Tag Archives: Single Review

Single Review: Pylot – “Faded Light” (feat. Ezra Hyte)

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image courtesy of BJF Media

Single Review of Pylot: “Faded Light” (feat. Ezra Hyte) (FiXT)

With “Faded Light,” Pylot delivers a haunting synthwave-based, emotionally powerful, radio-friendly pop song whose pattern-based, light-touch, scattershot synth and rhythmic drumbeat combine in a musical backdrop ideally suited to Ezra Hyte‘s emotional vocals. On this recording, Hyte’s vox remind me of Dean Lewis, while Pylot’s music bed is sparse enough to let the vocals drive the melody.

cover art: Pylot – "Faded Light" (feat. Ezra Hyte)

image courtesy of BJF Media

The tempo of “Faded Light” is slow, but the rhythm bounces like a boxer dancing around the ring, sizing up the melody, as Hyte’s vocals reside in the echoey, soft-touch, heart-wrenching yet pleasantly tuneful end of the Lewis-esque sincere power-pop vocal range.

In the end, Pylot’s music and Hyte’s voice combine on “Faded Light” to deliver a sad song that’ll appeal to a broad range of music fans, from those whose heartbreak songs are usually of the classic rock variety to listeners with more modern tastes. Simply put, this is a very cool song music fans really ought to be aware of; if you haven’t heard it yet, do yourself a favor and give it a spin.

Single Reviews: Copper Flats – “Should’ve Been Doin’,” “Household Name,” and “Airplanes and Telephones”

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photo by Misty C Photos; photo courtesy of Skye Media

Single Reviews of Copper Flats: “Should’ve Been Doin’,” “Household Name,” and “Airplanes and Telephones”

Copper Flats is the trio of Brandon Kelly (lead vocals), Jeremy Castaldo (keys/acoustic guitar/electric guitar/background vocals), and Drew Smith (acoustic guitar/background vocals). And “Should’ve Been Doin’,” “Household Name,” and “Airplanes and Telephones” are the band’s first trio of song releases. Three singles, three different nuances on a bigtime, bowl-you-over, massive country music sound. Copper Flats explodes out of the blocks with these catchy, radio-ready arena-pleasers. Simply put, if you like modern guitar-driven country music, you’ll dig Copper Flats.

photo by Misty C Photos; photo courtesy of Skye Media

One of my personal complaints about this type of music is that the songs can be formulaic and unimaginative. Copper Flats does tug at many of the stereotypical heartstrings, as their songs delve heavily into the topics of home, family, and nostalgia, but they don’t get lazy with their lyrics or their instrumentation. That’s the difference between pretender and contender in the world of big, booming, rockin’ country music. It’s also a necessity to get a review with my byline here at the blog. (“Just like everyone else” doesn’t cut it with me.)

image courtesy of Skye Media

The big, swirling guitar that kicks off “Should’ve Been Doin'” reminds me of something Lonestar might do. (You may have noticed over the years that if I reference Lonestar, that’s a big compliment.) It’s a simple, homespun life message packaged in a catchy veneer, a pop-friendly ode to the simple life with a message that appeals broadly. And they namedrop George Strait in the lyrics – you can’t go wrong with that! Plus, it sports a hook that’ll have you remembering it for a while.

image courtesy of Skye Media

Until, of course, you hear “Household Name.” Putting a fun spin on the term, celebrating small-town family life, the energetic verses lead to a memorably hooky payoff in the title lyric. I’m also a bit partial to the late-song musical breakdown that’ll give you chills if you’re in just the right mood. In the promo material, Castaldo captures the song’s essence: “We don’t need fortune and fame, but thank God every day for the lives he’s blessed us with and the opportunities to lead our families and households well.” That’s about as cool a message as there is. You oughta give this song a listen.

image courtesy of Skye Media

The third Copper Flats single, though, topped these first two in catchiness, and believe me when I say that’s not easy. In fact, I’d rather listen to these three songs in order than just one on repeat. Yet “Airplanes and Telephones” is probably the best of the three. It’s a wistful heartbreak song penned by country hit-writers Andrew Dorff, Jonathan Singleton, and Zach Crowell, that sports a big country sound, surging with power, peaking into the title lyric, then releasing into another thoughtful lyric, all wrapped up in a tuneful package with some kickass electric axework dancing through it to help it rock.

