Rhett Repko - Thnx For The Ride (2018)

OFFICIAL: http://www.rhettrepko.com/

FACEBOOK: https://www.facebook.com/rhettrepko/

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Written by Wendy Owens, posted by blog admin

Rhett Repko’s new seven song EP Thnx For The Ride capped an active 2017 for this impressive musician, writer, and performer. His previous EP release About Last Night occupies a much clearer singer/songwriter niche than the new release, but he sustains the same level of excellence that’s defined his work from the outset with this new release while taking his music in a distinctly different than before. Thnx For The Ride is an outright rock and roll album – there’s some acoustic guitar present with the release, but there’s no question that electric guitar dominates these songs and Repko proves to be credible in that mold. He has an outstanding band accompanying him on this seven track journey. Lead guitarist Stefan Heuer, bassist Dan Gallagher, and drummer Tom Bryant is a crack musical unit who are never flashy without cause and give Repko’s songwriting the added spark it deserves.

The EP opener and title song “Thnx for the Ride” announces the collection’s intentions. Repko clearly wanted a gripping, immediate sound and this tune doesn’t disappoint as “Thx for the Ride” features shake you by the lapels rock thunder along with some deft shifts in time signature and tempo the band flawlessly pull off. “Please Don’t Laugh” is a little closer to straight forward rock than the opener, but there’s the same high degree of musicianship pushing things forward that distinguishes the title number. Repko’s vocal here stands out as one of the best on the EP and he mixes emotive phrasing with high energy in a way ideally suited for these songs.

A songwriting high point arrives with the track “It Ain’t Coming From You”, and Repko fans the caustic flame of heartache burning inside this song with an impassioned singing performance. Guitarist Stefan Heuer contributes some important harmony vocals throughout Thnx For The Ride, never vying with Repko for supremacy in the mix, but rather strengthening his already fine delivery. The song is musically compelling, as well, particularly during its surprising second half. “And I Told Her So” is probably Stefan Heuer’s finest moment as a guitar player on this EP and his lead work late in the song immeasurably adds to its final impact. The lyrics are exceptional, once again, without ever overreaching and Repko’s vocal ranks with the earlier “Please Don’t Laugh” as one of his best moments on Thnx For The Ride.

The brisk pacing of “Learn Your Name” allows for a number of stuttering tempo changes, yet the song never goes astray and has genuine commercial appeal to go along with its unimpeachable rock spirit. The finale “Make Me Right” is a fiery curtain for the EP and serves as a musical exclamation point for everything that’s preceded it. Rhett Repko’s written and recorded quite an explosive little rock release with Thnx For The Ride and it’s intriguing to wonder where his Muse might lead him from here.

Shofar - s/t (2017)

BANDCAMP: https://shofar.bandcamp.com/releases

BROADJAM: http://www.broadjam.com/shofar

Written by Daniel Boyer, posted by blog admin

Shofar’s return to the musical arena with a six song self-titled EP will likely stand, by year’s end, as one of more successful releases in the band’s admittedly slim discography. It marks their first studio work since 2005’s Turn, but the time away hasn’t dulled their musical acumen in any appreciable way and, indeed, it seems lead singer and songwriter Larry Hagner has further matured during his time away from the microphone. The band’s religious/spiritual based message hasn’t been secularized, per se, but rather subsumed into an accessible vehicle that presents it alongside recognizable sounds and avoids any hint of hectoring or sermonizing. This is far, however, from a glorified solo vehicle for Hagner – taken as a whole and on an individual basis alike, the songs on this self-titled EP are clearly the product of a cohesive unit with each member making important contributions to the overall whole.

There’s a nearly progressive, quasi-classical intro kicking off the EP opener “Running” before a wall of pulverizing guitars falls on the listener’s head. The chaos clears for Hagner’s vocals to enter the mix and the nicely melodic qualities of his voice contrast nicely with song’s recurring raucousness. The indie nature of the band’s recording doesn’t hold them back at all; everything has a high level of production polish and an obvious ear for instrumental balance. While the rock histrionics of the opening track afford Hagner a chance to flex his hard rock muscle, we get an opportunity to hear his more classic melodic strains on “Powerman”. There’s some backing vocals sweetening things here at key points and some steady, unspectacular, but wildly successful guitar work. “Shades of Grey” is, like the aforementioned tune, more modulated than the EP opener, but it has a strong alt-rock stride that gives it some added urgency over “Powerman” and there’s a wider vocal presence on this tune that helps the tune come off quite nicely.  

“Hands Down” is more about observing a specific character than any particular message and one of Hagner’s best writing jobs on this collection. It’s a hell of a rock track as well that percolates with real rock power and an appealing “sweep” carrying listeners along. “Countdown” and the finale “The Coming” are much more in keeping with the band’s earlier material, but there’s an intensely human quality to these songs that keeps them tethered to relatable qualities instead of sounding unduly preachy. Shofar’s self-titled EP is a great musical mix that’s equally capable of overwhelming listeners as it is beguiling them. This is a talented band that we need to help redeem challenging times in the world of rock and roll. They bring great music to the table along with first class lyrics that draw you in.

Blue Apollo - Light Footed Hours + Circles (2017)

OFFICIAL: http://blueapollomusic.com/

FACEBOOK: https://www.facebook.com/blueapollomusic/

TWITTER: https://twitter.com/BlueApolloMusic

Written by Frank McClure, posted by blog admin

The members of Blue Apollo’s (a group of Dallas, TX pop/indie rockers) history stems back to their paths crossing at the Southern Methodist University’s Meadows School of the Arts.  During their time at the school the future band mates formed a strong bond that encompassed similar musical and artistic tastes which led to the formation of project.  Though now a four-piece, most likely due to the fact that their debut EP Light-Footed Hours requires several segments of piano/organ/cello in addition to basic rock n’ roll instrumentation, this trio rocks hard and sinks deep into subtlety on this flagship six-song offering. 

