtesy of Skye Media

One of the songs I’ve been almost surprised to find pop repeatedly into my head is the smooth, vacation-flavored (a la Buffett, slightly – perhaps Buffett-adjacent) flowing number, “Mexico.” The linguist in me wishes Lori didn’t pronounce the “s” at the end of “anyway” during the line “thank you anyway, Mexico,” but that’s just the insidious language nitpicker inside of me. It doesn’t diminish my love for this soaring performance.

Lori begins the back half of the album with the somewhat foreboding instrumental opening of “Hollow White Oak,” replete with a haunting “oo-oo-oooh” lyric. As a lyricist, Lori turns some nifty phrases in this song, too, like “I’m headed out to sit beneath her, my wooden savior, secret keeper.” The sweet cadence of the phrase. I mean, this song is a rich, haunting sonic wonder, but as a writer, I keep noticing nifty couplets. Check it out for yourself.

Lori Triplett seated on a chair in a grassy field

photo by Wonder Film Co.; photo courtesy of Skye Media

“Things You Said to Me” is a breezy, steadfast song about when it’s better to let go than hold on, and though that phrase is not particularly different from a particular line in the song, mostly the lyrics coolly make that point without making it out straight. As in, it’s an interesting song lyrically, and the light strumming and come-closer, I’m-saying-something-profound, sometimes-nearly-a-whisper delivery is a perfect vehicle for the message.

One song that grew on me over many listens and is now one of my favorites in the light, cheerful, relentlessly hopeful “Light From Another Room.” Sure, times are hard, “but there’s a light on, there’s a light on somewhere… I see it cutting through the darkness of my deepest blues. There’s a light from another room.” At times, if you’re blue, that light could be this song. So put it on a playlist somewhere you can find it easily when you need it. And yes, sometimes it’s just “a soul-sucking routine” that’s responsible for the blues, but that doesn’t make it any less difficult to find the light sometime. Thanks, Lori.

“Night Rider,” the album’s penultimate track, is deep and dark, with a rich, atmospheric keybed and a vocal delivery that makes the entire song sound… well, deep and dark.

Lori closes the disc with melancholy, the sweet “Here for a Minute” that urges, gently, to live and share love because “we’re only here for a minute.” The song is an easy favorite, a pleasant listen and, depending on your mood at the time, potentially deeply moving. And, with that, the album is over.

Somehow, this album almost slipped past me, but when I had a chance to give it a good listen, I discovered When the Morning Comes really is something special. It’s soft and pleasant but complex, varied, and an easy repeated listen that soon becomes a favorite record. I’m so very glad it found its way into my consciousness.