Based on these three songs, I have no doubt Copper Flats would be a fun live show and is capable of reliably releasing singles and albums that’ll appeal to any country music fan, as well as plenty of us with broader musical tastes who simply enjoy catchy, energetic performances of well-written songs.

photo by Misty C Photos; photo courtesy of Skye Media

More Recently

The band has a couple more recently-released songs on Spotify – “Golden” and “Blue Collar Man” – though I haven’t heard them yet. (I’ve just been churning through my review playlist.) I’ll have to check them out when I get the chance.

Looking Ahead

This is a sound that’s almost certain to play well live, and they have several shows coming up. In November, you can catch the band in Conway, El Dorado, and Paris, Arkansas. The first week of December, they’ll be performing with Sister Hazel in Pontiac, Michigan on December 4th and in Wabash, Indiana on December 5th. And Copper Flats has a New Year’s Eve show in Benton, Arkansas. Be sure to check out the “Tour” page of the band’s website for times and locations of those shows, as well as additional performances, as they’re added.

You can also see all of the Copper Flats’ social and other key links at its linktree.

Single Review: Alison Brown & Steve Martin – “5 Days Out, 2 Days Back” feat. Tim O’Brien

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photo by Joseph Spence; photo courtesy of Compass Records

Single Review of Alison Brown & Steve Martin: “5 Days Out, 2 Days Back” feat. Tim O’Brien (Compass Records)

I’ve been getting a few bluegrass songs sent my way lately, and “5 Days Out, 2 Days Back” is a bluegrass number that simply jumps right off the vinyl, metaphorically speaking. A cool tune you’ve really gotta hear! Alison Brown and Steve Martin teamed up with several top players, notably including featured vocalist/mandolinist Tim O’Brien.

image courtesy of Compass Records

The song’s topic is something touring musicians – particularly those with families – will relate to with ease. But it’s really not that hard for anyone to relate, negotiating time away versus time with family, cleverly phrased making it a fun listen. Of course, lyrics alone don’t make a song, and it’s really the tune, its delivery, and cheerfully plucked, energetic style that are the catchiest, most enduring part of “5 Days Out, 2 Days Back.”

Martin’s lyrics, Brown’s melody, and O’Brien’s vocals are an ideal blend for a song that’ll appeal beyond its genre’s core fans. Indeed, while familiar, the song’s structure doesn’t always turn in the most typical direction, helping the music remain fresh across multiple listens, while the rich, warm, and sincere vocals provide a trustworthy narration with a cheerful, pleasant tone.

In any case, bluegrass fan or not, if you enjoy well-written songs – perhaps singer-songwriter types of songs, though this would be more of a singer-songwriter trio – give “5 Days Out, 2 Days Back” a listen.

Single Reviews: TELL – “Sweet Proximity” and “Boiling the Ocean”

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photo by Dan Saltzman; photo courtesy of Knyvet

Single Reviews of TELL: “Sweet Proximity” and “Boiling the Ocean”

TELL delivers some heavy, distorted, edgy tunefulness with its two latest singles, “Sweet Proximity” and “Boiling the Ocean.” With these releases, David Wildman (guitar, lead vocals), Jay Raffi (bass, vocals), Patrick Crann: (drums), and Jim Foster (guitar, vocals) serve up a pair of sneakily hooky, noisy rock songs for the consistently unnerved and persistently agitated music fan.

illustration by Morrison Digital Art; designed by J. Kaliontzis; image courtesy of Knyvet

