2. Angelica Garcia - Echo Electrico
Overall impressions of this album, of the nominees, so far this one has the best production. All in Spanish, this artist reproduces Latin American Folk, and RVA Mag's Drew Necci writes: "just knowing that Garcia created these towering cathedrals of melodic sound solely by layering her own vocals is enough to render the whole thing rather fascinating." At times, the music sounds a little Middle-Eastern to me, especially on the first couple tracks, because there are so many sharp notes and unfamiliar layers of rhythm. I used Google translate on the track titles, just to get a small idea of the meaning of this album. (Once I tried watching Apocalypto without subtitles first and when I watched it a second time with dialogue I could understand, let's just say I was off on a completely inaccurate tangent without them, so take my review of the following tracks with a grain of salt.) Track 01, Malaguena, is a dance similar to the tango. I wouldn't say the intro is joyful -- overall it's a dark album, but also simple and truthful. That is my impression. The music is strong in descent and then a little tragic and cold when it wakes up? But it's over all really beautiful. Track 02, Macorina, means "blessed," and often is a girl's name. I am sure I am missing a lot of meaning, but the back-and-forth and heavy downbeats you might think of with a tango dance kind of carry on in this song, and I get the feeling the speaker is searching for something. Track 03, Llorona, refers to a crying person, like a mourner or a weeping lady. Further down this camina, buscando, Garcia emotes sadness and mourning, sympathy, and then a chorus of harsher, more caustic bitter voices. Track 04, Cama de Piedra (The Stone Bed,) has an intro that feels like a Bon Iver song. This, and the next, final track, are my favorite for her vocals because the Bon Iver-like notes serve as a simple background rhythm, no longer tango-esque, and her singing hovers over it in the most gentle and simple song. It feels like waking up, like the very-very end of Winter. Track 05, Paloma Negra (Black Pidgeon,) kind of stays in the cold transition, and that's where this album leaves off. I like it a lot and would want to hear what comes next from this California- native artist. 3. Ant the Symbol - Ant Hasn't Heard of You, Either Here's a RVA Brand hip hop mixtape release. Ant the Symbol features other artists and covers the bases - discussing his musical peers and his respect for the work they do, his attitude about work, civil rights for low-income people, and other such stuff. This rapper has some awesome flow! Some of the songs are infections and empowering! In all, it feels like an intro to the artist's work and life, so if you hadn't heard, Ant Hasn't Heard of You, Either. This album does what it says it should, and by picking up in strength, with each track, it elevates the game. I like the intro beat (Yo!) With an unassuming, steady beat that makes me think of the humble work of ants, this album kicks off with a good humor. Names, track 2, rolls off a slew of names in the rap industry. Ant takes an edgier rhythm and challenges everyone to elevate game which is of more value than fame. I think this song is pretty tasteful, stays focused on the music industry, and is catchy! Then, the Usual Suspects (track 3) gets a little loose, and makes some boasts, but paints a cool setting. The artist imagines he is on a march to the grave, and still talks about working hard and not letting things hold you back from your goals. Track 4, Gross, samples from Adam Sandler's Billy Madison, and sounds like a Snoop song. The background has the most mixtapey feel -- it really sounds like someone is playing a mix-tape track in the background, like it's from the vault. Loves it! 5 That's Him is a song that's "Citin' the brawl." The speaker addresses his art when it's designed for conflict. Or even describes music when it's needed to record conflict. The artist kind of seizes his role and identity. 7 Slides -- I think this is one of my faves for all the images - of childhood "slides" are images, and being lost in love- the boy and girl aren't catching eachother's slides. 8 Gone Astray is kind of mixing in the R&B - "Gotta change the bass on this love sh**." Between this and the last song, we are getting the blurry undefined emotion where the speaker is talking about himself and his love. When things go wrong, when you can't tell who is gone astray or what, I think the recipe is for danger. So I think the title for this piece is well-chosen. So track 9, Protect Your Peace, elects to make a turn, focusing on what makes this artist's identity unique. But it's not an easy road. I really enjoy it, though. These two songs in a row show a transition for the artist. 