MUSIC

Album Review: Majical Cloudz – Impersonator

Majical Clouds: Impersonator

Similar Artists: Sigur Ros, James Blake

Genre: Loop Based Music, Ethereal Vocals

Label: Matador

It’s funny that there has been near unanimous praise for Montreal based group Majical Cloudz’ live act, because earlier this year, when I saw them opening for Autre Ne Veut at an intimate Brooklyn venue, almost no one was paying attention. It’s sad too, because Majical Cloudz are doing something really different with the live experience. Upon arriving on stage, frontman Devon Welsh asked the audience to sit on the floor, and then he proceeded to walk amongst the audience while performing. Unfortunately, only about an eighth of the audience followed his order. The duo were clearly going for grand and original, but due to the audiences reluctance, the performance ended up being awkward over anything else. I wouldn’t normally mention something like this in a review, but it goes along with the fact that Majical Clouds make music that requires attention to enjoy.

I have to admit, I almost completely forgot about the group after that night. Then, a few weeks ago I began hearing about their 2nd LP Impersonator, and how Devon Welsh’s vocal performance was being considered one of the finest of the year. It’s true, for a vocalist who isn’t even classically trained, Welsh has a spot on baritone that proves unusually commanding and affecting. What’s more impressive is how he carries these songs almost entirely by himself. While he never goes entirely a capella, the music is composed of very minimal keyboard loops, and it even borders on being ambient at times. However, this simpleness helps to intensify the music, as our mind becomes focused on the subtleties, such as Welsh’s epic vocal changes, and the slight nuances in Matthew Otto’s keyboard programming. Most songs are only made out of four or five elements, and they each develop at a glacial pace. While at first you might think this album would be more entertaining if there was more of a beat drop, we eventually realize the build-up is the release, and although it is restrained, it proves to be as cathartic as any piece of music you’re likely to here this year.

The individual songs here are harder to make a statement about, because the album emits such a natural flow. Each song carries many of the same lyrical themes, and it is occasionally hard to distinguish when one ends and another begins. Although there certainly isn’t much in the way of variety, the conciseness actually benefits the album as it feels like a thorough exploration within a distinct sound. While lead single “Bug’s Don’t Buzz” was easy enough to ignore on its own, within the course of the album its effect is magnified, because the album eases us into its own mood of tranquility.

While these guys are part of a post Arcade-Fire Montreal indie scene that includes Grimes and Doldrums, Majical Cloudz isn’t nearly as “cool”, or even as fun, as either of those acts. In fact, many are going to dismiss this band for those exact reasons. While this certainly isn’t music you could listen to all the time – and you should under no circumstances play it at a party, this is a complete listening experience, and if you are in the right mood it can also be a perfect one.

Track Listing:

1.) Impersonator

2.) This Is Magic

3.) Childhood’s End*

4.) I Do Sing For You*

5.) Mister*

6.) Turns Turns Turns*

7.) Silver Rings

8.) Illusion

9.) Bug’s Don’t Buzz*

10.) Notebook

* – Album Highlight

Album Review: Dean Blunt – The Redeemer

by Rio Toro

Dean Blunt: The Redeemer

Similar Artists: James Ferraro, Hype Williams

Genre: not club/dance, electronic

Label: Hippos in Tanks

Throughout his career, Dean Blunt has specialized in crafting albums that offer musical experiences that lie far from the norm – yet are rooted in genres that are somewhat familiar and nostalgic. From being one half of Hype Williams to his plentiful amount of solo albums (one such being The Narcissist II, which draws a fine line between being a gem and a trash heap) DB has remained an enigmatic figure of the highest caliber. He has also presented himself as the ultimate prankster, as his methods often send fans scurrying on endless internet chases that end up being ultimately worthless as an insight to his work. This guy really doesn’t want us to know the deeper meaning behind his music – and as it turns out we really shouldn’t be concerned with such things. Even without the anonymity and hidden meanings (and with or without his partner in crime Inga Copeland) DB’s work has proved to be captivating in its own right. God knows this isn’t your everyman’s music, so if Blunt wants to go on creating an unknowable presence out of everything surrounding his music, than so be it.

