Tag Archives: Single Review

Single Reviews: Jennifer Tefft and the Strange – “Salt and the Sea,” “A Little More,” and “Silver”

Posted on by

photo by Mike TD Photo; photo courtesy of Knyvet

Single Reviews of Jennifer Tefft and the Strange: “Salt and the Sea,” “A Little More,” and “Silver”

Kickass New England rockers Jennifer Tefft and the Strange are back! And by “back,” I mean that the 2024 New England Music Awards Album of the Year winners have released three singles over the last eight or nine months. But hey, they’re back on the Blog!

cover art by Stephen “Sharky” Beccia; image courtesy of Jennifer Tefft

“Salt and the Sea” dropped in November 2025, featuring the foursome of Jennifer Tefft (vocals, acoustic guitar), John Parrillo (guitar), Stephen “Sharky” Beccia (bass), and Tim Provost (drums), as did “A Little More,” released in February 2026. Chris Jost has taken Provost’s place on the skins, appearing in a recording for the first time on the new single “Silver,” released just last month, in June 2026.

On their trio of recent singles, Jennifer Tefft & the Strange confirm their place as one of the region’s premier straightforward guitar-driven rock bands. While this kind of music has increasingly been referred to as alternative rock, it’s the sort of music that, in previous decades, would have been radio rock and/or album-oriented rock, though an AOR band with hit single potential.

photo by John Parrillo; photo courtesy of Knyvet

“Salt and the Sea” is the Strange’s haunting yet precisely, relentlessly, methodically advancing cover of The Lumineers’ song of, obviously, the same name. Indeed, the song builds and builds, vocally and musically gaining strength but still remaining a little ethereally aloof, sonically speaking. If you’re familiar with the original, the Strange’s cover is in some ways very true to the original, but at the same time, in their hands it’s a kickass rock song. The pianowork on the original becomes an enigmatic pulsing rockin’ rhythm, and Tefft herself puts a little more of a smooth finish on the vocals. Still just as haunting, but haunting as sung by a top shelf rock vocalist.

cover art by Stephen “Sharky” Beccia; cover design by Jennifer Tefft; image courtesy of Knyvet

“A Little More” was a re-release of a song Tefft had recorded solo. This is the full-band’s rendition, noted on Bandcamp as “A Little More (Strange Version).” If I circle back and listen to the earlier recording, it was indeed stripped-down. This is very much to rock concert version, and for those of us who prefer full band performances, I absolutely dig the makeover. There’s a recent Jennifer Tefft and the Strange are a popular draw when they perform live, and it’s because of what this talented group of musicians is able to achieve as a foursome. As such, this recording of “A Little More” delivers this great song with a rich, full sound that makes it pop.

cover art by Stephen “Sharky” Beccia; cover design by Jennifer Tefft; image courtesy of Knyvet

Finally, just a few weeks ago, the band released its new single “Silver.” The rhythm section drives this not-quite-anthemic, mid-tempo, mainstream-friendly alt-rocker, while guitarist Parrillo weaves some nuanced guitarwork into the song to really make it stand out. Granted, with a powerhouse vocalist like Tefft behind the mic, every song’s going to jump off the vinyl a little, but the Strange next-levels it to be a memorable song. The line “where’s my silver lining day” might sound a little Bangles-ish, and I’ve often compared Tefft’s voice to Pat Benatar, but this song features an in-between, edgy mainstream alt-rock howl that not’s really quite either. And after hearing an album-plus of Jennifer Tefft and the Strange songs, I really think this one taps into the very best of the band’s sound, a song that seems not to call for comparison but, rather, is definitive of the band’s Strange sound. “Silver” is what a Jennifer Tefft and the Strange hit song/crowd favorite, in their identifiable sound, would sound like. Rather, does sound like.

Jennifer Tefft and the Strange are one of the region’s top bands, so if you don’t have their new material, then you’ll be psyched to hear about these new releases. And if you’re new to the band, well, hey, this is just the start. You have some back catalog to check out, too. Lucky you!

