The music of June Shellene can best be described as a massage for the ears, and the mind. Relaxing, calming, and smooth, it has the power to wash away the every day troubles that weigh us down.  June’s album Wait ‘Til Midnight Ends is a culmination of June’s impressive musical experience that spans decades.  From the soothing opening notes of the first song to the quiet ending of the last, Wait ‘Til Midnight Ends is an album that will delight jazz aficionados and blues lovers alike.  The album opens with the title track where the listener is treated to June’s extraordinary piano playing.  It is light and performed with the skill of someone who is clearly very comfortable at the keys.  June’s voice is strong and commands respect while still retaining a softness.  The rhythm of this piece is graceful and the composition is simplistic and pleasing.  “Wait ‘Til Midnight Ends” is the perfect way to begin the album.

“Not Good Enough Blues” is up tempo with a bluesy vibe.  This piece is exceptional and June’s vocals are spot on.  The lyrics carry a slightly tongue-in-cheek humor to them and June’s delivery is excellent, showing a fantastic understanding of the way blues should sound, which notes to emphasize and which to soften.  The musicianship on this piece is fantastic as well, especially the guitar work.  “The Craziest Game” takes the album down a whole new path with an unexpected Spanish flair, boasting her diversity of style.  June’s vocals during this track are strong and she hits the high notes with perfection.  This song is an all around winner, perfectly engineered, and performed with brilliance.

After the dramatic ending of “The Craziest Game,” the soft and slow beginning of “Make A Little Time For Love” is haunting and thought provoking.  The lyrics are masterful and deal with the beginning of the end of a relationship, for no other reason than people are too busy to make time for love.  A lesson everyone should take to heart, June delivers it with angelic vocals and an overall feel of 1920’s jazz, complete with a crowded, smoky room, a sexy songstress in a slinky black gown, and a lightly tinkling piano.  Exceedingly well done, “Make A Little Time For Love” is perhaps Shellene’s signature song.

“One City Block” is more story than song, one that carries a slightly sinister undertone.  This track is full of imagery as June takes us through the city, describing in detail what she sees.  The most visual of all the tracks yet, “One City Block” is written more for the mind’s eye than the ears, and is the most lyrically sound piece on the album yet.  “Lincoln Avenue” is a track with attitude and the saxophone playing is extraordinary.  June’s voice is silky and smooth, the very epitome of jazz singing.  Every note is clear and thoughtful.  “Stone Cold Sober” slows it down so the listener can fully feel that it is a lyrically compelling masterpiece about the blossoming of a new love, and then the inevitable comedown from the high.  It’s full of beautiful sadness, with a melancholy mood and excellent instrumentation throughout.

Wait ‘Til Midnight Ends continues with fluid and light piano work on “Just In Case,” a track that would be the perfect addition to a movie soundtrack.  The sound quality is stellar and this is another perfectly produced piece with clarity of sound and clean notes throughout.  “Tattoo” shakes things up with a country flair and foot tapping rhythms.  Clearly, June Shellene is able to branch out into other genres besides jazz and blues, and this track is a fun one.  Lively, upbeat, with lyrics that are humorous without losing focus, “Tattoo” is an unexpected surprise that will delight lovers of country and rockabilly.  “Crazy Sue” brings the rhythm of the album back home, with slow tinkling piano under June’s haunting voice lamenting the plight of a woman named Sue.  Sue is crazy.  One of the saddest melodies on the album, this piece will make listeners think and feel.  June’s voice carries emotion and sincerity and the cello playing is a brilliant touch that brings the sadness of this song home.

“Polar Bear Blues” offers sad humor and imagery regarding the plight of polar bears stuck in zoos.  Another thought provoking piece, June makes listeners contemplate the life of polar bears in captivity and perhaps how they feel having nothing to do and nowhere to go.  The trombone playing is a nice touch and adds the flair that is needed in this slow, sad number.  June picks it back up with “We Won’t Let It Bring Us Down,” a much needed lift.  The sadness of the preceding two tracks fades as the jazzy New Orleans vibe of this piece digs in.  One of the most instrumentally sound tracks on the album, this piece has blaring trumpets, trombones, clarinets, and the best collaboration between the musicians yet.  Upbeat, uplifting, lively and loud, this track is by far the best example of the talent and diversity of June Shellene and her band of exceptional musicians.

The album ends with “Before The Fall”, and is the perfect way to close Wait ‘Til Midnight Ends.  By now, the listener is familiar and comfortable with June’s voice and her fantastic piano playing, not to mention her extraordinary lyrics and the way her music can bring forth emotions and memories.  “Before The Fall” is a short, sweet track that embodies the June Shellene experience.  Her music is played with confidence, talent, and the remarkable surety of one who has been doing something she loves dearly for many years.  It is evident that June Shellene’s passion is music and she has done an outstanding job channeling this in her album Wait ‘Til Midnight Ends.

Review by Rhonda Readence

Reviews, Rhonda Readence June Shellene, Wait 'til Midnight Ends

Composer, writer and musician extraordinaire Adam Hardcastle hails from the great land of Oz, although he has done his share of traveling.  His album Stille is a culmination of his experiences while traveling in his native Australia and abroad.  This six-track, 36-minute journey into the heart of Adam’s creativity is not your conventional album.  The songs on Stille were taken from film soundtracks and musical theater that Adam has worked on while in Adelaide, and the reason they were put together into this album is a romantic one.  While on one of his journeys, Adam got stuck in a train station in Taize, near Lyon France, and he had nothing to listen to.  In his silent desperation, he vowed to create an album of songs for moments such as these.  The result of that experience is the album Stille, an eccentric and artistic effort that belies conventional music and creates a sensation of memories in motion; a sensation of reliving experiences as they happened.  As Adam states in his wonderfully packaged album, “I once thought of home in terms of geographical location – but have come to realize over time that home is truly found in the quiet stillness of memory.”  That is a brilliant notion that should not be taken lightly.