Last year, when the confounding Black is Beautiful was released on Hyperdub, many saw it as a sort of breakthrough for the artist. However, if anything, the music presented on that release was even more confusing than what came before – and the brief interviews Dean Blunt and Inga Copeland gave didn’t help to clear up much of anything either. These last few releases from DB have shown him working at the height of his powers, where each song sounds like it’s own unique interpretation of a forgotten pop song, only reinterpreted through an experimental, even alien lens. It would be too easy, however, to describe this music with a term as simple as abstract, for it is deserving of much more analysis than that.

As it turns out, against all odds, The Redeemer is DB’s most accessible and human release to date – but not necessarily for the reasons you would expect. Keep in mind, there are still plenty of muddy textures, samples of breaking glass, and a whole lot of moaning and groaning from Dean himself – but the compositions here are often a perfect blend of acoustic and electronic instrumentation. The broadened orchestration complements DB’s damaged, always expressive vocals, which is impressive in its own right. On tracks such as “Flaxen”, which is carried by an elegiac harp, delicate piano and minimal horns, DB shows off his skills at arranging a multitude of complex sounds into one. Most surprising of the standouts however, is by far “Imperial Gold”, which is a finger-picked folk song featuring the assured and beautiful vocals of Joanne Robertson. There are also several orchestral vignettes that tie together the bigger pieces of the story. Each of the 19 tracks build upon an expanding instrumental palette to where the album comes off as something that is almost colorful.

It certainly carries more of an overarching theme than anything in his discography as well – with its themes of lost love it even begs to be called relatable at times. The album is riddled with answering machine messages, recurring characters, and ominous vocal samples that relate to a central plot. This is already being called DB’s breakup record, and he certainly does sound quite brokenhearted – especially on the piano piece “Brutal” where he comes off as a lonely drunk chronicling his sorrows at the local bar. Still, this is an artist who has never been honest before, so why is he suddenly starting now? Whether you read The Redeemer as a joke or an honest account is entirely up to you. Right now, however, we should just enjoy listening to it, because the sounds here should be able to hold us for some time.

Track Listing:

1.) Dread

2.)Y3

3.) Papi

4.) MMIX

5.) All Dogs Go To Heaven*

6.) Imperial Gold*

7.) Predator

8.) Brutal*

9.) Par

10.) I Run New York

11.) The Pedigree

12.) Demon

13.) Flaxen*

14.) V

15.) The Redeemer

16.) Seven Seals of Affirmation*

17.) Walls of Jericho

18.) Make it Official

19.) Need 2 Let You Go*

* – Album Highlight

Part two with hip-hop legend in the game Nature

by Ryan Shea

In part two of my interview with hip-hop legend Nature, we discuss who he thinks is the best out there right now, the hip-hop industry as a whole, his link up with DCM and why these rappers nowadays need to be focused on the business and not so much the whole “Popping Bottles” aspect. Take a look.

How long did it take you to come up with all the tracks for “For All Seasons” and what was the process like?

“For All Seasons” was a little bit more complicated, we had some issues. Some of the songs from the original project we had to wait, and some of them that we did record wound up getting leaked onto New York City mixtapes, so I was in the studio for a while and very frustrated. The album was actually recorded two years prior before it ever got released due to all the issues that came with it.

You had a lot of time between your sophomore and third effort between 2002 and 2008. What was going on in the meantime that stopped you from making more?

Well no matter what happened I always was making music, but a lot of life stuff happened as well. I had to work, had a daughter and other things happened. I just had to find my footing again, kind of like an NBA player in the off season. You want to shoot around and sharpen your skills to a certain degree. Still during this whole time I was watching what was going on in the industry and stayed focused when I was ready to return.

