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Review of ‘Noera Genesis’ EP by Eyemouth — September 30, 2015

Review of ‘Noera Genesis’ EP by Eyemouth

Noera Genesis is the third EP by Swedish band Eyemouth comprising of David Lilja, Marcus Lilja, Tove Ekman and Joakim Åberg.

It is a great EP, there is excellent layering of synth, guitar and background sounds with some excellent soundscapes too. The vocals are great, really edgy at times which gives a great tension. In fact there’s an excellent dark feel to the EP, it has a great sound and is really well produced.

Come This Far
This song has a great opening soundscape leading into a distorted riff and spoken vocals. There’s great layering of sounds, I really like the distorted tone of the riff. Drumming / percussion enters and gives the song a great momentum. There’s a really good edge of tension and changes of feel, some great background sounds too.

The Rise of You
An excellent atmospheric opening, this song has a dark feel and a real brooding quality. The percussion has a broken feel which really adds to the tension. The vocals are excellent again and the song has a great tension, really good layering of sounds with reversed vocals adding a great element. There’s also some great-toned distorted guitar and really good synth sounds too. The song has great changes of feel and a great atmospheric ending.

In My Mouth
A distorted drone to open with a dissonant sounding arp, the song has really growly spoken vocals. It’s a brilliant dark opening, the song has great drone qualities and some harsh background sounds.

Sometimes
Another great soundscape to open, vocals are processed really well. There’s great movement in a background sounds which acts like a drone. The vocals are spoken, they’re kind of whispered sitting back in the mix somewhat. The synth gives a great change in feel and a really good tension, the song has an industrial type of sound at this part of the song. There’s a great edge again, really good building of tension with synth sounds having a falling and rising pitch. There’s a really nice change of feel with the distorted guitar to end the song.

Eyemouth website
Eyemouth on twitter
Eyemouth on facebook
Eyemouth on soundcloud

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Review of Electra 2 VST by Tone 2 — September 29, 2015

Review of Electra 2 VST by Tone 2

There’s no doubting that Electra 2 is a very accomplished VST. It’s effectively 4 synths in one interface with 14 different combinable synthesis methods; 46 oscillator types; 38 filters; 32 effects and >1000 waveforms. The good news is that it also has a low CPU load too.

Considering all of this under the hood, the GUI is extremely well laid out and easy to navigate around. There are clearly defined sections for oscillators, filters, arpeggiator, envelopes, settings, effects, LFO and mod matrix. Each of the 4 synths has 3 oscillators and you switch between synths by clicking on the relevant ‘synt’ tab which then allows you to change the settings of the different sections for each synth. I really like the way each tab is colour coded blue, orange, green and red and has a backlight effect. It’s a very nice touch that the tab acts as the light source meaning the light moves along depending on which tab you select.

The oscillator section is usually the first one I check out and it is really well featured. As well as the usual controls for volume, octave, fine tuning, FM and mix there are other controls of ‘inter’ which adjusts the harmonic relationship (use with FM) and pulse width for ultrasaw spread and wavetable position. You can also sync and mix between osc 1 and 2 or osc 2 and 3. There are plenty of options too – the wavetable has 36 waves; ultrasaw has 12; noise / fractal has 13. Sample and custom wave are also provided but disabled in the demo version. The fact that you can use up to 12 of these in various combinations with all of the control in the oscillator section means you can create an almost limitless range of sounds just from the oscillators.

One other point to note with the demo version is that it doesn’t allow you to save presets or save songs so the next option is to check out the presets. Electra 2 comes with 1230 presets in 25 categories. The first thing you notice is the quality of the sound – it is excellent. The second thing you notice is the truly extensive range of presets available. There’s a huge range of bass sounds, modern synths, vintage synths, and some great bell type sounds. I was very impressed with the excellent keys sounds because I always struggle to find good sounding ones and there are several excellent presets. It doesn’t end there though, there are also excellent atmospheres and excellent arps which include bass, rhythm and multilayer varieties. There’s also ‘droidwobble’ which contains dubstep type sounds and even though that’s not my style there’s definitely some sounds in there I could see myself using.