Points of comparison are difficult to come by but the individual players’ list John Mayer and Maroon 5 for starters.  One could also say that they draw from the 90s indie-rock scene, catchy pop music, a touch of hard rock and a little bit in the way of orchestrated chamber music.  It’s a unique and entertaining mix that keeps the listener guessing throughout.  Jeremiah Jensen’s lays right into lead-in number “Walls” with a shaking, trembling beat that’s heavy on the snares and tapping rim shots.  Musically, the tune shoots right into perpetual motion with the percussion being joined by an aquatic bass line, stream of consciousness melody vocals and glowing electric guitars with nearly all of the distortion pared down.  Immaculate layering and building continually piles on numerous jangle-pop guitar lines and polyrhythmic backbeats in an infectious take on The Cure’s contagious post-punk minus the goth intentions.  Eventually sizzling bits of electric guitar and rabid jazz cymbal ghosting lend the cut everything it needs to become the multifaceted musical monster it strove for from the first note.  “Feeling Right” allows guitarist/vocalist Luke Nassar to mix several guitar styles into a distinctive whole; from tuneful, highly melodic indie-licks that are quickly picked to funky down-strum to wailing old school rock leads, Nassar is able to run the complete gamut of expression in this hip-shaking, mid-paced rocker.  The rhythm section plays with flash and panache but never speeds up too much, valuing tight, compacted playing in favor of speed thrills.  Though classified as indie-rock, this band proves that they are much more than any label could tag them with.  Wraparound guitar licks render “Therapy” an immediate standout as a melody-intensive pop rocker that hits all of the right chords and sends the hook-riddled chorus arrangement right out of the park with a grand slam homerun.  “Avalanche” and “Meant to Be” are a superb couplet of tracks and make for an interesting pair to analyze while the EP plays through.  Both more or less begin with a lengthy passage of Nassar singing back by a solo instrument (in “Avalanche” it’s piano and in “Meant to Be” it’s the singer’s own acoustic guitar), but once both pieces progress beyond their middle waypoints it’s an exercise in no-holds barred rock where even the instrumentation is tougher than any of the other tracks on the EP.  Closer “Circles” returns to the symphonic pop swagger of “Therapy” and couldn’t end this recording on a better note. 

Though Blue Apollo wears certain influences on the band members’ collective sleeves, they still manage to come up with a sound that’s quite eclectic and original.  They have zero trepidation about combining disparate styles into a single song while making it work to boot.  Fans of edgy pop rock should definitely make room in their collection for Light-Footed Hours.   

Man Called Noon - Everybody Move (2017)

OFFICIAL: http://mancallednoon.com/

FACEBOOK: https://www.facebook.com/mancallednoon/

TWITTER: https://twitter.com/ManCalledNoon

Written by Jay Snyder, posted by blog admin

Windy City alt-indie rockers Man Called Noon return with a brand new EP, Everybody Move.  Adding a new member in Nathan Crone (keys and auxiliary instruments) has deepened the band’s pulsating, dance-y grooves tenfold and the three tracks here exhibit much growth from their second full-length The Bad Guy.  Each cut thrives on spirited and highly energetic instrumentation led by a punchy rhythm section and a low, buzzing new wave synth frequency that pushes the band’s big chorus hooks to the forefront to make it all the more memorable. 

The title track starts thing off with a steady ready upbeat guitar riff played out over a lockstep drum beat and taut bass lines.  Lead vocalist/rhythm guitarist Anthony Giamichael’s higher register croon fills the song with a smooth focal point melody that builds up to a stellar chorus pay-off that’s made even sweeter thanks to Erin Piortrowski’s slick harmony vocals.  Lyrically, the message celebrates life, love and good times by inciting the listener to move and live to the music and the overall human experience.  A searing late game guitar solo explodes like dynamite atop drummer Josh Fontenot’s rousing forward pushing beat.  There are touches of pop punk, new wave, indie, dance music and r & b.  The mixture brewed in the songwriting always goes for a fresh and original approach to the type of music that the group favors.  A ragtime piano is the icing on the cake of this excellent track.  “Kiss Kiss Bang Bang” relies on a bass-y, fuzzy lead keyboard riff that alternates with the cascading guitar licks and a driving low end throb.  There’s little time for balladry, boredom or slow tempo drudgery as the band is always operating on high octane.  Again the sugar sweet, dueling male/female vocal counterpoints craft a song that you’ll immediately want to sing-a-long to.  The guitar work even incorporates influences as disparate as jangly funk pattern into this rich sonic melting pot.  Closer “One Last Ride” runs a catchy punk rock guitar hook up and down the fret board.  It collides into a bass groove that’s got energy and bravado to match its 6-string counterpart.  Giamichael attacks the vocal line with some gritty snarl and drawl while the music’s pounding, hypnotic repetitions give way to full-fronted aural charge that keeps the pacing on high and the vocal trades in the limelight of the band’s palette.  The formula maybe simple on this tune but simple formula’s applied and layered effectively make for great pop music and although pop might be a huge influence on this music, Man Called Noon deliver their material with an edgy panache that never lays back (Piortrowski’s soulful howling back-up vocals are a serious aggressive high-point).  These cats know how to attack and strike; it makes their songwriting far more memorable than lesser bands of a similar ilk.

Everybody Move is an excellent EP with three great songs that you’ll have on repeat for quite some time to come.  It showcases a band at the height of a serious growth spurt.  Man Called Noon just keeps getting better and better with this quick platter containing some of their very best work to date.