“‘Sweet Proximity,’” notes Foster, “manifests the band’s intense feelings about the current global situation; it’s the drastic sound of things falling apart. It might be an unhinged, disjointed fit somewhat resembling a muscle spasm or near-fatal conniption, but you can definitely dance to it.” Indeed, from the very first distorted guitar riff, the song is engaging, with its intense delivery mixed with a finesse that dances around the song’s rhythm and melody. It’s hypnotically catchy with a punk edginess, all the while being undeniably rock ‘n roll.

illustration by Morrison Digital Art; designed by J. Kaliontzis; image courtesy of Knyvet

“Boiling the Ocean,” meanwhile, covers a dramatically different topic; namely, the band’s willingness to do whatever it takes to get its music noticed. It’s a musically jangly rock ‘n roll tune that at times angrily laments the role the internet plays in music promotion and discovery while at other times seeming to resignedly accept it – lyrically, “whatever it takes is cool.” The opening drum beat sets the stage, while the guitars and vocals seem barely constrained in the verses, congealing into a singalongable chorus.

Together, “Sweet Proximity” and “Boiling the Ocean” offer two very different vibes that are tied together by TELL’s identifiable almost-unhinged, raucous rock delivery style. Two very engaging songs that fans of a broad swath of rock ‘n roll should check out.

 

Single Review: Jann Klose – “When I’m With You”

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photo by Mikiodo; photo courtesy of Glass Onyon PR

Single Review of Jann Klose: “When I’m With You”

Talented rock singer-songwriter Jann Klose is back with another pleasant, catchy single, “When I’m With You.”

I’ve reviewed Jann’s music several times at the blog. He has a smooth voice with a tone and delivery style that’s uniquely his own. In other words, although the sound is familiar and comfortable, you know quickly it’s a Jann Klose song you’re listening to. His songwriting and performance style are in the radio-friendly, mid-tempo rock category, so his songs can easily appeal to a broad range of listeners, as well as being well-suited for soundtrack placement. And I’ve seen him perform live several times, so I can confirm that his live performances are engaging and charismatic, though it’s a comfortable charisma, which comes through in his recordings, too.

photo by Mikiodo; photo courtesy of Glass Onyon PR

Anyway, Jann’s newest single, “When I’m With You” is an energetic, playful, bright, sunshiny pop-rock song. Jann’s voice is light and bright, delivering phrases like “I can say what I need to say. I can do what I wanna do. I can be me when I’m with you.” That is indeed the song’s theme, and the lyrics weave intricately around the theme. A little into the back half of the song, the melody fades away, the music and vocals hush, bringing a well-timed bridge to change the pace. Lyrically, it brings along the slightest modicum of worry before resolving back into the cheerful beat and lyrics.

Simply put, this is another exceptionally-assembled, hit-caliber pop-rock number from the accomplished Jann Klose. It will be a favorite for existing fans of his music, who know that this serious examination of emotions isn’t Jann’s only specialty, as he tackles more weighty, serious topics, as well. Alternately, “When I’m With You” can easily serve as a gateway song for those who aren’t yet addicted to Jann’s seriously addictive music.

 

Single Review: Stonetrip – “Fame”

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photo courtesy of BJF Media

Single Review of Stonetrip: “Fame” (Golden Robot Records)

Melbourne rockers Stonetrip are Mark Ritchie (vocals), Mick Malusa (guitars), Sebastian Barahona (bass), Simon Croft (guitars), and Brett Spicer (drums). The band’s latest hard-rocking single, “Fame,” just dropped a few weeks ago. And from its opening lyrics, you immediately know it’s not a song celebrating “Fame.” The song begins, “You don’t want for anything that doesn’t give you fashion or fame. You showed me your true colors when you tainted me with your stain.” Well!

image courtesy of BJF Media

Musically, you may notice just a hint of “Sweet Emotion” in the opening riff, but that’s the last you’ll think of Aerosmith, at least as a comparison, though stylistically Stonetrip would be a good tour pairing with just about any classic rock act. After the opening riff, the song quickly evolves into a raucous, slightly Southern rock-seasoned, guitar-driven, classic hard rock number. There’s a sidewinding bluesy element in the guitarwork atop a strong, though not exactly straight-ahead, drum beat. No the drumming’s a lot more interesting than that, even as the rhythm section relentlessly drives the song forward. It’s also worth noting a late-song guitar solo that’ll appeal to fans of nifty axework. Throughout, the vocals are rough-hewn, pure old-school rock vocals, with a tunefulness just barely tempers the intensity. In all, this is just a damn good classic rock/metal-influenced hard rock song with just enough of a hook in the guitarwork and vocals to make it memorable.

