Tag: Music Review

Moon Panda’s Dumb Luck: Rambling Review

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A lovely day with relaxing prospects doesn’t tuck you in. Dumb Luck, the new album from indie pop collaborative, Moon Panda, picks up the listener, dusts them off, and prepares them for an adventure that goes beyond the incredible. The music provides the kind of soundtrack to a fantasy where colors and movement slow to a flicker that matches the low tempo space pop. The entire dream sequence lasts for a brief 31 minutes, leaving me wanting more, but if that’s my only complaint…it’s worth every second. 

Their entire catalog has become my favorite chill music, and this new record is of the highest quality. Dumb Luck is a most worthy addition, as Moon Panda’s efforts remain a consistent expression that the group has mastered the craft at hand. Through three records, there’s not a single song to skip over.

Dry toned lo-fi drums act as a foundation to this excursion through a series of good dreams. These drum sounds are crucial in attaining that overall chilled out vibe. It feels like something that conjures nostalgia without sounding dated. The drums are centered in the mix, and everything else considers direction for the ride, but I can’t downplay how much I appreciate the drum sounds.

Airy guitars, soft synths, and the audacious groove of the walk-along bass lines puts a spring in my step that reminds me of comfortable weather and friendship. The instrumental segway in the final third of The Light feels like a trek through the desert where one discovers horizons beyond the self. 

Dumb Luck spends a great deal of time exploring fantasy. Lyrics from a song titled Fantasy makes declarations of, “You and me running free/Don’t owe anybody anything/Escape this world with me/It doesn’t have to be a dream” and suggests this fantasy is within reach, a delicacy where most fantasy is too fantastic to attain, Moon Panda suggests something else and extends a hand to make it real. 

The sentiment from Avalanche, “Sometimes I just need a friend” seems as distant (yet relevant) as any need. My personal favorite expression on this theme comes in Space Elevator, “If you choose your fantasy/I hope you choose me” seems freeing when coupled with the concluding line of the chorus, “I can only go up.” This all seems to suggest that while it’s nice to be thought of, I’m on this trajectory…all of which circles back to the idea in the song Fantasy that it’s all actually within reach. 

The record concludes with a song on gratitude for our time together titled, Loveflow. Lines like, “Keep me in your head/I’m in so deep with the small things/Thank you for all of it” resonates with me. 

In spite of the weight and challenges explored in the lyrics, I feel nothing but the possibility of hope in the music. These songs bring me joy, and I hope they’ll do the same for you. Dumb Luck by Moon Panda is worth exploring. I may stay here a while. 

Snakes of Russia and the Ghost Hat

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It all started with a ball cap. As I settled into parenthood, I maintained that silly itch to retain some of the fashion sense of my youth. While doom scrolling, I came across an artist on Instagram known as Xavier (@builtfromsketch) who makes lovely artwork if you’re into darker aesthetics. While looking over his watercolors, I noticed a simple black baseball hat with a little bed sheet ghost knitted on it. I decided to treat myself to a little consumerism, and it’s been a favorite warm-season hat ever since.

            Snakes of Russia came across my radar in autumn, 2023. They had just dropped an LP and went on tour with Not My God and Death Loves Veronica. The tour never came close to me, but that’s neither here nor there…so it made sense to spin the new Snakes of Russia record, True Surrender.

            It’s a dark, ambient collection of haunting tracks. Low tempo, huge beats, and the creepiest sounds the imagination could conjure, all of this lacking vocals, I immediately put this record into my “writing music” rotation. It feels like a soundtrack to a thriller or horror film that doesn’t exist. If you listen to it on headphones and go for a walk after dark, it’ll be no time at all before it’ll feel like you’re being watched or followed.

            Pivoting again, my youngest child constantly notices what I wear. From my work uniforms to casual day off clothes, it’s one of the details about me that he takes in and acknowledges. For now, I’m convinced it’s because he loves me…not to be confused with a decade from now when those observations will include a joke at my expense…but I digress, one thing he’s long noticed and likes is my ghost hat.

            Because my oldest child loves all things spooky, we’ve made our own warped version of hide and seek in our home that we only play after dark. We close the curtains, kill the lights save for minimal ambiance, and put on some spooky music to top off some proper atmosphere. From there, I throw a blanket over my head and chase the family around the house, occasionally hiding myself so that I can bait them into a jump scare. My youngest began to call this game, “Ghost Hat” as I resembled the figure on the hat. The name caught on with the rest of the family, and it stuck. Once we played this game a handful of times, it was determined that True Surrender by Snakes of Russia was the music for this game. If any other record is put on, the kids will protest, “that’s not Ghost Hat music!”

            All of that to say this dark ambient record has broken through and become a regular listen in my home with my kids. My son will even ask for, “Ghost Hat music” on car rides. I never expected Snakes of Russia to be so prevalent during family time, as I thought it to be a gem kept to myself for writing sessions, but here we are and I’m not complaining.