Adam Hardcastle makes it evident with this album that creativity is diverse, memories are alive and life is meant to be lived and experienced to the best of our capabilities.  Stille opens with “Summer Afternoon” and listeners may get chills as the ocean washes away their troubles.  The piece begins with a sound clip of the ocean that was recorded from beneath the Brighton Jetty in Adelaide, and music and lyrics that were written when Adam was still in high school.  It is a simple song with thought provoking lyrics and guitar work that is sweetly sad.  An overall melancholy tune, this track highlights the soft despair that humanity sometimes feels, perhaps while resting beneath a jetty and reflecting on the past.  The song is not intricate in the least, which allows the listener to appreciate Adam’s vocals and the rhythm of his guitar.  Beautifully written and hauntingly performed, “Summer Afternoon” is the perfect compliment to memories that are perhaps a bit dusty and should be examined again, with the ocean as the perfect soothing companion.

“The Sky’s the Same” has a tribal flavor to it, with a rustic drum beat and ritualistic chanting.  Adam begins to sing over this rhythm and this track is haunting.  The sound effects are eccentrically chaotic and the overall effect of this piece is one of organized cacophony.  It’s well composed, well performed, and completely unique.  There has not been a song written that can even remotely be compared to this one and Adam proves once again that he is as original as they come.  “Of Truth and Anguish” begins with a slow bass line and then the vocals kick in and the listener can get a much greater appreciation for the strength of Adam’s voice.  An extremely mellow and melancholy piece, “Of Truth and Anguish” is lyrically compelling. Reading the lyrics, one gets the idea that they were originally a letter to someone and have since become a symbol of so much that is wrong with society.  The cello is a wonderful touch, as is the theremin, and this piece is endearing because it is rather simplistic in its composition and yet perhaps more complex than any of the preceding tracks on Stille.  This track has deep meaning and Adam’s vocals are delivered with heartfelt sincerity and passion.

“The Stoning” is more of a story than a song, one that deals with the human condition of judging others and doling out punishment for what is perceived to be a crime.  This too is a piece with deep meaning as it brings to mind ancient rituals and rites.  The melodic chanting makes one think of old callous priests in dark robes, walking down dimly lit aisles full of secrets and sorrow.  The sound of this track is exquisite, most particularly the cello, and Adam’s vocals are once again strong and consistent.  The track ends with a hauntingly slow drumbeat that lulls the listener into a false sense of calm before “Masse” begins, which shatters that sense of calm completely.  Another piece of controlled cacophony, “Masse” is full of tribal chanting, whispered vocals, and effects that defy explanation.  Adam doesn’t sing this song as he has the previous tracks, but rather he whispers the lyrics in an intense way that gives this piece a feeling of tension and intricacy.  Despite the whispered vocals, the sound is not lost and everything going on in the background is heard clearly as well.  Exceptionally engineered, “Masse” is one of the more eccentric pieces on the album and also one of the most endearing.

Stille closes with “Dazed,” which starts off with some beautiful piano work, coupled nicely with the guitar.  Adam’s voice is once more strong and confident in this piece and the effects he uses to create something of an echoing sound is a brilliant touch.  This track is perhaps the saddest and the most hauntingly melancholy one on the album, but it is also the track that is the most conventional in terms of your average, every day music.  Don’t get confused, though.  It is not conventional in the least.  It is still wholly unique in the Adam Hardcastle style, with a sound that never has been, nor ever will be, replicated.  The album Stille cannot be classified into any specific genre, nor does it sound like anything that has been done in the world of music.  It is the brainchild of Adam Hardcastle and his travels around the world.  It is the sound of memories.  It is the soundtrack to the thoughts, ideas, and artistic compulsion of a man who has spent much time searching for himself and his home, and then coming to realize that the search is over.  Everything he ever needed or wanted was right there in his own head and in his heart.  Stille is truly more than just an album compiled from various pieces of music.  It is also a work of art and creativity that cannot be duplicated by anyone.  And in that, it is extraordinary.

Review by Rhonda Readence

Reviews, Rhonda Readence Adam Hardcastle, Stille

When you combine some L7 with a bit of Concrete Blonde, Mazzy Star and Courtney Love, and then add a good healthy dose of the Natural Born Killers vibe, you can almost get an idea of what Belle Phoenix sounds like.  However, you must then add the imagery of vampires wearing cowboy hats, incredibly sexy half-clad women dancing with six shooters, and life being lived at warp speed in The Strange.  Once you combine all of these ingredients, only then do you get a decent idea of what Belle Phoenix brings to the table.  Her music is sexy, vampiric, bold, sultry, rockin’; the list could continue.  Combining genres such as punk, rockabilly, pseudo-surf, goth and genuine rock ‘n’ roll, Belle Phoenix absolutely brings forth her best with the album Nine Lives.

It kicks off with “Old Crow Misery,” a snappy number that has a definitive country flavor, but it’s a twisted country, the kind that beings of the night would like.  There is an undertone of menace, something dark amidst the foot tapping rhythm and the energetic feel of this track.  The guitar work is exceptional and this piece is a great way to introduce the masses to Belle’s voice.  It’s well engineered and the clapping in the background adds an essential essence to this song.  The harmonizing is nicely done too, and “Old Crow Misery” has indeed captured the attention.