Normally with a review I would create some presets to use in a demo song, however, in this instance the demo doesn’t allow this so I’ve created a demo using presets. The limitations meant that I had to record the sounds to audio and then reload in a separate project as samples. I used the customary ferric tds, density mkIII and TDL feedback compressor on the master channel and mangled the sound a bit using glitch (Illformed) and subvert and cryogen (Glitchmachines). No other effects were used. It’s called ‘vocas industria’ after one of the presets that was used:

 
The filter section is impressive too, it has 2 filters for each synth which can be used in series or parallel. They have analog, drive and ring settings which give some great tonal nuances. As well as the expected LP/HP/BP there are also some EQ, phaser and comb type filters plus some really cool fractal ones that give very interesting effects when used with analog and ring settings.

The envelope section has 4 envelopes – volume, filter and 2 auxiliary ones which can be assigned to the mod matrix. This means that you can automate the filter settings and get some great sounding filter sweeps easily or unusual sound effects.

The in-built effects are very good too, there is only one per synth channel and a shared master effect but they are great sounding and reverbs on the master effect are really impressive.

I really like the arpeggiator too, it’s really well thought through to give a more musical sounding result than a lot of others that I’ve used.

I’m really impressed by Electra 2. It has a great range of modern and vintage sounds which you can use straight out of the box. More impressively though, whether you choose a simple process with 2 oscillators or a more complex process with all 4 synths and extensive modulation you can easily create your own sounds and have a massive range of control. It’s incredibly powerful, very versatile and the possibilities are almost endless.

Cities and Memory Utopia project launches today (28th September) — September 28, 2015

Cities and Memory Utopia project launches today (28th September)

During August, more than 50 sound artists and musicians from across the world re-imagined one of the greatest works of English literature, using sound.

The Cities and Memory: Utopia project creates something new from the words of Thomas More and the collective imagination of artists around the world – an entirely new Utopia of sound.

Using a woodcut map from the second edition of Utopia from 1518, sound artists each took a small section of More’s imagined country of Utopia, and created a new soundscape imagining how that place (and the society living in it) might sound.

The result is a collaborative sonic imagination of what More’s Utopia might have sounded like, and deals with issues including slavery, religion, freedom and even the current refugee crisis in Europe.

The project is housed on an interactive sound map at www.citiesandmemory.com/utopia, featuring:

  • More’s Utopia divided into 30 different regions
  • 51 sound artists, musicians and field recordists taking part from across the world, each bringing their own interpretation to the project.
  • The sounds range from musical tracks built out of field recordings from Italy, France, USA, Australia and many other locations; drone and ambient pieces; pieces constructed from readings of the original text and other works; imagined conversations on the island; and even full-scale electronica tracks.

    Contributing sound artists come from locations all over the world, including the UK, USA, Canada, Greece, Germany, Spain, Portugal, Australia, Mexico and Sweden.

    A free album of highlights from the project, entitled Utopia, will be released via http://citiesandmemory.bandcamp.com at the end of October to mark the end of the project.

     
    I’ve contributed to several Cities and Memory projects as well as re-imagined some of their field recordings so I was very keen to participate in this project too. In fact I would encourage anyone to take part in a future project or re-imagine a sound, it’s a great way to use some unique sounds and maybe try something new or learn new and/or different techniques. Cities and Memory is a collaborative, open project – artists, musicians or field recordists who’d like to get involved can email stuart@citiesandmemory.com

    This one was a little different, normally you start with a recorded sound but this time it was a different challenge, starting with a picture. I had square C2, which was the capital city of Amaurotus. Trying to create the sound of an imaginary city is quite a difficult task. In creating my entry there’s an element of the changing sounds you tend to hear as you move through a city. Some field recordings from a park have been used in the piece and the percussive rhythm was also created using recorded sounds. I was also intrigued by the alternative interpretation of Utopia as ‘nowhere’ and the Greek meaning of Amaurotus as shadowy or unknown so another element to the piece was trying to weave some of these themes and some tension / dissonance into the piece without being too prescriptive to still allow the listener to create an image in their own minds.