Snakes of Russia announced a forthcoming LP on the horizon. When I informed my three year old that there’s new Ghost Hat music in the works, he lit up with excitement that brings me joy. Death beats, forever!

[pictured:album art for True Surrender by Snakes of Russia]

Bellhead and the Good Intentions:Rambling Review

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Bellhead is a post-punk duo from Chicago that brings the dirtiest bass lines and danceable tracks in their newest EP, ‘Good Intentions.’ To me, the name of the EP comes layered in sarcasm, as the stories told through music are delivered with evil intent. Stalkers, sirens at sea, and pure nihilistic fun have brought me to understand the intent is not so comforting. Though elements of pop are embraced in the songwriting, the production maintains a minimalist approach that rejects fillers/unnecessary walls of sound.

The opening track Bad Taste introduces the EP with a four on the floor beat and low guttural vocals that describe the individual in question, “he says he’s a good man, doesn’t make it true” and “does he only want what he can’t have?” Even with the subject matter of stalking, I want to get up and dance to this. The chorus guitars contain an unexpected surprise that remind me of the atmospheric quality of various Nine Inch Nails tracks.

The second song opens with guitars that pivot to a different effect once the verse begins, and the mood is that of a classic horror movie. Into the Deep stirs a haunting narrative that conjures the imagery of water as destroyer. If the potential for surf rock is found here, we’re likely to drown. The bridge hits with spoken word and rounds out the song to something akin to hope as the siren is pursued.

Valentine is my personal favorite on the EP. The narrator seems to be pleading with a lover in what seems to be both romantic and tragic in the same breath. The music moves with a particular gothic sway that reminds me of Crying Vessel, and the lyrics are poetry.

Apathy kicks off with distorted guitars and asks ‘so what?’ in a nihilistic way that brings a smile to my face. The admission that ‘it doesn’t matter’ resonates in me a sing-along quality that makes this song an anthem. Crank this one for that righteous punk goodness.

The Love and Rockets cover No Big Deal is pure Bellhead fun. Their take on the song sounds like their own authentic work, which is what quality artists do when they seek to cover a song. The distorted bass shapes the song into something that fits in with their catalog perfectly.

‘Good Intentions’ closes with Drugstore Keri. This song tells the romantic tale where Keri is more of an enabler than love interest. The dirty bass makes for curled lips and movement on the dance floor. The concluding song feels like a cold drink of classic rock, and I love it.

This EP is worth a spin. If you enjoy post-punk songwriting grounded in the potential to dance, Bellhead is definitely something to consider. ‘Good Intentions’ will leave you craving more of the bad taste it’s gonna leave in your mouth. My only complaint is that I want more!

Josie Pace:Rambling Album Review

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Social media hasn’t been all bad. Sure, it’s disrupting the wide world and our little communities in dangerous ways that undermine our collective goods, but on occasion it connects people with quality art, so I’ve stuck around. I was wasting a bit of my life on one of those wretched platforms when I scrolled past a recommended artist. Josie Pace stood on a stage. She sported a mohawk, dark makeup, and a facial expression that told me I’d likely get punched in the mouth if I made eye contact. Her aesthetic appealed to me, and in the post she used hashtags like #postindustrial…so I searched for her music on the streaming service of my choice and went to bed. I wasn’t on board at that point, as image doesn’t always equate to good music.

My daily commute to work is forty-five minutes one way, so I tend to save new music for these routine car rides. It’s the most alone time I get in any given day. I went to put on some music before pulling out of the driveway and saw the record I had saved the previous evening, and knew I had to give it a spin.

lv0x10v5 kicked off with I’m Begging You-an absolute heavy hitting electronic song that had me convinced this was an excellent opening song. If the rest of the album kept up in quality, I knew I’d be hooked. Pace utilizes electronics in a way that I’ve wanted to hear but have never quite found until now. The record continues with booming hooks on every track. The songwriting style is authentic and incredibly human. Her voice is powerful beyond measure and compliments the music without overshadowing it. Mechanical synthesizers don’t rely on distorted guitars to fill the void…there is no void, as space is used with fluctuating precision. I’m utterly impressed with the production.

It’s hard to pin down a few tracks that stand out, as there are no bad songs on this record. There’s no filler. After multiple listens, I’m convinced that this is going to be a long-term favorite.

Josie Pace has revealed that she’s back in the studio, working on new material in 2023, and I’m excited. She’s earned my fandom. If you’re into industrial music with rock elements, check out Josie Pace. This is exciting and dangerous music.