“Dancing All the Time” should have been part of the Natural Born Killers movie soundtrack, without question.  There is also a bit of The Cure influence to this piece and Phoenix does a brilliant job of creating something wholly unique and nearly evil while still maintaining a jaded innocence.  Belle’s wolf howls are what complete this piece and fans of the macabre will simply adore this song.  “N.Y.C” is a lyrically compelling song, bringing to mind grey skies and dark Winter.  There is a sense of despair in this song, a sense of being lost.  The musicianship is exceptional and Belle’s voice takes on new dimensions as she sings in a lower key and makes mere words seem like living things filled with fire and sexuality and daring.

“Dead Inside” begins with a punch, then becomes spectral with its child-like repetition of “I’m dead inside, I’m dead inside, What did you say, What, what did you say?” This is a twisted fairy tale for adults.  The vocals are what carry this piece.  They are haunting and seem to bring forth a sense of longing for something that we’re not even sure we want or need.  The refrain is reminiscent of the band The Sins of Thy Beloved, with its darkly melodic sound and Belle’s vocals hitting the high notes so beautifully.  The album continues with “The Devils Son.”  It’s got attitude and pure sex appeal.  The engineering and production of this track is perfection and there is quite a lot to take in here, but it all blends smoothly and each note and instrument is heard clearly without being overbearing.

Phoenix then changes it up a bit with “Gypsy,” which has more of a rock vibe to it, although it still carries that darkly sexual and nearly evil essence.  The lyrics are provoking, the sound is stellar, and the musicianship is phenomenal.  The listener truly gets a much better appreciation for the talent of this band while listening to this track.  This is a trance dance song, for sure.  Being taken into another place for a short while, a place where you can dance if you want, you can run if you want, you can sing if you want.  “Gypsy” is more than just a song.  It seems to embody the very essence of life itself.

“Dance With Me” slows it down a bit, taking a moment to reflect and show that they can play slow haunting music just as beautifully as they can play fast haunting music.  Belle’s vocals are reminiscent of Mazzy Star at times and the simplicity of this track is what makes it so enchanting.  The lyrics are heartfelt and the instrumentation is very basic.  The piano work is the perfect addition and there is a dreamy quality to this piece that makes listeners want to sway along to the rhythm, perhaps while holding a candle in hand.  Fire is the perfect companion to this song, as it seems to evoke emotions that are fierce and melancholy at the same time.  “Dance With Me” ends peacefully and the album begins to roll effortlessly to its close with “Soul Killer,” which also would have been an ideal song for the Natural Born Killers soundtrack.  Belle sings “You don’t understand, do you?  You just play your little game in the land of destruction… Soul killers, soul killers.” The lyrics are emotionally provocative and can really make one think about life and where it might or might not be going.  This is one of the deeper tracks on the album and it is performed wonderfully.

The album Nine Lives encompasses a vast array of styles that have been blended into the perfect concoction that will be sure to leave a delectable taste on any music lover’s palate.  The album has attitude and it’s sexy and it’s dark and it’s seductive and melodic.  Belle Phoenix has created something that so many artists strive for, and she has done it with a seeming effortlessness.  The album has a natural feel to it, as if Belle simply woke up one day and just let out all the thoughts and ideas that were in her head at the time.  The musicianship is fantastic throughout, Belle’s voice is divine, and the engineering and production is flawless.  9 Lives is a must-have album for anyone with any musical sense at all.

Review by Rhonda Readence

Reviews, Rhonda Readence Belle Phoenix, Nine Lives

If you can somehow imagine what Joe Cocker coupled with Jerry Garcia would sound like, with a dash of Neil Diamond and a sprinkling of reggae, you can perhaps, just maybe, get somewhat of an idea what Brian Ralston (aka Self Tort) sounds like.  It’s an odd mix, no doubt, but Brian Ralston, performing as Self Tort, makes it work exceedingly well.  The album Tortology opens with the track “Self Sufficient” and the listener is treated to a smooth rhythm that is reminiscent of the funky early 80’s or late 70’s groove.  Ralston’s voice is gritty in the best Joe Cocker fashion and it is clear that he is not hesitant to let loose.  The sound quality is exceptional and the effects that he uses capture the essence of this song well.  The lyrics positively scream of independence, as the title suggests, and the wind chimes during the break are a nice touch.  The guitar work is fantastic and it is made evident with the opening track of Tortology that Brian Ralston is a musician of the finest order.

“Ordinary Rendition” has a reggae flavor to it that will be sure to make listeners think of palm trees, the beach and the ocean.  The smooth gentle groove coupled with Ralston’s slightly rough voice is the perfect combination.  This piece shows the diversity that Ralston possesses and the fact that he is influenced by a variety of genres and musicians.  The head will be bobbing, the feet will be tapping, and this track will leave you feeling good and relaxed as it ends and “Holding Court in King Street” begins.  The listener gets a treat with this piece, as Ralston loses some of his rougher vocal edge and smooths it out a bit.  His voice in this piece resembles a young Neil Diamond at times and the rhythm is slow and calming.  This song is lyrically compelling and thought provoking as Ralston croons about the plight of the homeless.  A song of substance and emotion, this track is heartfelt and sincere and Ralston’s voice is warm.