Tell me about how you linked up with DCM.

Our friendships started online basically. They were a bunch of guys who I thought were a bunch of dope producers but once I got to know them I realized they had a huge passion for music and for me as an artist and showed me how they were gonna go the extra distance to help my career. We just vibed well. I was skeptical about who I wanted to go into business with because I was on the sidelines for a while but they proved their dedication and passion for the business and it turned out great.

What are your plans now that you are with these guys?

We are gonna drop this first project which is a four part series. We are starting with a spring edition now. In a couple of months there will be summer one, then fall then winter. Trying to make the dopest music as possible.

As someone that has been in the game for almost twenty years, what advice do you give to these young guys in order for them to have longevity?

Just stay true to it, you know what I mean? You can tell when a person is really passionate. I didn’t really come in to follow a trend, it took me a long time to get to where I was professionally. When I was a child, my love for this grew more and more as I got older. When I was making my way and going to the clubs and what not, I stayed true to what I was talking about in terms of real life situations and not a lot of what was playing there at that point. I would say that should ring true to a lot of the guys out there right now- be yourself.

Are you happy with the way that hip-hop is going right now?

I am happy with it as far as its reach and how far it’s growing. It used to be an inner city thing, now it is in the suburbs and in different countries and what not. I am happy with it being beneficial from a business standpoint. As far as everything else, I can’t really comment. It has it’s pluses and negatives. There are variations of hip hop- south sound, international sound, reggaeton is even considered hip-hop now. I am more of a purist and I stick to that. It is definitely more lucrative now, but I wouldn’t advise to do this just for that. You got to love what you do.

Who in your opinion is the Best New Artist right now in hip-hop?

It all depends on what you think is being new. Some of these young guys it’s hard for me to make a comment on because I can’t judge them on just a couple of records. I need to hear your body of work. Can’t just come out with one or two records and think the world will think you are hot. Gotta do more than that to stay on my radar.

Looking forward, what are you most hopeful about?

I hope to bridge the gap for me and some of the younger generations. Some of these guys need to be schooled on how the business. It’s not all about poppin bottles and making it rain, they need to have a better idea of what we are doing right here. I just hope that everybody gets a chance to really listen. That’s all I ever wanted them to do.

More on DCM and his latest effort “Seasons Change” here. Good stuff.

Album Review: Daft Punk – Random Access Memories

by Rio Toro

Daft Punk: Random Access Memories

Similar Artists: Giorgio Moroder, Nile Rodgers

Genre: Disco, House, Pop, Dance

Label: Columbia

With Random Access Memories, Guy-Manuel and Thomas Bangalter have created an album that is so meticulously detailed and expensively produced that it is essentially critic proof. At 320 kps, RAM is simply one of the best sounding records of our time, and it makes all other factors such as songwriting and originality seem far less important than they should be. It is not an exaggeration to say this is the new go to album when testing out the quality of a new set of speakers/headphones. Still, while critical reception has been, for the most part, very positive, this has to do with it being undeniably solid and pleasing to the senses rather than it being groundbreaking.

On first listen, it is easy to be disappointed – I for one was expecting something much more progressive. After the resounding amount of hype surrounding this release, it is slightly disheartening that 2/3rds of the record is made up of slow jams. As a whole, this is a record that is neither as fun as Homework, nor as revolutionary as Discovery. Instead, RAM stands on its own within the group’s discography, and in its own way, it ends up being just as impressive as the duo’s previous landmarks.

Obviously, this is a record that looks to the past for inspiration, and here we get to see the duo wear their long time influences on their sleeves in spectacular fashion. Many of the duo’s long time influences even take part in songwriting credits and vocal duties. The concept of the album is about living in the sounds of the past to arrive at a new destination that encapsulates the spirit and energy of a time long gone. This is most present in the Todd Edwards sung title track “Fragments of Time”, where he repeatedly sings /I’ll just keep playing back, these fragments of time, everywhere I go, these moments will shine/ during the chorus. Unfortunately, that song ends with a Peter Frampton like vocoder guitar solo that is one of the few instances where the sound comes off as being nearly pastiche. Most of the time, the album plays true to this theme of reinventing the past while still sounding modern and fresh.