    To create the song I used Cataract (Glitchmachines) to create the percussive rhythm; Polygon (Glitchmachines) to incorporate and modulate the field recordings; Poly 2106 for the strings; Aalto CM for bass effects and some sound effects; Nave (Waldorf) for a bass sound and Dune CM for the lead sound plus various delays and reverbs on these sounds.

    More’s Utopia explores the society, behaviour, law, customs and culture of the inhabitants of Utopia – a coinage that can be seen to mean both ‘good/ideal place’ and ‘nowhere’.

    However, despite the space given over to the topography of the country and the appearance of its cities and people, there are only a scattered handful of references to sound.

    The most notable reference to sound is simple: ““[The Utopians] entertain themselves with the delights let in at their eyes, their ears, and their nostrils as the pleasant relishes and seasoning of life, which Nature seems to have marked out peculiarly for man, since no other sort of animals contemplates the figure and beauty of the universe… nor do they apprehend the concords or discords of sound.”

    What were those concords and discords of sound that so delighted or repulsed the Utopians?

    The project is one part of a global field recording & sound art work called Cities and Memory, which aims to present and remix the sounds of the world through a global sound map in which every location has two sounds: a documentary field recording and a reimagining of that sound.

    The project, which has had 220,000 listens in the past 18 months, records both the current reality of a place, and also present its imagined, alternative counterpart – in effect remixing the world, one sound at at time. Every faithful field recording is accompanied by a reworking, a processing or an interpretation that imagines that place and time as somewhere else, somewhere new. The listener can choose to explore locations through their actual sounds, or explore interpretations of what those places could be – or to flip between the two different sound worlds at leisure.

    There are currently almost 900 sounds featured on the sound map at http://www.citiesandmemory.com, spread over 40 countries.

    Cities and Memory has grown rapidly over the past year, with features on The Atlantic, Vice, Slate.com, CBC national radio in Canada, Resonance FM in the UK and specialist sound sites such as Creative Field Recording and the London Sound Survey.

    The project is completely open to submissions from field recorders, musicians or anyone with an interest in exploring sound worldwide. The field recording and sound art communities have embraced the concept: more than 170 field recordists and sound artists from as far afield as Calcutta, Los Angeles and Cape Town have taken part, providing field recordings and radical reimaginings of global sounds.

    Cities and Memory website
    Cities and Memory on facebook
    Cities and Memory on twitter

    Review of ‘High and Vibrate’ EP by The Persian Leaps on Land Ski Records — September 24, 2015

    Review of ‘High and Vibrate’ EP by The Persian Leaps on Land Ski Records

     

    High and Vibrate is the third EP by The Persian Leaps and it is an excellent EP, a solid block of guitar driven indie-rock. There’s excellent riffing with a great variety of tones propelled by solid drumming and bass playing. The vocals are great too, really suit the style of the songs with really good changes in feel and expression.

    The EP is released tomorrow (Friday 25th September) on Land Ski Records and if you happen to be in Minnesota there’s also a release show tomorrow at the 331 Club, Minneapolis with Dan Mariska & the Boys Choir and Deleter. Doors at 9:30 pm. Free admission, 21+

    The Infection
    Great feedback / distorted guitar with solid drumming to open leading into a great riff. The vocals are great, I really like the changes in feel and the energy of the song, it has a great momentum.

    Under the Lilacs
    This song has a distorted, jangly riff to open propelled by great bass and drumming. The vocals are really good again, adding a touch of angst. I really like the edge of tension to the song which has great riffing with really good changes in tone and feel.

    Dottie, Queen of the West
    This song is embedded above. I really like the feedback leading into a distorted riff which has great tone and momentum propelled by solid drumming and bass. The vocals are more laid back which works really well, almost pulling back or reigning in the distorted guitar. There’s a great release to the end of the song and it reminds me at times of Paul Westerberg.