“One Hour With You” again proves Ralston’s diverse musical influences as this piece has quite a jazzy vibe to it.  A snappy little love song, this track is instrumentally simplistic which allows the listener to really focus on the vocals, which are delivered with perfection.  The lyrics are sweetly innocent and one may feel empathy while listening to this piece, perhaps remembering summer nights with someone special.  Snapping fingers are a must when listening to this one.  “Can’t Stop Thinking About You” opens with stellar guitar work that catches the attention immediately, especially following the soft beauty of the preceding track.  The melodic rhythm of this fantastically composed love song is wonderful and the lyrics are heartwarming.  Listeners will be sure to reminisce about their first love, or perhaps their second.  Ralston does a great job encompassing human emotions in this song and the slight reggae feel gives it a positive and uplifting beat.  “Son of John” is a slow number with excellent guitar work throughout and superb musicianship.  Ralston’s vocals are strong as well, making this a well-rounded piece that embodies much of what Self Tort is about and showcases the talent of Brian Ralston extremely well.

Tortology continues with “Dark Eyes,” a funky sort of jam that has a touch of blues, a touch of jazz, and something that can only be described as the entity known as Self Tort.  A nice beat carries the song throughout and Ralston’s voice is seductive and extraordinarily pleasing.  The saxophone is truly what makes this song phenomenal and gives it the bluesy-jazzy feel that will so endear it to the masses.  The sound is amazing and this track is exceedingly well-composed.  “Dark Eyes” is perhaps the signature Self Tort song, the one that comes immediately to mind when one thinks of Brian Ralston and the music he creates.  “A Day at the Races” is more of a Joe Cocker inspired piece and Ralston does a great job with the vocals on this one as well.  The beat is at times chaotic and at other times rather mellow.  The overall feel of this song is one of happily reckless abandon.  “What’s the Attraction” gives the listener a taste of Ralston’s sense of humor.  And what a great one it is.  Written about Paris Hilton, Ralston lays it all out there and sums up the Paris Hilton fascination perfectly.  An upbeat and snappy number with carnival-esque sound effects, this track will no doubt have listeners laughing while still tapping their feet and enjoying the genius of Self Tort.

“A Paris Tale” begins with some great organ work and has a bit of a Doors feel to it as it continues.  Ralston’s voice is strong and commanding during this piece, perhaps more so than in any other track thus far, and this is a dramatic piece with many change-ups and transitions.  Ralston even delves into the rap genre during this track, coupled nicely with some killer guitar work.  Once more, Self Tort has crossed musical boundaries that most would not even consider, and Brian Ralston has done it well.  “Salvation Carnival” has some of the best instrumentation on the album and the guitar work is simply spectacular.  The sound quality is stunning.  This track, while slower in tempo, is extremely powerful and emotional.  The listener can get a very real sense of Ralston’s own heart while rocking this tune.  Tortology begins to wind to a close with “That’s It I’ve Had Enough,” a fast tempo power ballad with lyrics that hit home to just about everyone.  This song is about the frustration of life and the hustle and bustle and the sheer overwhelming feeling of simply having enough – Throwing your hands in the air and saying, “That’s It I’ve Had Enough.”  Ralston’s sense of humor shows through in this piece as he sings about heading to the pub and getting more than a little drunk.  Nicely sung and well done.

The final track of the album, “The Jig Is Up,” ends the album with the same early 80’s and late 70’s vibe that it began with.  The sound effects are fascinating and it’s an upbeat number – A good choice to close with.  The guitar work is once again jaw-dropping and the final track of Tortology truly encompasses all that Self Tort, aka Brian Ralston, has accomplished throughout his career.  The sense of diversity and many various influences is evident throughout the album, but it is made abundantly so during the closing song.  It’s instrumental all the way and it is exceedingly well done.  Brian Ralston has managed to combine rock, jazz, blues, reggae, and psychedelic rock into an entity known as Self Tort, and he has done it fantastically well, as is evidenced by the album Tortology.  Most musicians chose one genre and stick with it, but Brian Ralston did not enclose himself in that box.  He decided to enjoy them all, and consequently, he has opened the door to many different forms of music to all who listen to the brilliant effort that is Tortology.

Review by Rhonda Readence

Reviews, Rhonda Readence Self Tort, Tortology

The song “Inside All Around” by John Littig is a sublime musical journey that begins with soft tranquil effects and a spectacular jazzy beat.  The cymbals are clean and crisp and it is evident that this is a finely engineered piece of music.  John begins to sing and his voice is smooth with a slight edge that brings a feeling of anticipation.  The lyrics are romantic and well thought out.  The rhythm of this track is one of tranquil smoothness and John has truly captured the spirit of avant garde jazz.

At roughly five minutes, the track “Inside All Around” never once lags or becomes monotonous.  John’s vocals are pleasing, the lyrics are thought provoking and vivid and the instrumentation and composition of this piece are exceedingly well done.  There are moments when John’s voice sounds like a very much more polished Syd Barrett and the overall vibe of this track is one of spectral elegance.  The sound is just stellar.  The lyrics are especially alluring as John sings “Stop time and hold my hand, Wake me up from this dream, When I look in your eyes, I believe I could be what you see.”  There are plenty of original and enticing lines such as that throughout the song and it’s clear that John is an extremely skilled writer of lyrics and composer of music.

While the song is a fantastic experience to behold, what will further endear listeners are the sound effects at the end of rain falling and cars driving by on wet city streets.  It’s a brilliant touch that adds the flavor of authenticity to what is already an outstanding track.  It is evident that John Littig has an exceptional understanding of music, how it should sound, and how he wants his own music to make people feel.  There was much thought put into the composition and creation of this piece and it has paid off in dividends.