The list of collaborators that took part in the construction of RAM is sprawling, and representative of an array of genres spanning multiple decades. A whole lot of talent, such as Nile Rodgers’ disco infused guitar work and Paul Williams’ emotive, almost broadway vocals, is showcased throughout the hour plus running time. Some of the most interesting collaborations come with newer artist’s such an Noah Lennox and Julian Casablancas lending their gifts to the sounds of 70’s and 80’s house music. While a look at the production credits would leave one to believe the album would be a clusterfuck of auto-tuned vocals and incongruous harmonies, it is to the producers credit that the opposite is true. In fact, the pairings are often so smooth and nuanced that the results seem far too natural and human for a group as robotic and mechanized as Daft Punk.

While Daft Punk has always been cheesy in their own delightful way, here they have taken more than a few steps into adulthood. After all, these are two grown men who are pushing their mid 40’s; so it is no wonder why they have thrown out many of their less mature charades. However, some of the cheesiness that fueled their earlier work still has a lingering presence – it is during these moments where the album occasionally falters, as we feel they aren’t in on the joke of how silly some of this music is. One such instance that calls to mind is the album’s miraculous and spectacle worthy “Touch”, which is almost ruined when Paul Williams sing’s /Touch sweet touch, you’ve given me too much to feel, sweet touch, you’ve almost convinced me i’m real/ in a disastrous cry of self pity that proves way too broadway for this reviewer.

Above all else, this is an album in the truest sense of the word. It is meant to be listened to in unison, and after it sinks in, you could easily live with this music for weeks on end. Best represented by Giorgio’s voiceover on “Giorgio by Moroder”, RAM is an album about disco rather than a disco album – not unlike how DJ Sprinkles fantastic “Midtown 120 Blues” was an album about the classic deep house scene. Daft Punk have perhaps created the most expensive music history lesson of all time. Although the effect it will have on the future of music is uncertain, as of now it is an absolute essential to any music lovers catalogue.

Track Listing:

1.) Give Life Back To Music

2.) The Game of Love

3.) Giorgio by Moroder*

4.) Within

5.) Instant Crush

6.) Lose Yourself to Dance

7.) Touch*

8.) Get Lucky*

9.) Beyond

10.) Motherboard

11.) Fragments of Time

12.) Doin’ in Right*

13.) Contact*

* – Album highlight

Comet Madmen releases epic “SXSW Mixtape”

by Ryan Shea

Credit to: http://www.madmenlongislandinkent.com/

Something that seems to be missing from the hip-hop industry nowadays is the raw, gritty aspect of what hip-hop was in a way designed for. This attributes back in the day in the early 90’s when acts like NWA came out with “Straight Outta Compton” and made people think that hip-hop was more than just a chilled, pop-esque sort of type music that anyone can listen to. When that music came out, things changed. Comet Madmen repping Long Island to the fullest is set out to the do the same thing and take the music world by storm.

Already a big success here in the tri-state area, I interviewed Comet a couple of months back about his meteoric rise in the hip-hop industry and what it was like to work with legends in the game like Party Arty and his hopeful dreams of working with legends in the game like Nas. Well, Comet has done something pretty extraordinary for someone around these areas- he got the chance to perform at the world famous “SXSW (South By Southwest)” festival held every year in Austin, Texas. The event this year was more epic than ever, and Comet helped bring the hip-hop edge to that festival in more than anything.