    Frozen
    A great uptempo riff to open the song, again propelled by solid drumming and bass. Great vocals again too, they kind of release the tension in the verse building again to the distorted riff. I really like how the strummed guitar gives a great contrast to the resulting distorted riff. A great momentum to the song.

    Anthem
    A slightly distorted riff with more of a laid back feel, a great groove backed by solid bass and drumming again too. There are some great harmonies and the distorted guitar has great tone and provides a great contrast.

    Land Ski Records website
    Land Ski Records on twitter
    Land Ski Records on facebook

    The Persian Leaps website
    The Persian Leaps on twitter
    The Persian Leaps on facebook

    Incidentally you can also read my review of their previous release, ‘Drive Drive Delay’ here.

    Review of ‘Fleurs de la Lune’ album by Quicksails on Captcha Records — September 22, 2015

    Review of ‘Fleurs de la Lune’ album by Quicksails on Captcha Records

     

    Quicksails is the main creative outlet for the prolific Chicago music-maker Ben Baker Billington. BBB* is a member of Moonrises, a tremendous psych band who released their sophomore record Frozen Altars with Captcha back in 2013. He is also the percussionist in the legendary jazz trio Tiger Hatchery. Tiger Hatchery just released their most recent album on ESP Disk, the same label that released Ornette Coleman, Sun Ra, Albert Ayler and Pharoah Sanders back in the day.

    While Quicksails can be considered BBB’s solo enterprise, he called in some friends to help with this record. Fellow TH members Andrew Scott Young and Mike Forbes are featured; Haley Fohr of Circuit Des Yeux (a band BBB has played in as well) also makes an appearance. Rounding out the cast of stars in this Chicago supergroup is Rob Frye, who plays with psych guru Cooper Crain’s Bitchin’ Bajas and CAVE. So basically what you have here is a meeting of minds featuring some of the finest experimental, jazz, psych, and avant-garde heads the Chicago music scene has to offer.

    Fleurs de la Lune is a great album, I really like the way that ambient soundscapes are blended with more edgy, harsher sounds but still retain coherence and a musical quality meaning that it doesn’t sound overly experimental. Sounds are layered against each other really well, at times the album feels like a daydream, with lots of thoughts and sounds buzzing around your mind whilst you drift away with other sounds grabbing your attention from time to time.

    Blocking the Signal
    This song has a great edgy, slightly glitchy opening evolving a really nice ambience whilst retaining an edge of tension. There’s great use and processing of vocal snippets and sound layering with a really good release of tension at the end of the song.

    In Wind or Flags
    This song has a great drone and edgy feel to the opening, there is some great layering of natural and digitised sounds. The song has an overall edgy sound and feel.

    The Emperor
    This song has great layering to open, I really like the vocal processing again and the ‘bubbling’ sound is used really well too. It’s another great soundscape, building tension to a final release.

    Afloat
    I really like the evolving opening to this song, there’s great use of vocals again which are layered really well against background sounds. The song evolves really well too with an edge of tension at times and a more ambient feel at others. Great use of percussive sounds too.

    Find Flux
    The video for this song is embedded above. I really like the opening, a kind of squelchy, splattery melody with natural percussion and emerging and fading pad sounds. The sax adds a great element.

    Charlie’s Tree
    Great use of delay on the opening, the bass provides a more solid contrasting sound. Great layering of sounds again with a good contrast between bell, strings and other background sounds. There’s also a great contrast with the more urgent percussive rhythm.

    Washed Hands and Hearts
    This song has a pensive or reflective feel to the opening melody with great layering of other sounds. The song has an edgy feel at times, the vocals are quite sparsely and subtly used which creates a great element to the song. The violin towards the end of the song is a nice touch too.

    Emerge
    Great synth sounds and background sounds to open with which creates an intricate complex rhythm. A synth lead kind of interweaves and there’s great layering of other sounds through the song too.

    A Field for Betty
    This song has almost stab like chords which give a nice movement against a gnarly bass and a layered sampled sound in the background gives a great contrast. There’s really good layering again, the song kind of ebbs and flows against the bass drone.