10 - end And I Wake Up - look for more polished song style with musical refrains and less of an in-your-face rap, the words blend into the music a little more. Overall- a really cool album, and I'm so glad I got to review it for this prize! 4. HYPERBEAM by Big Fundamental Whether their bandname refers to the fundamental truths, or the founding principles of the universe or just the fact that this group is big on the fundamentals of music? I'm not sure. The singer does refer, on track 04, World's Largest Fiddle, that something sounding flat, still "sounds right for me." I took this to be in reference to the singing voice, which is flat but still hangs in key for most of these songs, and dramatically varies in intensity. I think this group probably has a great stage presence. The drama is there. Definitely check out these long, hazy rock songs that off the bat, sound like the Cure maybe? And get in your face. To me, this is melody-driven music and while it has the punk feel of disregard for the melody, the singer says that might not necessarily be a correct impression! Track 01, Haze, features amazing textured rhythm and loose, low bass, a flair for the dramatic in the "break the rules to make the rules," tuneless delivery of lyrics that challenge the boundary between meaning and nonsense. Track 04, World's Largest Fiddle delves into an alt folk sound with sparse and piercing melody, but weaves back and forth between that style and the rushing percussion and abandon of alt rock. Tempo picks up at the end of this song. Track 05, Cuttin' Slack. This song builds the reverb right in and makes me feel like I just had my ears dashed at a concert even though my volume is not all the way up! "Not holding onto days that pass," this song looks into the art of letting go and with the rushing, atmospheric backdrop, it's hard not to be persuaded and carried away by the music. Track 06, Daunted "Sittin' in the sun, drinkin' the shine" This slower number has lots of imagery and repetition and a melody that is only sometimes present. Track 07, Chills - Another melodic riff intro and a message to just do good and keep doin' it." If that's the big fundamental of this album, I'll buy it! I can't tell, but as I make my way through the list of nominees for the Newlin Music Prize, I'm decided: the competition is of a stellar class! This is yet another well-mastered album.
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Abby Huston, AH HA
Check Overall Impressions: Reminds me a tiny bit of the Crumb show I saw at the Broadberry last year. It's the sax and the vocals. And where it's finding me? This album feels very relevant and current to my personal experiences since I just got an apartment. I want to delve into its quirks! Check youtube videos for Apartment and Unrequited. Track 2. Can't Be Sweet *FAVE TRACK* Not to be silly, but this song reminds me of the tough times in Shrek II. (Even more electric and painful than Shrek OG.) Due to the organ keyboard. I think a lot of this album depicts persistence through doubt, and here, when the artist say "I can't be sweet," maybe it has something to do with feeling a little bit defined or limited by this relationship with doubt. ps I can't be sweet. ps. Track 3. Higher Together, trax 3-4 feel like a power trio of statements/ and im not editing my typing for the next few mins too much ** but Track 4. Unrequited This is where my notes start-- on a credit card statement envelope. The male lyrics here at the end remind me STRONGLY of the honesty and simplicity yet sometimes colorful flagrant voice of Don Fredrick. I miss the beautiful song voice of Will Cummins. So... Bring on Not Kevin. AKA Cameron Smith? With the talk back and forth between girl and boy seeming sincere on one side and then just as sincere but a lot lighter and ever-so-slightly cheeky to a nice girl, maybe just because it's like he is sharing their secrets by singing back her! https://donfredrick.bandcamp.com/track/percy https://donfredrick.bandcamp.com/track/karma-slow-ghost Track 5. Lillies Tagging Songlines by Derek Trucks for the joyful instrumental sounds here. Please tune in, because I do adore front porches. I also enjoy the metallic sounds on this track that maybe help create a feeling of being on a front porch. "All I see are memories........that day we didn't know we would need." Track 6. Apartment This is my favorite song because it's about the self and self-exploration more than the previous songs. Where the intro was in conversation with someone a little bit, this one is more inward looking. Readers/ listeners, please check out the songwriting on this track especially. And also the melody. It's kind of unrestrained, and when I compare to Crumb-- this is the song I'd think of--- rainy, and unrestrained. You can't chain the song to the melody here. I really like the way the Apartment video