“Inside All Around” is a song that can stand on its own without much fanfare or hype, which is exactly the way it should be for music that is good enough to simply be heard and listened to.  John Littig has created a piece of music that has an excellent sound and rhythm, lyrics that go straight to the head, and imagery that is vivid enough to make listeners feel like they are there on the city streets with John himself.  He has created not just a song by giving the world “Inside All Around.”  He has created a vibe that is almost alive in its essence.  This is truly a great piece of music that must be heard, not just with the ears, but with the mind as well.

Review by Rhonda Readence

Reviews, Rhonda Readence Inside All Around, John Littig

This band of talented musicians hailing from the Land of Oz (Australia) has got attitude, charisma, and the ability to totally rock.  The On Fires open their album Betrayer with the track “Coming Home,” which starts off with a bang and lets us know immediately that these are serious musicians and they aren’t playing around.  They are taking the world of music by storm and we are all welcome to come along for the ride, if we can handle it.  “Coming Home” is a great choice to open the album with.  Post-punk edginess coupled with a surfer-esque rhythm makes for a unique sound that catches the attention within the first thirty seconds of the album.  Clearly, The On Fires are not your average run-of-the-mill band.

“Hangin’ With The Living” begins with some melodic guitar work that sets the pace for the funky groove of this piece.  With slightly darker overtones, this track has attitude and spirit.  Fans of the horror punk genre might be pleased with this compilation and the macabre subject matter of the lyrics.  A mellower and more melodic Wednesday 13 comes to mind while rocking this track.  “Precious Injury” takes the album down a slightly different path with a post-80’s beat that is reminiscent of New Order.  The sound quality of this track is brimming with perfection and The On Fires do a fantastic job harmonizing.  The song is well balanced, brilliantly engineered and creatively innovative.

The On Fires slow it down a notch with the beautiful opening piano work of “Melancholy Intro.”  A haunting guitar rhythm accompanies the piano wonderfully and the instrumentation is flawless.  The intro flows effortlessly into the song “Melancholy” and the listener gets a much better appreciation for the diversity and talent of this collective during this piece.  The vocals are fantastic, the music is performed with perfection, and the sound could not be any better.  As the title suggest, the song brings forth a feeling of sadness and melancholy and it is lyrically compelling as well.  “Melancholy” ends with grace and rolls smoothly into “Without.”  The song placement on this album is genius.

“Without” is the single most defined and exquisite track on the album.  The On Fires are talented musicians, this is a given, but this piece truly showcases their understanding of music, how it makes people feel, and how it is supposed to sound.  There is a haunting melody that evokes a plethora of emotions ranging from bittersweet sadness to total rocking abandon.  “Without” is a classic, timeless piece of music that can stand on its own.  The musicianship is flawless, the lyrics are masterful, and the song never once lags or becomes repetitive in its six-plus minutes.  In fact, most would prefer that the song would continue on indefinitely.  The track rolls along smoothly throughout until it builds up to the orgasmic ending that is phenomenal.  Fans of exceptional music of any genre will be delighted with this piece, and fans of My Morning Jacket will be delighted with the jam session of pure unbridled talent that closes this track.  This is truly a masterful piece of work that is certain to outlast time itself.  Extraordinary.

Betrayer continues on with “When Monkeys Turn.”  Again, the sound quality is phenomenal with engineering perfection.  At 58 seconds, this short track is an excellent intro to “Arms Open,” which picks up the pace again.  Full of attitude and a 4 Non Blondes sort of vibe, “Arms Open” rocks as only The On Fires can.  This would be a great song to see performed live as it is full of energy and embodies the vibe of this band exceptionally well.  “Sorry Now” hits a bit harder than any of the preceding tracks with crunching guitar work and a fast tempo.  The harmonizing is excellent and the rhythm carries a sensation of careening through the universe at light speed.  This piece is alive, energizing and rejuvenating.  The vocals are well-delivered, the instrumentation is stellar, and this track is a classic.  “Sorry Now” is the signature song from The On Fires; The song that fans will most relate to when thinking of this collective and what they stand for.

“Nobody Wants” starts off with a slick bass line and a sound that is just out of this world.  Another lively piece from this energetic band, this song is brimming with confidence and talent.  The vocals are gritty, the guitar work is simply amazing, and everyone gets a chance to shine during this track.  One of the strongest songs on the album as far as collaboration amongst the band members go, this is a solid piece of music that can hold its own.  While listening to this, one gets the impression that the members of The On Fires truly enjoy what they do, most especially doing it together.  “Island” is a bit different from the other tracks on Betrayer and it’s refreshing.  The lyrics are delivered with an in-your-face attitude and they are not so much sung as they are spoken.  Fans of the Sex Pistols will be thrilled with this offering.  The album continues to take us for a ride with “Hotel Room,” which has the best harmonizing on the album yet, and that’s saying something.  The members of The On Fires compliment each other exceedingly well and that fact is made evident with this track.  A hard-rocking rhythm, fantastic vocals, and musicianship that are obviously the result of years of dedication and sheer talent, “Hotel Room” is yet another classic piece that makes The On Fires more than just a band.

“Skeleton” is quite possibly the most energetic track on the album and it carries a positive vibe that will be sure to get the feet tapping.  A great sing-along song that would be amazing to see performed live, this track is upbeat and full of vigorous chords and vocals.  The On Fires begin to close out the album with “Crook Plumbing,” a slower paced short track that leads the way into the title track, “Betrayer,” which is the final song.  It is an excellent song to close with and the tempo starts off slow with haunting piano work.  “Betrayer” is a dramatic, powerful, artistic piece that leaves the listener in awe of this band and what they are capable of.  Many bands have talent, but not all bands really understand music like The On Fires do, and not many bands can create something so extraordinarily vital and important to the current world of music.  The On Fires have demonstrated not only their sheer talent with this album, but also their love and understanding of music, and they have shared these things with the masses in the most brilliant way; By creating the masterpiece known as Betrayer.