    Captcha Records website
    Captcha Records on facebook
    Captcha Records on twitter

    Quicksails on facebook

    Review of Chosen One compilation album on Factory Fast Records — September 21, 2015

    Review of Chosen One compilation album on Factory Fast Records

     

    This is an excellent compilation with some solid rock sounds, uptempo grooves, great chord vamps and a chillout track too. It has some excellent heavy, chugging riffs, great solos and excellent vocals too. I really like the straight-up rock vibe and no nonsense approach.

    Those Delta Wolves – Hide and Seek
    This song has great uptempo riffing and drumming to open with, leading into an excellent groove with a really heavy riff. The vocals are great, a really good presence and range holding notes superbly. There’s a really good solo too.

    Bison Sound – I Remember
    This song has a really good opening riff leading into a chugging riff which opens up really nicely. Great vocals, they have an edge of tension about them. There’s a great building and release of tension in the song too.

    Disappearer – Stuck in a Loop
    This song has more of an ambient feel to the opening, a great soundscape with really good jangly guitar. A nice change of feel creates an edge of tension. The delay effect on the drums works really well. There’s a great flow to the song with a great release of tension at the end.

    Sons of Death Valley – Lucifer by Candlelight
    Brilliant chord vamp feel to this song opening up the sound in the chorus. Really solid drumming and bass propel the song along with great vocals and there’s excellent riffing too.

    Second Player Score – Chosen One
    A great uptempo opening from riffing and solid drumming, really good vocals too leading into a change of feel with a jangly riff. There’s another great change of feel into the chorus too which has great singalong qualities. The vocals suit the style of the song really well.

    Logaine – She Likes Me
    Great riffing to open the song which is propelled by solid drumming and bass. There’s a great momentum to the song which has a solid rock sound and great brooding qualities opening up the sound in the chorus. There’s great lead guitar playing, it’s subtle sitting slightly in the background leading into a great solo.

    Michael Daughtry – Devil
    Another solid rock feel to this song, a nice change of feel from the opening into the verse with another nice change of feel into the chorus. Great rhythm guitar playing, really good changes in style. The vocals have some great harmonies.

    Factory Fast Records website
    Factory Fast on twitter
    Factory Fast on facebook

    Those Delta Wolves on facebook
    Those Delta Wolves on twitter

    Bison Sound on facebook
    Bison Sound on twitter

    Disappearer on facebook
    Disappearer on twitter

    Sons of Death Valley on facebook
    Sons of Death Valley on twitter

    Second Player Score on facebook
    Second Player Score on twitter

    Logaine on facebook
    Logaine on twitter

    Michael Daughtry on facebook
    Michael Daughtry on twitter

    Review of ‘Analog Punk’ by Microchip Junky (including Wired radio show special) — September 17, 2015

    Review of ‘Analog Punk’ by Microchip Junky (including Wired radio show special)

     

    This is a review of the 6 track preview, there are an additional 6 further tracks available after purchase. A CD with 20 tracks is also available.

    Analog Punk is a superb release. It was recorded on analogue hardware with a punk DIY attitude which really shines through. There’s a great intensity and raw, edgy vibe but also an attention to detail resulting in songs that have great sounds and layering with excellent production without being over-polished.

    The basslines are often distorted and dirty with a great movement in the sound that gives a solid momentum. Syncopation is used to great effect and there are some brilliant synth sounds. There’s a brooding almost seething tension at times but most impressively, the resulting songs are so much greater than the sum of their parts.

    Analog Punk
    This song has a brilliant intro, a great sound effect leads into a dirty bassline with a tight percussive rhythm. There’s some great 8-bit type sounds too. The vocals work really well, they have a great attitude.

    Who Stole My Chips
    A great opening again, the bassline syncopates really well and has brilliant motion in the sound. The thumping kick drum gives a sense of urgency and I really like the delayed lead sound which adds a great contrast. The song is really well layered and excellently produced to create a great vibe without over-polishing the sound.