Single Review: The Dollyrots – “Attention Span”

Posted on by

photo by Jen Rosenstein; photo courtesy of Earshot Media

Single Review of The Dollyrots: “Attention Span” (Wicked Cool Records)

The Dollyrots are the husband-wife duo of Kelly Ogden (bass, vocals) and Luis Cabezas (guitar), and I feel like the Dollyrots’ catchiness is well-known, even among those who haven’t heard their music before. But if that’s the case, well, the band’s new release “Attention Span” is a good place to start. It’s a fun, energetic song with the spirit of old-school punk, the hookiness of modern pop-punk, and an energetic joy that’ll appeal well beyond either of those categories of music fans. (The band itself, in its Instagram bio, refers to itself as a “bubblegum punk band,” and yeah, that sounds like a perfect description.)

image courtesy of Earshot Media

The sound itself is throwback. In fact, this seems like something Cher and her friends might listen to in Clueless. The movie, not the TV show. As if! The opening guitar riffs are raw and staticky, but once the song kicks in they’re crisper and tunefully crunchy, driving the song forward along with the rhythm section (with John Fields providing drums on this recording), both leaving enough soundspace to feature the vocals.

What does all that mean? It means that this is a catchy, fun song you’re likely to get into really quickly. Like, by the end of the first listen. Totally. But in all seriousness, this is a seriously fun song!

 

Single Reviews: The Ringer Soundtrack – “In Real Time” and “Voicemail”

Posted on by

photo by Sean Hall @ PowerPro Media; photo courtesy of Knyvet

Single Reviews of The Ringer Soundtrack: “In Real Time” and “Voicemail”

Boston’s The Ringer Soundtrack has a sound that’s a blend of pop and alt-rock, and the two singles that have found their way to my inbox in the last year represent different ends of the band’s musical spectrum, from distorted heavy-sounding slow rock (“In Real Time”) to a lighter, poppier version of alt-rock (“Voicemail”).

image courtesy of Knyvet

The Ringer Soundtrack – Mick Coyne (vocals and piano), Brandon Forbes Dalrymple (guitars), and Ross Goodwin (bass) – serve up a modern sound that harkens back to the college rock bands of two or three decades ago, putting their personal spin on a style that’s both timeless and a little underrepresented sonically these days, offering the band a chance to claim its own slice of the modern music landscape… or pie, if I don’t want to mix metaphors.

As much as I stand by the sound comparison, the opening distortion field of “In Real Time” is most decidedly modern, its warped notes opening into a distorted guitar riff that dominates the sound field – the static field seeming impossibly almost visible – before vocals enter more than a minute in, serving up an alt-pop, broad audience appealing, almost radio-friendly tunefulness. The song remains widely accessible, leaning into its pop influence vocally and lyrically while refusing to discard its distorted sacrificial offering to the college guitar rock gods. You’ve heard all of these musical ingredients before, but there’s just something a little unique within the particular recipe of “In Real Time.”

image courtesy of Knyvet

“Voicemail,” meanwhile, deploys less thick (but by no means light) instrumentation and embraces a little more pop-rock bounciness in its music and neatly rhythmic lead vocal cadence. It’s still a little rough around the edges, giving that raw edge you’d expect from a college rock band, and despite the increased nod to pop-rock sensibilities when compared with “In Real Time,” Dalrymple’s guitar riffs are everpresent in “Voicemail,” with the guitar line’s nuances a little more evident thanks to the lack of distortion.

When you listen to both songs, “Voicemail” serves as a nice counterpoint to “In Real Time,” confirming that The Ringer Soundtrack has range, and that’s exactly what you want from a live band (or a long-form recording). It leaves you wanting more.

photo courtesy of The Ringer Soundtrack via Knyvet

More Recently

Speaking of wanting more, just a couple weeks ago, the band provided more with its release of “Signals.” I just gave it a quick listen, as opposed to “In Real Time” and “Voicemail,” which have been part of my review queue for a while now, but “Signals” leans back toward the distorted aura of “In Real Time,” though with its own nuances, obviously. After a quick listen, “Signals” just solidifies my opinion that, if you’re an alt-rock fan, The Ringer Soundtrack ought to be on your radar.

Single Review: Rocketsuit Rogue – “The Best Last Day on Earth”

Posted on by

image courtesy of Earshot Media

Single Review of Rocketsuit Rogue: “The Best Last Day on Earth”

Rocketsuit Rogue, led by former Zebrahead frontman Matty Lewis (songwriter, vocalist, guitarist), is set to release its debut album, Hello, Apocalypse!, on August 21st. “The Best Last Day on Earth” is the third (and most recent) single released in advance of the album.