depicts the artist alone on the roof. She is in her own world with the songs and the band is kind of supporting her vision from another place, not disturbing her or challenging her. It's like the musicians are trying to play a traditional 3- chord song along with a jazz singer. It's a fun concept! And has a nice, respectful, creative vibe. Track 7. Home The powerful intro is awesome here after such a vulnerable song because it just is --- this song looks at the future -- starts from like a groud zero place with just the buzzy electric guitar strings and voice. And thinks of a relationship as one might, removed, in the future, from memories. Track 8. L Train "Oh Darlin" is this a nod to Beatles? "Sinkin of the sea..." Here the keys are introduced again and they are very discordant with the melody at first but amazing and on a concert piano not keys ok? Hard to picture this piano on stage with the band (then again, no, the horns totally pick up and meet the piano,) honestly but i dig the showstopping quality. In the loudest moments I am remembering Laura Marling and the dramatic jangling gypsy music from NRN. So, ALSO MY FAVE TRACK. Laura Marling Song For Our Daughter Track 9. Younger "If I took 4 steps closer..... Why am I so uninhibited?" This song is nice for sure, feels like a bookend to the other tracks. It makes a really critical comparison. Being like a child in love doesn't mean having no doubt or caution. I think it ends the album on a note that is kind of pensive and dreamy over the past and pointing the way directly back to the sentiments expressed on the first track of the album, Promise. I get the impression that lots of material I WOULDNT MIND LISTENING TO has been omitted from this recording :) There are these little voice tags at the end of some of the songs that say, like: "ok it's over now even though it doesn't have to be but it should be ok bye." #awkwardbow Most of the tracks are 2.5-3.5 mins and it's a lovely piece altogether. The music is concentrated and interesting, and I'd like to hear more of what's jamming in between the songs! BONUS MATERIAL: Back in the day, being 28 at the 20's show Dear M, I don't know whether I'd rather be last night the third act at the garage band show who entertained the peak audience Don Fredrick had to play and stay alert while audience members surged into their space as the whirlers lost their footing or were jostled when a fan or two dropped from the I-beam. I'm going to remember the people on the ceiling and the hard driving bass & guitar line that kind of braced against the chaos wove through the circulating garage audience asking ppl what was next. whatever part in the lineup, wrapping up an act means setting the stage for the next act- whether it be Manatree or frikken life itself. Last night they came out with a heavier sound from the bass & guitar and grittier than say, one of their Talking Heads covers, that still blended nicely with playful psychedelic key doodles and mini-riffs. If I were a seagull it was a hot, difficult day and I was dropping little clawfulls of crunched up shells in the surf when I was diving for ghost crabs. And every so often I'd hear another seagull call and decide to pump it up a little higher and look around. If I were most honest with myself, I most wanted to be opening act, Sea Glass, stole the show for me, partly because of who they were in the circumstances. I was full of memories of the last Black Valentine party we attended, and I was just hoping the music would make the night worthwhile, and carry me past my anxious memories. Turns out a girl band was exactly what I wanted to hear after another one of those Valentine's days. Clear confident voices from the two singing front-women, a girl drummer in pinstripes and a brand-new love song was just like a hug! A happy note and a great performance by the host band on a wonderful night. Yes, Don Fredrick played an excellent set and maybe a little more for the boys - that long heavy jam in the middle of their set, (and no moonlight!) I have seen the band 4x, and met a different group each time. Different circumstances, diff venue - I see & feel the strength of many voices and talents - a group that plays to its audience and can improvise! I'm so glad, and went that way into the next set. Manatree played a clean set with great sound balance in the three-walled garage. Maybe they even had to cut the volume back after hours. I couldn't hear them well outside the garage, but could mingle freely, as the crowd chaos had been subdued some, and the constant stream of incoming and outgoing patrons from the alley back door to the patio was becoming orderly and purposeful. |
AuthorWe are Kieran and Michelle, two 32-year-old William & Mary grads living in Virginia. Archives
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