    Dirty Electronic
    There are some great sounds to open and the bass and kick drum create a great urgency with other sounds building really well through syncopation and layering. There’s also an excellent build and release of tension.

    Swire of Tintwistle
    This is a really edgy song, it’s lyrics are quite abstract and a bit out there at times but it really draws you in and is engrossing at the same time. The song has a real brooding tension, great synth sounds and bassline and an excellent momentum from the drumming. The vocals are spoken with a real edge.

    Swagger (No Profanity)
    This song opens with a filtered synth bass drone and simple kick rhythm with a great change in feel and movement to the bass sound. I really like the synth lead which adds a great contrasting element. There’s excellent layering and use of delay too.

     

    If you’d like to know more about Microchip Junky there’s an excellent interview by Wired’s Keith Whitham on The New Music Directory website which you can read here.

    There was also an Analog Punk special of Keith’s Wired radio which is embedded below:

    Review of Maff self-titled EP — September 15, 2015

    Review of Maff self-titled EP

    Maff was originally founded in 2012 by Ricardo (Richi) Gómez (Vocals / Bass / Guitar) & Nicolás (Nek) Colombres (Drums), who have been friends since childhood and have previously played together in various punk rock bands. They were later joined by Martín Colombres (Guitar) and Gonzalo (Talo) Correa (Guitar / Bass / Vocals / Synth). Maff composed, recorded and produced this EP in their own studio, lovingly called ‘The Lab’ owing to the experimental output they concocted there. This album explores such themes as innocence, mysticism, true love, loss, drugs, freedom and timelessness.

    This EP highlights a great range of sounds and styles, all of which show excellent playing and have great guitar tone. I really like the way that Maff manage to create a dreampop feel and vibe whilst simultaneously creating a massive wave of distortion – think grunge / noise – which really sweeps you along. The vocals are excellent with some really nice harmonies, I also really like how they are processed to suit the style and sound of each song, often having a great presence from a really expansive sound.

    Act 1
    This song bursts forth with a slightly distorted slow guitar riff accompanied by excellent drumming and bass. The increase in tempo creates a brilliant sound, there’s a great momentum with a nice release of tension building again to a final release.

    Linger Around
    Alternating chords and solid drumming lead into a more uptempo riff which is more understated during the verse. Great vocals again which are processed excellently to create a really expansive sound. There’s a great contrast with the more upfront riff between the verse and chorus which has a great edgy quality / sound.

    Walking on Fire
    I really like the opening riff, it contrasts really well against the more distorted guitar. The drumming and bass provide a solid backing and the vocals have a real ethereal feel to them, they’re really well processed. This song has a great momentum too.

    Million Year Picnic
    An uptempo strummed riff to open accompanied by a more distorted riff and great drumming and bass gives a great momentum to this song. The vocals suit the style really well, they’re quite laid back compared to the rest of the song which gives it a great quality. They’re processed really well with some great harmonies too.

    Someday
    I really like the tone to the opening guitar, slightly distorted with a great tremelo effect which is then accompanied by a more distorted riff. The drumming feels more laid back than previous songs and there are brilliant harmonies on the vocals. The song has a great vibe and maintains an excellent momentum.

    You
    This song has uptempo strummed chords and riff to open with great momentum provided by bass and drumming. The vocals again have a great expansive sound. There’s a really good momentum to the song, nice build up to the solo which complements the song excellently.

    Planet Wave
    This song opens with really uptempo drumming and bass providing a great momentum backed by great guitar riffing. The vocals are excellent again too with a great change in feel. There’s really good control too, Maff kind of push the sound to the edge but reign it back in before going over.

    Blue Seas
    This song has great guitar chords to open and a subtle lead line, it’s quite uptempo with vocals providing a more laid back quality. Excellent vocals again, processing is more sparse than other songs and there’s a great edge of tension at times.

    Walking on Fire (Radio Edit)
    This was created by Ummagma. It is principally the same as the full version so I haven’t added comments to those above.