Ships in the Night:Latent Powers:Album Review

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Comforting electronic beats direct a ship of dreamy synths through the night in a way that convinces me I’ll live to see the sun again. I found ‘Latent Powers’ by Ships in the Night on a whim. Random scrolling on social media brought me to a record label that tends to deliver material I enjoy, and Cleopatra Records is one of those hubs. I saw a post, and followed my typical streaming routes to a record that’s been on repeat since it’s release. 

Every song offers the kind of quality promised on the official twitter account:music to cry and/or dance to. Medium tempos run the gauntlet of ten tracks, stimulating an atmosphere of blacklight, mist, and a lonely dance. It feels like a singular journey through a story of love and loss that you can apply to whatever narrative you want to give to these wonderfully delivered lyrics. The first three tracks that open the record are my favorite. ‘First Light’ breaks the ice with my heart and piqued my curiosity for more, as I felt something familiar in this new song. ‘When I Was Found’ and ‘Lost Times’ continued the trend of breaking my heart with each line, as the songwriting hits close to home with my own personal troubles. ‘The Fire’ utilizes a pulsating bass line that carries the song in a way that almost deviates from the dark wave sound and borders on what I’d call industrial, without abandoning the overall sound of the record. ‘It Goes Down’ offers an atmospheric tour of sorrow that builds a wall of sound off of pure minimalism, an impressive feat of audio production. The Echo & the Bunnymen cover of ‘The Killing Moon’ caught me off guard in the best kind of way. It edges on the conclusion of the record and once the chorus triggers that nostalgic reaction, a lovely reworking that stays true to the original captivates me. 

‘Latent Powers’ by Ships in the Night is a lovely dark wave record that deserves attention. For fans of Switchblade Symphony, Crying Vessel, or the new Halsey album, give this record a spin.

Intruder by Gary Numan: Album Review

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If Edgar Allen Poe or Alfred Tennyson were alive today, had access to synthesizers, and made music of their poetry, I firmly believe they’d make Intruder by Gary Numan. The lyrical theme of the new record puts emphasis on what has been lost to circumstance in such a way as to ache with the particular sting of tragic romance that resonates with certain 19th Century poets. The end of the world reminds me of heartbreak. The hurt that is communicated is so clear and that transparency sounds authentic. There’s poetry in these songs. Collapse and distance are offered with genuine concern that makes the content relatable. The past is haunting to those who’ll have it, and I was struck again and again while listening to this album. Lyrics like, “sometimes when I’m dreaming I forget that you’re gone. Now when the wind cries, I remember you,” uses the simplicity of our shared human experience to cut as deep as anything. The end of the world has a lovely soundtrack. 

This new record is rich with dark electronic textures that eclipse all hope. It contains beats that are fine-tuned and tweaked to appeal to new fans while pleasing those who’ve been listening for decades. It’s contemporary sounding, which speaks to a desire to always be learning and applying it to the craft. It’s scarier than Numan’s earlier work, but that’s a wonderful thing. He’s changed quite a bit over time, which is the desired route of a quality artist who has had the longevity of his career. With that longevity comes a sort of freedom, so it seems this is the kind of music Numan wants to make right now, and it’s nothing short of fantastic.

Distorted beats mingle with authentic sounding pianos and strings with eerie intent that is often both high energy yet subdued at the same time. Sharp percussion hammers at the psyche while the music it holds up offers relief. The production is sleek, bright, and beautiful, an aspect that shines through the darker qualities of the record in a niche where production typically aims for something with a bit more dirt. For that, it stands out amongst its peers. I’ve been listening to the record on repeat since it dropped. I’m still impressed. The song Intruder is my personal favorite. It’s aggressive and angry, and the music reflects that without deviating from the production that shines through the shadows of the subject matter. It represents the tone of the record as a whole, as the dark beat carries soaring electronics to heights I didn’t know I could find in what I think of when I consider ‘industrial’ music, but the tracks don’t lie. It’s a heavy hitting industrial record with just enough pop elements to maintain a lure and a hook in every song. There’s nothing to skip on Intruder. Gary Numan is where it’s at. 

Bad Witch: Music Review

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With ‘Bad Witch’ Nine Inch Nails has completed a trilogy of EPs, as was promised with the initial release ‘Not the Actual Events,’ and followup, ‘Add Violence.’

The EP begins with the chaotic rock of an old school NIN release. The two opening numbers, ‘Shit Mirror’ and ‘Ahead of Ourselves’ are politically charged excursions that express rage in the aftermath of apathy. Lyrics like, “I think I knew when it crossed the line” and “why try change when you know you can’t?” reflects Reznor’s internal struggles onto the world at large. The songs talk about squandered potential. When left to our own devices, we’re most likely to destroy ourselves in spite of some better vision. The verse/chorus structure of the first two songs offers a comfortable way to start the album by this uncomfortable artist.