Not only did he perform, but him and Mad Men Entertainment, which he runs, have released a 28 song mixtape simply titled “SXSW Mixtape” which features the best of the best from SXSW. He brings it in the introduction and outroduction, as well as other amazing songs such as “Skit” and “Ambitions of a Rider”. On top of Comet’s fantastic appearance on the record, it also features the likes of hip-hop megastar Kendrick Lamar as well as Action Bronson, Spit Gemz and Sean Price. All something that you can jam to while cruising in your car for the holiday weekend to summer to beyond.

Want to know more about Comet, his background and the mixtape? Check out his networking sites like Facebook, Twitter and the official link for his mixtape. Also be on the lookout for his Mad Men Entertainment page right here.

Album Review: Vampire Weekend – Modern Vampires Of The City

by Rio Toro

Vampire Weekend: Modern Vampires of the City

Genre: Indie

Similar Artists: Paul Simon, Dirty Projectors

Label: XL

We don’t have much control in guiding these ephemeral lives that we hold. While it may seem that we are moving about with free limbs and actively making decisions in real time, in reality we are merely watching through a lens as our bodies rely on previously learned antecedents and consequences. The only choice we do have is whether we want to continue the ride or cut it short. Everything else can be lumped into pre-existing factors of genetics and environment. Although not stated quite so matter of factly, these are themes that revolve around Vampire Weekend’s 3rd and finest LP to date, Modern Vampires Of The City. The subject matter sounds a bit oblique for what is essentially a pop record, but when paired with the minimal arrangements and unhurried song structure, the album comes off as mature rather than morose.

Vampire Weekend’s albums have all been released at such opportune times to where they come off as a breath of fresh air in the cluttered land of indie music – the previous three albums i have reviewed have been heavy on the noise, so needless to say, this album was a welcome gift. After all, there are few bands which combine such intellect with an innate ability to write catchy, immediately accessible songs. Although this album is representative of a more subtler Vampire Weekend than we have heard before, you won’t be mistaking this music for anyone other than the remarkable Columbia graduates.

While they haven’t gone through a total reinvention of sound, they have marked on an incredibly natural progression that feels more human and soulful than what came before it. At first, the only song here which sounds like a hit is “Diane Young” – which is a modern take on Buddy Holly blues rock that incorporates vocal manipulation and other stylized production tricks. The majority of the other songs forgo heavy guitars and percussion for spacey piano figures layered amidst Koenig’s most delicate vocals. Even the band’s trademark harpsichord and string arrangements are seldom heard. Still, even without the influence of afro-beat, it’s reminiscent of Paul Simon over anything else. It’s an enlightening experience for sure, but these are a far cry from what you’d be likely to hear at a Williamsburg dive bar.

It turns out that Modern Vampires does have hits – they are just better appreciated within the scope of the album than on their own. The album pacing is stupendous, and even after several listens in, the highlights are surprising. “Ya Hey” in particular is a song that always sneaks up on me and leaves me delirious. While that song’s lyrical slyness and catchy-as-hell chorus often leave me thinking it’s the best Vampire Weekend song yet, something tells me “Hanna Hunt” is even better. It’s clearly their most emotional, as you’d have to be heartless to not feel something when Koenig wails /If I can’t trust you then damn it Hanna, there’s no future, there’s no answer/ among the album’s most sprawling piano chords. However, the award for best lyric of the album might have to go to the line directly after that /though we live on the U.S. dollar, you and me we’ve got our own sense of time/ which has got to be the most brilliant way anyone could think of to say time = money.

It all comes out as an extremely well thought out and polished record that took a lot of dedication and heart. I said at the beginning of this review that the album was about a lack of free will, but it is really about much more than that. Depending on your perspective it can be read as a critique on the state of America, an analysis of the principles of Religion, or any number of personal things. What can be said is that it is far from traditional – or is at least explored in nontraditional ways. While Ezra Koenig has always been a sly lyricist, here he is working at a higher level. From the opening lyrics /spare yourself a razor, cause no one’s gonna spare the time for you/, to the final ones /Take your time, young lion/, everything reads like poetry, moving along to what is easily the most beautiful and haunting music of their career.