The first two singles, “Our Last Parade” and “Home Sweet Home (Sweet Misery),” gave raucous, faster-than-typical pop-punk vibes, showing off some neatly blistering guitar riffs and intense vocals, with the former leaning a little more anarchic punky while the latter pegged the tunefulness harmony needle a little bit harder. When compared with the first two single releases, I think “The Best Last Day on Earth” has a much stronger chance to attract a massive crossover audience, appealing to fans spanning multiple rock ‘n roll subgenres.

photo courtesy of Earshot Media

“Best Last Day…” gets faster-paced in spots, but mostly it’s a mid-tempo, alt-rock number with radio-friendly tunefulness. The tone, tempo, and melodiousness all remind me of one of my favorite fun, uber-catchy, mid-speed rock bands, Best Not Broken. Right from the get-go, the guitar tone on “Best Last Day…” is warm and a little swoopy (by that I mean not slack but still a bit beachy), there’s some playfulness in the tempo, and the verses adeptly set up the “whoa-oh!” level-up to the power of the peppy chorus. Drum use, bent guitar lick as a transition, vocal breakdown in the late song lyrical bridge, faster tempo in the back half of the song to keep the energy up – it’s as if every hook-creating, crowd-appealing tactic has been thrown into a single song, and it all works.

So, yeah, if you like pop music, rock music, pop-punk, really anything with a guitar, you’ve gotta hear “The Best Last Day on Earth.” It may be the catchiest song you hear this year, and it might even become your song of the summer. You can thank me later.

Single Reviews: TELL – “Things to Do When It’s Dark” and “Hate Yourself in the Morning”

Posted on by

photo by Dan Saltzman; photo courtesy of Knyvet

Single Reviews of TELL: “Things to Do When It’s Dark” and “Hate Yourself in the Morning”

You’ve just gotta love this band’s rock ‘n roll sound. Well, I’m not gonna force you, but I sure do! TELL – Jim Foster (lead guitar, backing vocals), David Wildman (guitar, lead vocals, keyboards), Jason Raffi (bass), and Pat Crann (drums) – is an old-school, raucous-raising, rabble-rousing, raw, guitar-based, classic rock-friendly alt-rock band. “Things to Do When It’s Dark” and “Hate Yourself in the Morning” are the band’s most recent singles, its two releases since I reviewed a pair of TELL singles last summer.

cover designed by J. Kaliontzis; image courtesy of Knyvet

The first of these two new singles, “Things to Do When It’s Dark”, was released in November. The dissonance and haunting – or maybe haunted – musical overtones are representative of the song’s message, railing against ICE and, more broadly, the current threats to democracy. Yet there’s a little playfulness in the song, musically here and there in the bridges and verses and lyrically, from a caller ID “Scam Likely” reference that amuses me much more than it probably should to the word choices in more serious lines of lyrics, such as “can’t believe that anyone voted for these fucks.” Though it paints a grim picture early on, toward the end the song turns hopeful – “We’re holding our heads up high. They can’t stop our words and music. We’ve got our sense of what’s right, and we know how to use it” – and then finally defiant – “When it gets dark, we’ll make it ours, we’ll take back our country. When it gets dark, we’ll make it ours, we’ll take back democracy.” Indeed, songs of defiance in difficult times are not just a hallmark of folk singers. Rock bands like TELL enter the fray, too, with entries like “Things to Do When It’s Dark.”

Photo and design by Jay Raffi and edited by Joanne Kaliontzis; image courtesy of Knyvet

The band’s more recent release, “Hate Yourself in the Morning,” which was released just a week and a half ago, is less clearly directed at a particular topic. It’s a song of next-day regret, basically, which I suppose could be construed politically if played directly following “Things to Do When It’s Dark” or not at all politically when spun on its own. “Hate Yourself…” is rough-edged; it’s punk in production value but not in style. It’s really more accurately described a raw garage rock song. And wicked catchy. The opening guitar jangle is an initial enticement. The song’s tone, rhythm, and vocal and instrumental hooks are relentlessly cheerful, even if the lyrics are, shall we say, less so. You’ll sing along with the echo vocal “and when you see me” and with the “na, na na na” bridge vocals. It’s guitar-driven garage rock at its best.