Then the record changes course an instrumental track, titled, ‘Play the Goddamn Part.’ Noise levels border on cacophony before the music settles on a path that refuses the straight and narrow. What’s truly unique here is the saxophone, as I haven’t heard an honest horn section since ‘Pilgrimage’ from 1999’s ‘The Fragile.’ Aside from that you’d have to go back to 1988’s ‘Purest Feeling’ to find horns on a NIN track. While it’s been documented that Reznor played the sax during his high school years, up to this point he had left it in the past, as the previous examples were made with synthesizers. The third track moves with the grace and balance of a living entity.

The fourth track is titled, ‘God Break Down the Door,’ and is rife with saxophone, uptempo drums/synthesizers, and a vocal composition that reminds me of David Bowie. The lyrics declare, “You won’t find the answers here… not the ones you’re looking for,” in spite of the effort required to break down the perceived barrier.

‘I’m Not from This World’ is an unsettling instrumental track that creates a sense of space. The tempo slows down, and audio levels are below that of the other songs. It’s a haunting soundscape that deviates from the thoughtful composition of ‘Play the Goddamn Part’ as it wanders into the void of space.

‘Bad Witch’ concludes with my personal favorite track, ‘Over and Out.’ This song returns us to the beat driven downtempo that is a NIN standard. Heavy drums and beeping synths set the foundation of what feels like an instrumental journey. A bass line jumps on, and the wall of sound layers up. It feels like one of Reznor’s signature works, but a surprise is offered up when vocals break the ice, as the styling again reflects that of David Bowie. There’s no verse/chorus structure (same with ‘God Break Down the Door’), so the voice expresses, “Time is running out,” and all the complications associated with the passage of time.

With ‘Bad Witch’ being the final installment in this three-EP series, I’m hoping for a world tour that’ll land near me. It’ll be damn cool to see Atticus Ross in the live lineup. The new collection of songs are definitely worth a spin.

bad witch

Not the Actual Events: EP Review

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With the year coming to a close I figured the Trent Reznor/Atticus Ross camp was going to hold off on new Nine Inch Nails until after the New Year. I’d been satisfied with the ‘Before the Flood’ soundtrack, but new music with little notice is always a perk worth the excitement. Not the Actual Events is a five track EP that explores solid walls of distorted sound. Over the years I’ve come to develop certain expectations of Reznor and his work, but what makes this record special is that where it doesn’t deviate, it exceeds. Old tendencies are coupled with fresh ideas, and the resulting record feels like something that would’ve been produced in the 90’s, without sounding dated. The word ‘thick’ kept coming to mind as I listened through it. Thick beats, dirty bass, and layers upon layers of oppressive noise.

In terms of songwriting and production it’s a complete departure from the 2013 release, Hesitation Marks. It’s full of screeching, distorted, atmospheric guitars, scattered throughout the EP. The use of guitars and bass with this approach to production is more in line with rock, but the result is less polished than previous rock records. It’s not pop, and doesn’t have anything that would appeal to mainstream rock radio, which is why it’s sure to please the diehards. There’s a lot of moving action and sequencing, the sort of thing that merits multiple listens.

As a drummer I’m always fascinated by the variation of drums, and Not the Actual Events delivers in that category. Electronic drums are sequenced through songs like Dear World, while the booming roomy sound of She_s Gone Away are a quick disconnect from the previous track. These changing elements keep the movements fresh, which is common with NIN, but worth the observation here.

Certain parts of the record reminded me of The Dillinger Escape Plan. Specifically the vocal inflection during the chorus of Branches_Bones, and the rhythmic procession of The Idea of You, stood out as things I’d expect from Dillinger. Not a criticism, just something I noticed.

While the wall of sound is what got to me through my first couple of spins, I came to find my attention drawn towards the vocal production. Throughout the record the vocals are mixed in such a way to obscure what’s being said, which may frustrate the casual fan, but I find it to be part of the charm. In other places the voice is loud and clear. The theme of balancing nihilism with passion reveals an individual who is uncertain, and often-in denial.

Overall Not the Actual Events is an experience that can’t be disproven. It’s short, bitter, and made of all the pieces/parts of a great Nine Inch Nails record.

nine-inch-nails-not-the-actual-events-1481918275-compressed

UPDATE: 03/06/17

When I initially purchased the mp3s it included a “physical component” to be mailed at a later date. It was something to hold in your hands, and seemed like a nod to our collective nostalgia. After a few weeks I sort of forgot about it, until it arrived at my door, and made me excited to listen to the EP again.

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A caulk like-charcoal dusting had blackened my fingertips right out of the plastic. It contained a transparent piece of film with an image of Trent/Atticus. Then a paper slide for each track with lyrics. The backs had more of the charcoal residue textured to an aesthetic visual, and came up/smeared with a touch. Most interesting (to me) was that the page with the lyrics for “she’s_gone_away” had the lyrics to their 1994 track “reptile” squeezed in between the lines, which suggests some kind of narrative connection.