Track Listing:

1.) Obvious Bicycle*

2.) Unbelievers

3.) Step*

4.) Diane Young*

5.) Don’t Lie

6.) Hanna Hunt*

7.) Everlasting Arms*

8.) Finger Back

9.) Worship You

10.) Ya Hey*

11.) Hudson

12.) Young Lion

* – Album Highlight

Album Review: Savages – Silence Yourself

by Rio Toro

Savages: Silence Yourself

Similar Artists: Siouxsie Sioux, The Fall, Bauhaus

Genre: Post-Punk

Label: Matador

It seems like every year the term “fully-formed” is appropriated to a new band, and this year it seems the title is being given to London’s “Savages”. It’s a term that’s previously been applied to groups such as Brooklyn’s “Grizzly Bear” and co-Londoners “The xx”, but what exactly does this title mean? With “Grizzly Bear” it was a reference to how each member was an equal and essential component to the band’s overall sound, and with “The xx” the term was a relation to the band’s sleek distinctiveness and style. However, with Savages, the term is more representative of the band’s revolving ethos rather than the music itself. It’s the kind of warning that makes you wary that the hype is just hype…

The much talked about manifesto that accompanies Silence Yourself is the band’s way of advocating for a better, purer world – which calls to mind The Knife’s concept heavy “Shaking the Habitual”. This isn’t quite a concept album, but the Buddhist leaning principles of the band’s declaration pop up constantly throughout the album. Many of the lyrical themes are based around freeing yourself from distractions and deepening your focus on more personal matters. No better is this described than on “No Face”, where Jenny Beth condemns those who lack intrapersonal skills.

While Savages do have a face, it certainly isn’t one they could call their own. For a band that isn’t doing anything new in terms of music, they are making some incredibly bold statements – statements that could have easily backfired if they didn’t prove to have the proper credentials. When it comes down to it, Savages are mere Post-Punk revivalists, but what makes them thrive within the flooded genre is their unshakeable authenticity.

So yes, Savages are the people they say they are – this is not a hoax. While it is tempting to relate this female four piece to Riot Grrrl greats like “Sleater-Kinney”, or more recent female lead groups like “Screaming Females”, Savages have much more in common with “Siouxsie and the Banshees” or even “The Fall”. Lead vocalist Jenny Beth has a French tinged delivery that is commanding in its force; often building in intensity every few measures until the song cuts out with her screaming at the top of her lungs. Some of the best moments arise when she is singing/yelling the same words ad-infitum as the guitars pummel out fastidious riffs and splatter us with noisy violence.

The album as a whole is pretty full throttle in the energy department, but the sequencing is flat out excellent so as not to overwhelm. For instance, there are slower, more gothic songs such as “Waiting for a Sign” that show off the artists’ songwriting strengths, and there is even an ambient interlude to break up side A/B. Each song provides a slightly different angle than the last to create an experience that feels well rounded to the talents of the musicians. The reason the band released so little in the way of ep’s/singles is likely because of their dedication to the album format, and their ambition shows off in strides here.

Manifesto or none, this is a great rock record. It may not be revolutionary enough to cause us to change our lifestyles the way the band wants it to, but it’s an affecting experience nonetheless. At its best, such as the rollicking opener “Shut Up”, the guitar, bass, vocals, and drums mesh to create a sound that is at once enraged, distraught, and beautiful – quite a rare feat for a simple punk band.

Track Listing:

1.) Shut up*

2.) I Am Here

3.) City’s Full*

4.) Strife

5.) Waiting For A Sign*

6.) Dead Nature

7.) She Will

8.) No Face*

9.) Hit Me

10.) Husbands*

11.) Marshal Dear

* – Album Highlight

Album Review: Colin Stetson – New History Warfare Volume III

by Rio Toro

Colin Stetson: New History Warfare Volume III – To See More Light

Genre: System Error

Similar Artists: Does Not Compute

Label: Constellation Records

If the goal of an artist is to be distinctive and inimitable, then few artists have succeeded to the degree that Colin Stetson has. Within the last decade, he has become renowned for taking the saxophone to previously unknown timbres – and with little use of effects at that! With his instrument, he has founded a style that draws equally from classical minimalism, black metal, noise and jazz; each style combining to make a mood that is completely of its own. Still, with all the squealing, moaning and clicking, he meets the music with a sense of adventurousness that makes for a much more accessible listening experience than it should be.