While “Things to Do When It’s Dark” is an impressive, serious work, “Hate Yourself in the Morning,” by contrast, is a catchy earworm. Pairing the two singles in the same review seems a little odd, as the two songs are as different as night and… well, a totally different night. Regardless, if you like your guitar-driven alt-rock raw, well-constructed, and a bit playfully unpredictable, TELL and the band’s two latest singles need to be on your radar.

Single Review: Figures on a Beach – “Play”

Posted on by

image courtesy of The Sound Cove via Knyvet

Single Review of Figures on a Beach: “Play” (The Sound Cove)

The backstory of this song’s release is a winding, interesting story of its own. The short version is that Figures on a Beach achieved some success on the synth-pop scene, released a pair of albums on Sire Records in the late ’80s, and recorded an EP worth of songs at Q Division in Boston in 1991. The band disbanded, and those songs never saw the light of day. Fast-forward 34 years, and Figures on a Beach’s Anthony Kaczynski played “Play” for The Sound Cove’s Garrett Vandermolen, who was blown away by it and wanted to release the long-lost earworm on The Sound Cove.

I’ve gotta agree. I supposed that’s why I called it an “earworm” rather than a song. It’s catchy as heck, with a fresh sound that belies the decades that have passed since its recording. With “Play,” it seems that Figures on a Beach may have found their big breakout song in 1991; unfortunately, it didn’t find its audience at the time. But if you like energetic, top 40 radio-friendly (when “top 40” was a thing) pop music that’ll remind you of some of your ’80s New Wave faves, give this one a listen. You’ll sing along with the “I, I, I…” and dance to the catchy rhythm.

As has always been true of the best songs of this genre, “Play” starts slow, with jangly synth and a rhythmic slow build, with the vocals mirroring the music in that sense. About a minute in, the song levels up a notch while continuing to build, as some of the vocal and musical bursts become more dynamic, all the while residing atop a consistently jangly beat. After a couple trips through verses and choruses, by late in the song you get a musical breakdown, a final more energetic verse and chorus, a late song near-musical dropout, with just a synth buzz, before one final explosion of music and vocals, concluded with a crash and quick fade-out.

So yeah, it’s not the most simple song structure, but it’s also pretty straightforward, and it’s structured, performed, and produced impeccably, resulting in one of the catchiest synth-pop songs you’ve likely heard in three decades; nevermind that it was recorded three and a half decades ago. It’s refreshing to have a new favorite in this style. And I know back when this was recorded, music fans used to listen well beyond their core favorite style (thanks, top 40 radio!), so I urge anyone of a certain age to check out what might become one of your favorite new “nostalgic” songs; and, if you’re younger than that, give it a listen, too. This is what catchy synth-pop is supposed to sound like!

Single Review: Dwayne Haggins & John Galle – “Crazy (Live from the Gold Hill Store 2025)”

Posted on by

photo by Dustin Martin; cover image courtesy of Dwayne Haggins

Single Review of Dwayne Haggins & John Galle: “Crazy (Live from the Gold Hill Store 2025)”

This Patsy Cline hit, penned by Willie Nelson, as Dwayne Haggins points out in the song’s intro, is a classic. This rendition, recording more than 60 years after the Cline’s 1962 release, most absolutely does it justice.

Stylistically, the pair put their own spin on the tune while remaining true to it in spirit. John Galle‘s fiddling is light and playful, while Haggins’ voice covers plenty of real estate. A versatile local Americana favorite here in the northeast, Haggins takes a light touch to the vocals, playfully dancing about the melody, hitting an impressive high note or two, and honoring the song’s spirit throughout. For fans of the genre – or fans of Patsy’s version of this classic – this is a rendition you’re likely to welcome into your collections and into your homes.

The location where this song was recorded, the Gold Hill Store is a venue in Boulder, Colorado. Haggins, meanwhile, tours widely throughout the northeast and sometimes, obviously, beyond. The “Shows” page of his website lists a plethora of upcoming shows across New England and New York, plus a few dates much farther west, including September 11 and 12 appearances at the Gold Hill Store in Boulder where this single was recording. Meanwhile, you can remain abreast of what Galle is up to by following his Instagram account.