Review by Rhonda Readence

Reviews, Rhonda Readence Betrayer, The On Fires

GTaa, otherwise known as Graham Hollingsworth, has transcended the 80’s British pop music scene by creating the artful album The Time The Place.  Influenced by such greats as Joy Division and Morrissey, GTaa takes the British pop culture to a new level.  Exceptional lyrics, boisterous musicianship and an abundance of talent make this album a delight to listen to.  Kicking off with “Football World,” Graham explores the pleasures of the World Cup football tourneys with a catchy rhythm that makes listeners all over the globe yearn for a decent game of football.  “Fish in the Sea” is a slower tempo piece that graces the listener with Graham’s extraordinary talent for piecing together music and creating a beautiful song that is lyrically sound.  Graham’s vocals are done well and he delivers his words with confidence and a heart-felt rhythm that will be sure to capture the attention of anyone with an ear for good music.

“Arthur Alone” carries a bit of a risqué beat to it and the lyrics are intelligent and well thought out.  This piece is imaginative and has a visionary quality about it that may make listeners think of kings, queens, knights and other sorts of royalty riding horses and looking very gallant.  “Rising Sun” highlights Graham’s intricate vocal ability and he can be fairly compared to a mellower version of Ian Curtis of Joy Division.  This track has a tendency to emanate positive vibrations and a sense of hopefulness.  In keeping with this theme, “Six Twenty Nine” also has a rather positive connotation and there is a funky, almost blues-like rhythm to this piece.  Graham’s vocals again command attention.  The guitar work is exceptional and the listener begins to get a clearer understanding of Graham’s musical capacity and sense of diversity.  The overall experience of “Six Twenty Nine” is one of a sultry, sexy attitude and a feeling of barely contained coolness.  This is a fantastic piece of music that would have no problem standing alone.

“Drinking” begins with a cheerful melody that at once gets the head bobbing and the feet tapping.  As the title suggests, the song is about drinking, and Graham lyrically professes his love of drink.  As song that is easy to relate to, “Drinking” has a humor to it that does not go unnoticed.  The album moves on with “Wedding Bells,” a symphony that is pleasing to the ears and the mind.  As Graham goes through the beautiful emotions that are brought to mind when one thinks of marriage, the song flows seamlessly along in a romantic and dreamy way that will be sure to enthrall listeners of all types, married or not.  “Today, Christmas Day” begins with the sound of bells and children singing.  Graham then takes over the vocals and graces his audience with the warmth of the holiday season.  A feel good sort of song that will make Christmas seem right around the corner even in July, this piece is festive and lively.  The children’s voices are a brilliant touch that adds the seal of authenticity to this masterful work of art.  Anyone who doesn’t feel warm and bright after listening to this piece simply does not have a heart.

Keeping the smooth rhythm of The Time The Place flowing, “Here I Am, There Are You” is a hauntingly melancholy song that brings forth a touch of sadness, most particularly after experiencing the happy warmth of the previous track.  This piece is lyrically precise, instrumentally intricate and oddly uplifting despite the sadness of it – or maybe because of it.  “Odessa” also starts off slightly melancholy with soft piano work and Graham’s signature vocals.  This track carries a bit of a surreal quality to it, one that brings to mind constellations, space oddities and falling stars.  There is a dreamy aspect to the melody of “Odessa” and the guitar work is what really carries this piece.  Lyrically, the song is thought provoking and well written, urging us to live today and enjoy life.  The album continues with “Ralph Salt’s” which begins with some impressive guitar work that leads into the pleasant melody of this track.  It’s a whimsical ditty that highlights Graham’s talent not only a lyricist, but as a musician as well.  Quite English in its essence, this piece is one of the better ones on the album instrumentally.  The listener can truly appreciate the strength of Graham’s brilliance, known as GTaa, while listening to this exquisite song.

“Weekend Weather” slows the pace down a bit and the piano work is indeed impressive.  Graham does a wonderful job with the vocals on this track and the overall effect is one of clean comfort; A cozy sense of being cared for and loved.  Almost fairy tale-esque, this piece will make even the most bitter and hardened of us feel a flicker of warmth.  “PortPatrick” picks up the tempo once more and the album continues to cruise effortlessly along.  The sound quality of this piece deserves recognition, as each note and instrument is cleanly heard and the effects are precisely engineered.  One of the best sounding tracks on the album, as far as studio engineering goes, “PortPatrick” is yet another great piece of music that can stand on its own legs without much fanfare of support.  “World of Opportunity” is also a fantastic sounding track and Graham hits his listeners with a slightly eccentric twist of melodies and variations that don’t necessarily seem to go together, and yet the overall effect is one of melodic harmony.  This song sounds a bit experimental and it’s rather refreshing and innovative.  The album begins to wind to a close with “New Year’s Day,” which begins with Graham counting down from ten to one and then the explosive sound of fireworks.  The song continues on with a celebration of new beginnings and a sense of optimism for the coming year.  A fantastically uplifting song of promise and hope, the listener is left with a feeling of possibilities.

The Time The Place closes with “Birthday,” a cheerful rhythm that continues the celebratory mood of the previous track.  GTaa does a wonderful job leaving the listener on a good note, and the “Oh yeah” in this piece is the perfect touch.  Graham Hollingsworth has proved, through his album The Time The Place, that music is a living breathing entity with the power to make people feel and think.  His passion and art is very clearly music and he embraces it with open arms, effectively embracing all the rest of us too.