Hard-rockers, this is a song you should hear, particularly if your tastes favor classic rock and/or classic Southern rock influences.

Single Review: Lars Behrenroth – “Deep Ocean”

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image courtesy of Deeper Shades Recordings

Single Review of Lars Behrenroth: “Deep Ocean” (Deeper Shades Recordings)

Every so often, so house music comes across my desk that’s exceptionally cool. Something that can be appreciated beyond just core house music fandom because it has elements than can appeal to more traditional music fans, as well. Lars Behrenroth‘s “Deep Ocean” is a song like that. It’s something you might hear at a mainstream dance club because of its insanely danceable rhythm. In fact, it reminds me a little of the dance music I used to hear when I’d visit my friends in New York in the early ’90s. The New York part of that statement is probably less important, since those visits were the only times I’d go to this particular type of club. The early ’90s bit, though, may be more relevant, though “Deep Ocean” has a more modern house music veneer.

Again, I don’t often review house music, but this has some familiar elements and musical nuances that help it appeal to a broader crowd – including me, for example – so you don’t need to be a hardcore fan of the genre to enjoy the song; click through and check it out.

More Information

Since the release of “Deep Ocean” in April, per the Deeper Shades of House bandcamp page, Lars has released “10mL” and “Untrue.” (Though “Untrue” lists an August 7th official release date, the song is available for download now.)

You can explore Lars’ radio show here at this link. You can also find a bio here on this page, which also lists upcoming DJ gigs. He’ll be in Los Angeles on July 6th, in Long Beach on July 12th, and in Villajoyosa, Spain on September 26th. Of course, check back at his website for additional details and updates.

 

Single Review: Alex Lahey – “Don’t Wanna Know” b/w “Rock & Roll Queen”

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Photo by Rachel Bennett; photo courtesy of Murmuration Music

Single Review of Alex Lahey: “Don’t Wanna Know” b/w “Rock & Roll Queen”

Alex Lahey is an Australian alt-rock singer-songwriter who has achieved some success in her home country – her three albums have peaked at 55 or higher on the Australian charts, with debut record I Love You Like a Brother reaching number 15. With that in mind, I’m not in Australia, so I hadn’t heard her music until I stumbled upon “Don’t Wanna Know,” which is so damn cool I just had to share it with you.

“Don’t Wanna Know”/”Rock & Roll Queen” cover art

“Don’t Wanna Know” is a catchy modern pop-rock, suggesting an artist who might share a double-bill with Jimmy Eat World. There’s an enthusiastic pop attitude, a clear pop-punk energy in the verses, and a hookily memorable delivery of the song’s chorus “Don’t wanna know, don’t wanna know, don’t wanna listen anymore.” There’s even a nifty pop-alt-rock breakdown serving as a late song bridge, where the instrumentation mostly pulls back, leaving just the drumbeat and, well, whatever the other instrument is that softly noodles its way through the bridge. Lahey’s vocals are pleasant, expressive, and varied, bringing energy to the song, with smooth edges befitting an artist who could reach a broad listenership, eschewing the edginess that can limit some alt-rock singers’ audience reach. And yeah, I like that song-closing guitar riff. A very alt-rock-live-show thing to do.

photo by Pooneh Ghana; photo courtesy of Murmuration Music

The “B side” of the single is a cover of The Subway’s “Rock & Roll Queen,” and while Lahey delivers this song in an edgier fashion than she deployed on the “A side,” it’s still a cleaner vocal more likely to appeal to a broader audience. In other words, since I like a little cleaner sound, I’d probably prefer this cover to the original, but it’s still a version that sticks true enough to the original that The Subway’s fans are likely to dig it, too. And, like the original, Lahey has a cool, distorted, rockin’ guitar solo in the late-song bridge. It’s a great number to pair with “Don’t Wanna Know,” offering up a fun, pop-alt-rockin’ two-fer.