Single Review: Triers – “Home”

Posted on by

photo courtesy of BJF PR

Single Review of Triers: “Home”

Triers are an energetic, tuneful, hooky alt-rock outfit comprised of Nick Taylor (vocals, guitar), CJ Loveitt (guitar), Alex Bachene (drums), and CJ Allen (bass, keys, backing vocals).

image courtesy of BJF PR

The band’s latest single, “Home,” is a full-tilt anthemic romp, a song whose chorus will have you singing along if you aren’t out of breath from jumping up and down during the verses. The nifty little “this is heart and soul” dip before diving headfirst into the chorus. The “we’re out of touch, we’re out of time” nod to Hall & Oates from days gone by that’s perfectly well-placed. It’s an alt-pop rock song with a punk attitude, but it doesn’t fit into a pop-punk label. As a whole, it’s an exceptionally well-written song that’s performed tightly with subtle nuances that should appeal to song-driven rock fans, yet at the same time it’s a fast-paced, nearly-relentless ball of energy that’ll be a favorite among those whose goal in life is to bounce energetically around a dance club (or live venue) floor.

“Home” was produced by Gavin Monaghan (Editors, The Twang, Robert Plant) at Magic Garden Studios, so the song has a little pedigree to it. Plus, I’ve long been a fan of Taylor’s songwriting, as some songs he penned with a different band more than a decade ago remain among my personal favorites to this day, so the layered coolness in “Home” comes as absolutely no surprise.

photo courtesy of BJF PR

As for the song’s meaning, Taylor explains, “‘Home’ isn’t about a place. It’s about chasing your dream, getting told you’re not good enough, and finding your sense of belonging in spite of that. The lyric ‘put me back on the shelf’ came from how it feels to be part of an industry that celebrates you one minute and forgets you the next. But we’re still here, and this song is our way of saying that’s where we belong — in the noise.”

In my opinion, sleep on Triers (pronounced “Tree-ers”) at your own peril. Or, and this is my recommendation, jump on board and enjoy the ride. Start with “Home”; if you’re a fan of virtually any flavor of rock ‘n roll, you’re really gonna enjoy this song!

Single Review: Chris Bones – “Look in My Eyes”

Posted on by

image courtesy of Chris Bones

Single Review of Chris Bones: “Look in My Eyes”

Twisted Rose lead axeman Chris Bones takes a little solo spin with single “Look in My Eyes.” The opening notes recall the heyday of melodic hard rock ballads. You’ll think Poison, Warrant, and similar bands. The song title will recall Firehouse’s “When I Look Into Your Eyes,” though “Look in My Eyes” is acoustic versus the rich production of the Firehouse number.

Guitarist Bones showcases a raw, powerful voice, with a edge that’s suitably anguished for this sort of ballad. I mean, Caro‘s voice is the vocal heart of Twisted Rose, but Chris has some serious vocal chops, too. The lyrics, too, are as dramatic as many of the best ’80s/’90s ballads – “Standing here, I still can’t believe it’s true. My thoughts flying high, without you I would die.” And, of course, like any kickass power ballad, there are stretches that’ll make the hair on your neck stand on end.

In any case, if this is your genre, this song belongs in your collection, something new to sit alongside favorites like Poison’s “Every Rose Has Its Thorn,” Warrant’s “Sometimes She Cries,” or Kix’s “Don’t Close Your Eyes.”

Single Review: Tyler Quantrill – “Awaken”

Posted on by

image courtesy of Tyler Quantrill

Single Review of Tyler Quantrill: “Awaken”

Second City Sin frontman Tyler Quantrill dropped the single “Awaken” last year on the one-year anniversary of the release of his debut album, A Transmission of Hope, from which the single was drawn.

The song itself features a heavy, doom-inspiring guitar line highlighted by staticky distortion. The echoey nature of the steadily plodding vocals at to the song’s ominousness. I know it sounds a little depressively overwhelming, but it coalesces as a catchy, almost anthemic heavy rock song. And there’s a cool instrumental bridge that’s kicked off by a guitar run worth paying attention to, providing some variety while fitting well within the song’s predominant soundscape.

It’s a song that’ll appeal to most fans of heavier rock music. It’s also something that would likely cause some serious buzz at a live performance. Anyway, if this style is within your range of musical fandom, “Awaken” is absolutely a song worth hearing!