Review by Rhonda Readence

Reviews, Rhonda Readence GTaa, The Time The Place

Audrey Howard & The Misters, a four-piece band based in San Francisco, California, is comprised of Audrey Howard on vocals and guitar, Beth Robinson on drums, Katie Booser on bass, and Janese Hurley on fiddle and backing vocals.  Citing influences such as the Yeah Yeah Yeahs, The Pretenders, and PJ Harvey, Audrey Howard & The Misters have created a sexy, sultry, experimental sound the likes of which most listeners have never heard.  The album Sister Sara opens with the title track, a funky guitar driven melody with attitude.  The influence of Chrissie Hynde and The Pretenders is evident in Audrey’s vocals and the catchy rhythm of this track will get the feet tapping from the opening drumbeat.  “Sister Sara” is a classically written piece of music with exceptional engineering and lyrics that set forth the imagery depicted on the album cover – women of rock dressed as nuns, running through a field having the time of their lives.  The opening track sets the tone for a band that clearly has an abundance of talent, but can also have fun with it.  This is music with a message and musicians who are completely serious, but who also know how to enjoy it.  The listener may get the feeling that Audrey Howard & The Misters thoroughly love making music, most particularly with each other, and that they are out to have as much fun as possible while still retaining their cred.

“Man on the Couch” is a tune that carries a mix of the Yeah Yeah Yeahs, Poe, Rasputina, and an element of a band called Audrey Howard & The Misters, who are quite clearly capable of mixing and matching various sounds to create something unique to only them.  The smooth jazz undertone that begins this piece is remarkable and the vocals and lyrics have a dreamy quality that is the perfect balance to the heavier hook of the song and the grinding guitar work.  The change-ups in this track are exceptionally well done, smooth, and the overall effect is compositional genius.  “Man on the Couch,” in addition to being a great example of excellent musicianship, is also primarily a vocal track that highlights Audrey’s range and the talent of the backing singers as well.  The harmonizing is near perfect, as is the musical content, making this piece solid enough to stand on its own.

“Invisible” takes the album down a slightly different avenue with the guitar hook a bit reminiscent of the opening riffs of Pearl Jam’s song “Corduroy.”  Audrey really lets loose with the vocals in this track and the listener can get a much greater appreciation for her talent.  The lyrics of this piece are interesting, thought provoking, and open to listener interpretation.  Is she singing about another woman, or herself?  “’Cause some other woman has taken my place, she talks like me and she’s got my face. But the words fall flat and the color is gone, ‘cause I’ve felt invisible for so long.” The song abruptly ends and “Firefly” begins, showing the softly melodic side of Audrey Howard & The Misters.  A simplistic piece that is almost a lullaby, “Firefly” is romantic and child-like and Audrey’s voice is that of an angel.  The musicianship is fantastic especially once the song picks up tempo and becomes a brilliant artistic experience of psychedelic guitars and hard-hitting drums.  The second half of this piece is instrumental, which really gives the rest of the band a chance to shine.  This is an extraordinarily well-composed track.

Sister Sara continues with “Pick Up,” a softer tempo piece that lets Audrey’s voice come through crystal clear.  The quietly repetitive guitar rhythm in the background could make some listeners think of The Beatle’s ditty “Here Comes the Sun.”  This is not overtly obvious and “Pick Up” has very little resemblance to anything Beatles-related aside from that, but it is undeniably there.  The lead guitar work is strong, but it is not overbearing.  This piece is very well balanced and the sound is stellar.  Each note, each instrument, is heard with clarity, from the gentle guitar in the background to the bass line that accompanies the drums.

“Sheriff” takes Audrey Howard & The Misters into the world of rockabilly, which is an unexpected and pleasant surprise.  This track allows the listener to better appreciate the diversity of this band and the fact that they can branch out into other genres.  From post-punk rock to a bluesy jazz vibe to rockabilly, this collective crosses boundaries and meshes various sounds into a pleasing compilation of what can only be described as The Audrey Howard & The Misters signature sound.  “Sheriff” is a prime example of their talent and ability to play excellent music while having a blast doing it.  This track is sure to be a crowd pleaser and would be a treat to see performed live.  “Stride” is also a good example of this band’s sense of artistic license and diversity.  With a catchy rhythm, prominent and decisive delivery and a slightly melancholy feel, “Stride” is one of the more lyrically compelling tracks on the album.  Following in this vein, “I Was Made For Loving You” is also lyrically masterful.  A love song depicting sensual imagery and heartfelt vocals, this track is instrumentally simplistic which allows the listener to really focus on what is happening in this piece.  Sweetly sung and beautifully played, this song is brimming with emotion and talent.

The album closes with “Monday,” an upbeat track with a sense of humor that again reassures fans of Audrey Howard & The Misters that while they are professional musicians gifted with unbridled talent, they retain a down to earth attitude that endears them to anyone who listens.  “Monday” is a song that everyone can relate to and the band succinctly puts the drudgery of the work week into perspective with an artistic flair.  The banjo playing is what really makes this track tick.  It’s the added touch that makes the closing piece so exceptionally lovely.  Audrey Howard & The Misters have given their listeners a little bit of everything with the album Sister Sara, and they leave us with a sense of togetherness; A warm feeling of not having to face the world alone.  Audrey Howard & The Misters are facing it with us.