    Shameless Promotion on facebook
    Shameless Promotion on twitter

    Maff website
    Maff on facebook
    Maff on twitter

    Guitar Open Tunings – Dsus4 (DADGAD) — September 14, 2015

    Guitar Open Tunings – Dsus4 (DADGAD)

    Following my recent post which asked the question why do we limit ourselves so much to standard tuning on the guitar, what better way to start than with my favourite open tuning, DSus4 or DADGAD.

    You may well be thinking why do open tunings sound so different and there are a couple of principle reasons. The intervals between the notes are different which has a big impact on the sound. The detuned strings also have a different tension so there is a change in pitch but more importantly this means acoustic instruments resonate differently.

    As it’s name suggests, the low E string is tuned a tone down to D; the A string stays the same, the D string stays the same; the G string stays the same; the B string is tuned down a tone to A; the high E string is tuned a tone down to D.

    This tuning works really well in the key of D (D E F# G A B C# D), and the tuning is generally very forgiving of open strings. This means that you can get some great single strings riffs with drone notes for instance. It’s definitely one to experiment with, it may take while to get some sounds you like but I’m sure you will.

    I’ve included a fretboard diagram of notes and a few chord shapes to get you started.

    DADGAD open tuning-page0001

    Review of ‘Rise up Son’ compilation album on Factory Fast Records — September 13, 2015

    Review of ‘Rise up Son’ compilation album on Factory Fast Records

     

    This a great compilation featuring a wide range of styles from acoustic, metal, blues and jazz to soulful with a funk vibe. There’s some great storytelling with a simmering tension at times. The songs are all really well produced with excellent vocals and there’s also some great riffing and solos too.

    Michael Brondstetter – Ghost in the Walls
    This song has a great acoustic riff to open and excellent vocals. The song has a great arrangement and the guitar playing is excellent.

    Starkett Levee – Marshall Dillon
    A slightly distorted riff accompanies an acoustic riff to open, the song has a great edge of tension. It’s a great story telling with a real simmering quality at times and nice changes in feel too with excellent riffs and solo.

    The Celebration Army – They Call Me Jesus
    A great blues / rock n’ roll type of groove to the opening riff with bass and drumming, there’s a nice change in momentum to the verse with more of a funk vibe to the guitar. The song has great vocals too and a really nice build and release of tension with great changes in feel. I really like the solo too.

    Francesca Romana Fabris – You Won’t Put Me Down
    This song has a great jazz vibe to the opening which continues through the song. There’s a real passion to the vocals and the brass and sax solo add a really nice touch. There’s some great jazz / blues guitar playing too and really nice changes in feel.

    Johnny Hate – Around Myself
    This song has a great opening leading into an excellent riff, shimmering tremelo chord and a mandolin (I think). The song has a slow brooding quality, the vocals are great with excellent story telling. There’s a great interplay between the different instruments with good changes in feel too. I really like the solo, it suits the style of the song really well with a great tone too.

    Stevan Brasel – Rise Up Son
    There’s a great momentum to the song with solid drumming and bass playing with 2 guitars weaving in and out of the song. The vocals are really good, they are very deep and have a real soulful blues type of quality about them. There’s a great solo too. I really like the great blues vibe to this song.

    Genuine Crude – Inside Jacob’s Head
    I think there’s a quote from a film to open the song, not sure which one but it sets the scene really well. There’s a great momentum from solid drumming and bass. It’s a really tight knit sound, a bit of an 80’s metal vibe at times. There’s really good lead playing which contrasts really well with the more jangly riffs. The vocals are excellent and there’s really good changes in feel through the song.

    Factory Fast Records website
    Factory Fast on twitter
    Factory Fast on facebook

    Michael Brondstetter on facebook
    Michael Brondstetter on twitter

    Starkett Levee on facebook
    Starkett Levee on twitter

    The Celebration Army on facebook
    Celebration Army on twitter

    Francesca Romana Fabris on facebook
    Francesca Romana Fabris on twitter

    Johnny Hate on facebook
    Johnny Hate on twitter

    Stevan Brasel on facebook
    Stevan Brasel on twitter

    Genuine Crude on facebook
    Genuine Crude on twitter