The recording, available exclusively through Lahey’s bandcamp page, was released on March 30th to fundraise for a cool cause. All proceeds from the song’s release through the end of April were slated to be donated to Trans Lifeline, which, per the liner note, is “a grassroots hotline and non-profit organization offering direct emotional and financial support to trans people in crisis.”

Two cool songs for a good cause from a talented artist. If, like me, you hadn’t heard of Alex Lahey before, be sure to check her music out. Start with “Don’t Wanna Know” because if you’re at all inclined to like Alex’s style of music, it’ll be an instant favorite. And if it’s any indication of her songwriting talent – and that’s certainly what her accolades suggest – you (and I) are gonna like what we hear when we explore her back catalog. Of course, if you’re already an Alex Lahey fan but hadn’t known about this release, well, go check it out!

Single Review: Skipping Stone – “Grace”

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image courtesy of Spaur Music PR

Single Review of Skipping Stone: “Grace”

Louisville-based Skipping Stone delivers a memorable soaring, heavy alt-rock tune in “Grace.” The power is evident, even if it’s mostly restrained – barely, at times – remaining largely-controlled in deference to the song’s steady, almost inevitable/unstoppable beat.

photo courtesy of Spaur Music PR

The band’s lineup for this song is Chris Bindner (vocals, keys), Joshay Wright (drums), Thomas Hicks (guitar, vocals), and Kelly Hood (guitar), with Jordan Bailey (bass) making a guest appearance.

Back to the song, though, something about the opening of “Grace” recalls for me “Billowy and Broken,” a powerful Lucid Fly rock song. However, while Lucid Fly bends its dark, foreboding tone toward heavy-prog, Skipping Stone’s “Grace” branches out from its contemplative, steady, dark beat toward the heavy rock anthem direction. “Grace”‘s slow tempo allows it to slowly build to power, as it most certainly does, extending the build for most of the song’s five-plus minutes of runtime. As the song reaches its final stages, a little heavy metal-ish growl creeps into the vocals, adding to the power structure in the final ramp-up of “Grace.” Beginning to end, the song has an arena rock feel, big enough to fill a stadium… with angst, I suppose, but it’d be a stadium full of angst.

If you like powerful, slow-build metal (or power rock), you need to hear Skipping Stone’s “Grace.”

 

Single Review: Michela Musolino – “Lina Lina”

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image courtesy of Dog Ranch Music PR

Single Review of Michela Musolino: “Lina Lina”

Sicilian-American Singer Michela Musolino, along with Sicily Folk Orchestra, a “concept band” of Sicilian folk artists I Beddi, released this recording of an ancient Mediterranean folk song. “Lina Lina” is an ancient chant tuna fisherman sung while hauling in their nets during the spring tuna slaughter, called the mattanza.

Of course, I’m not familiar with Sicilian folk music (except for the tiny bit I’ve just learned today), but the accordion that provides the rhythm for the full 3 minutes and 15 seconds is joyful and will get you bouncing and swaying in your seat. Musolino’s voice is tuneful and piercing, as she seems to specialize in traditional music. The supporting band provides excellent harmonies and echoing vocals. I know I don’t often write about non-English-language traditional-based folk music, but I wanted to share this song because it’s fun and catchy. I’ve heard enough traditional folk music from around the world to know this performance is exceptional.

If you’re a fan of traditional European folk-inspired music, this is a well-performed and produced song from top-flight musicians that’ll likely appeal to you. I’m also enough of a fan of mainstream pop-rock and surrounding music style to know when something from outside that mainstream might be an appeal to fans of mainstream music. If you’re a pop/rock/English-language mainstream folk music fan and want to add something different to your playlist for variety, this recording of “Lina Lina” is likely to be a great fit for you, too.