Before Colin’s 2011 breakthrough, his sax work had been featured on albums by high profile artists such as Tom Waits, Arcade Fire, and TV on the Radio – but his Constellation Records debut, Judges, turned out to be the best yet statement of his talents. All the music on the album was recorded live in one take sessions with no overdubs…which seems entirely impossible until you realize that everything from the inside of the sax to his throat are mic’d. The success of that record led him on a tour alongside post rock titans Godspeed You! Black Emperor where he was allowed to display his individual talents in tremendous live settings. These shows established Colin as a musical force to be reckoned with. Even if you weren’t a fan of avant-garde – this was a sound that could not be ignored.

Ever since 2011, Colin Stetson has been popping up everywhere in music. Most notably, he has been a touring member with Bon Iver, who in return is featured prominently on this release. Justin Vernon’s vocals take the place of Laurie Anderson’s so-so voice overs on Judges. This turns out to be the main difference on this third volume of the New History Warfare series. Overall, the decision turns out to be a great pairing, as Justin Vernon’s voice is an instrument as powerful and distinctive as Colin’s sax. While the two occasionally come off as disconnected, all doubts are cast aside on “Who the Waves Are Roaring For”, which sees both expressing their talents in unison without blocking each other out.

While the bulk of To See More Light stays true to Colin’s previous aesthetics, there are a handful of tracks that stand out as bold new directions. For instance, “Brute”, contains grunting male vocals alongside Colin’s most bursting at the seams sax. It should be seen as an ode to death metal bands such as Liturgy (a band which Colin has previously stated his admiration for). On the other hand, “Among the Sef” is one of the most ingeniously melodic pieces he has yet constructed, even bordering on techno with its inconspicuous backdrop 2/3rds in. While “In Mirrors” is a quick glimpse into a horror film he will likely be sound tracking in the near future, the final Bon Iver Track, “What Are You Doing In Heaven Today” is so soulful it could probably get away with being played in a church. Still, everything seems to pale in comparison to the stirring title track, “To See More Light”, which combines the artist’s definitive traits over its impressive 15 minute runtime. On an album with some not so representative material, this is the track you will want to play when showing this artist to an interested companion.

Honestly, if there’s one complaint, it’s that the rest of these songs should be a lot longer. Of course, seeing how this music is recorded, it would be impossible to have the lung capacity to carry these songs on for too much longer. However, The Those Who Didn’t Run EP contained two 10 minute long tracks that worked perfectly alongside each other, so I’m not sure why so many of these tracks had to be cut off at the 2-3 minute mark; especially when the thematic elements here are stronger than they ever have been. B+

Track Listing

1.) And in Truth

2.) Hunted

3.) High Above a Grey Green Sea

4.) In Mirrors

5.) Brute*

6.) Among the Sef (Righteous II)*

7.) Who the Waves are Roaring For (Hunted II)*

8.) To See More Light*

9.) What are they doing in Heaven Today?

10.) This Bed of Shattered Bone

11.) Part of me apart from You

* – Album Highlight

Chatty Talk with Elise

by Elise Pentz

Hellooooo & Welcome Back!!

The Today Show’s Savannah Guthrie is getting married!! Her boyfriend of 4 years, political consultant, Mike Feldman just became engaged over the weekend! Congratulations to the beautiful couple!!

Barbara Walters is RETIRING!! After spending over 50 years on the air, she is ready to sit back & watch all the other talents female & male anchors work their magic. They all have awfully large shoes to fill but something tells me, Barbara will definitely enjoy her long overdue retirement!

Jennifer Nettles released the first pictures of her baby boy & goodness, he is GORGEOUS! She gave birth back in December to Magnus Hamilton & kept him a secret until now! Happy 1st Mother’s Day to you, pretty lady!

Jack Skuller interview- the one to watch out for

by Ryan Shea

As someone who has been doing this whole “music journalist” thing for three years now, I have been able to interview some of the biggest names in the industry and some up and coming ones. I have never though, found someone with as much raw and amazing talent as Jack Skuller. The fresh faced 17 year old, who was born in Manhattan and now lives in the Hoboken area was brought to my attention recently and I was immediately blown away by his amazing talent. He is doing something that no one else is doing in the industry by taking a 50’s kind of throwback appeal and making it into some truly freaking amazing modern type of music. I sat down with him a couple of days ago to talk about his past, present and ultimately his huge future as an artist and someone that in due time people will admire and look up to. Take a look.

How old were you when you decided you wanted to take music seriously?

I was very young, around 8. Just going to a bunch of different shows and my dad being a musician was what I was exposed to the most.

Who are some of your musical influences?

A variety of ones like The Everly Brothers and Eddie Cochran. I really go back to the 50’s to get a lot of my inspiration so others like Elvis Presley are big for me. On a more modern take I really love The Black Keys and what they are doing now.

How would you describe your sound?

My sound it’s vintage pop, it’s rock and roll when you get down to it. It is where I get my influences. That’s what I love, that’s what I breathe is rock and roll man.

Who do you get comparisons to the most?

What’s funny about that is that I usually don’t hear a certain name. I’ve heard Jack White and John Mayer for example, but sometimes I think people have a hard time tagging me and I think that’s because what I am doing is really different. I do feel very honored when people compare me to Jack, I love him and his music. Buddy Holly is another one too.

When I hear the song “Tell Me Your Heart” I instantly get drawn back to the music of the 60’s and even 50’s. Is that the zone you want to head into musically?

You can call it a throwback, but really for me it is my sound. When I hear my own music and making my own music, a lot of my influence comes from that time but I really am not thinking of it as a throwback. I am thinking about what I can do this to make this me, my sound and what I do. In the end it is what it is, and it’s everything I know and appreciate and listened to.

How important do you feel it is nowadays to be not just a singer but a singer songwriter?

For me, I know that for a long time I have wanted a music life. I wanted that to encompass my entire life. And I think for someone like me who wants that, songwriting is very important. It’s important for you to do as much as you can for yourself, because it in today’s world it is more vital than ever. You can’t just do music and not really know about other things. It is always to your benefit to know to write songs, play as many instruments as you can and have a bigger knowledge of the craft.

Are there other singer/songwriters that you respect and would love to work with?

I would love to work with people like Jack White and Gary Clark Jr, because I look up to those people a lot.

If you had to do a dream duet with anyone who would it be?

I would have to say the king, Elvis. I mean, imagine everything I could take from that, even preparing for the duet and all the stuff that would go into it. It would just be incredible.

Tell me about your other songs you are making. Do they have a similar feel to “Tell Me Your Heart?

I’m always thinking about how I can grow and move to a new place while keeping my sound and keeping who I am as an artist. I always try to keep a consistency in my songs and I have done that since I was 11 years old yet always try to do something new and find inspiration. I recorded a few songs recently and I like to take a really big part in making my music, that is very important to me.

What is the one thing that you want your fans and readers of this to know about you?

What I want people to know about me as an artist I think is that I am still a real person. Sometimes people put a wall between artists and listeners, and I am a real and honest person that just happens to love what I do. I get so lost in the enchantment in what I do and what I am passionate about and ultimately this is what I want to do forever.

Want to know more about this talented guy? Check out his site and be on the lookout for him in the near future.

MUSIC

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