Review by Rhonda Readence

Reviews, Rhonda Readence Audrey Howard & The Misters, Sister Sara

Music is music.  It can be good, bad, or ugly.  Except for when a French man sings it.  Then it becomes something completely different.  Musical artist Burzinski has mastered the romantic, darkly melodic prose of quasi-psychedelic rhythms that are sweetly delivered with the most beautiful French accent imaginable.  His album Untimely Tales, a 9-track journey into gothic romanticism, begins with “A Dark Shape,” which proves to be soothing music to relax to.  Burzinski’s voice is deep and rather haunting and the music is slow and calming.  This piece is best listening to with closed eyes and an open mind.  “Invisible Birds” is also a rather calming and relaxing journey into Burzinski’s world as his voice resonates deeply and seductively.  This melody has a touch of sadness to it, and yet it is oddly uplifting.  Listeners may find themselves slowly sinking into a trance of sorts as the music plays and the art unravels.

“Here” continues in this vein with what is quickly becoming known at the signature Burzinski sound; mellow, melancholy, slightly psychedelic trance music.  Some listeners may hear a touch of The Jesus and Mary Chain.  Others might think of the psychedelic pop of Slowdive.  But in all actuality, there is no real way to pinpoint the sound of Burzinksi’s music or to neatly categorize it into any specific genre.  It is wholly unique and original music that simply flows effortlessly along.  “The Narrow Road Home” is a bit dreamier than the preceding tracks and takes the listener even deeper into Burzinski’s romantic mellow-tronic vision.  The imagery this piece brings to mind is one of misty haze and shades of blue and grey.  The rhythm tends to emulate the sound of footsteps and is slightly catchy despite the slow tempo.  The feet may find themselves tapping – or walking the narrow road home.

Untimely Tales continues with the track “Curtain” and Burzinski graces the world endlessly with his hauntingly melodious voice.  The listener may have some difficulty, as has been the case with the preceding tracks as well, in picking up the lyrics.  Burzinski’s voice is deep and there is plenty of reverb to give it the haunting quality that is so endearing, but the overall sound can come across a bit muddled from time to time.  However, the sound quality improves somewhat with the song “An Untimely Tale,” which is one of the more standout pieces on the album.  The melody is crisper, the vocals are less muffled, and the rhythm is slightly varied.  The words best used to describe this song would be masterfully melancholy.  “City Lights” has a note of despondency in it as Burzinski laments being lied to, and his voice carries with it the pain in his heart.  This song is an artistic expression of self and the piano work is an exceptionally nice touch, as it gives this song strength and emotion.  This track is perhaps the most heartfelt one on the album yet, and listeners will be sure to sympathize with Burzinski’s pain and suffering.

“Using Mirrors” carries a slightly more upbeat rhythm to it and Burzinski proves that his unique mellow-tronic music is not only calming and relaxing, but also uplifting in its own way.  His vocals are stronger in this piece than in any of the preceding tracks.  The instrumentation is well thought out and the sound is quite extraordinary.  “Using Mirrors” is a very well-composed piece of music and it adds something essential to this album.  It adds a sense of calm joyfulness – a sensation that many things are possible and that anything can happen.  Untimely Tales closes with “The Frightening Door” and Burzinski leaves his listeners once more swaying to the beat of a slightly otherworldly state of consciousness.  This artist has succeeded in taking his listeners into his world – A place where music is art, and art is music.

Review written by Rhonda Readence

Reviews, Rhonda Readence Burzinski, Untimely Tales

With names like Elisha Cause, Jonas Image, Anthony Edge, Adam Bomb, and Joey Vital, Combat Crisis is out to prove to the world that their music is more than just music.  Their debut album, Face The Crowd, carries with it a message of retaliation against injustices such as rape, false imprisonment, and corrupt governments.  Sporting multi-colored mohawks and the classic punk rock attire, Combat Crisis portrays a sense of freedom from conformity and rebellion against society as a whole.  This is pure punk rock, the kind that would make Black Flag proud.

The punk genre is somewhat of a closed circuit amongst music aficionados.  You either love it or hate it.  Combat Crisis, however, goes a long way towards making sure you love it.  Face The Crowd opens with the track “We Represent,” and like many of the songs on the album, it is short and not-so-sweet.  At just over two minutes, the opening track packs a punch and establishes from the start that Combat Crisis has mastered the art of hard-core, ear-bleeding punk.  As the title of this track implies, they are here to represent.  The following track, “D.T.T.R.,” is seemingly a continuation of the fist track and the listener may have difficulty differentiating when one ends and the other begins, at least until the hook of “D.T.T.R.,” which is melodic, as far as hard-core thrash punk goes.

“World Won’t Wait” takes the album in a slightly different direction with a slower-paced rhythm and an attention grabbing bass line.  This slower tempo lasts for about 40 seconds into the song before Combat Crisis reverts to what they do best – gracing the masses with their unique style of punk music in all its raging glory.  The lyrics are brutally honest and filled with anger as Elisha Cause sings, “Now I’ve had enough of you and there is nothing I can do.  I’ll stand right here and watch you die; watch your whole life pass you by.  Greed and corruption – total self-destruction.” They continue with “Fool Me Twice,” a stinging anthem dealing with betrayal that has some excellent instrumentation in it, as is evidenced by the spectacular guitar work within.  Combat Crisis does a phenomenal job making sure their sound is clean and that the listener gets the full effect of each instrument, which is occasionally difficult to do with punk music since much of it is very fast-paced, heavy, and can sometimes come across sounding muddy and unfocused, but the sound of this album is exceptional.

A good example of the clean sound that this collective has produced is the title track “Combat Crisis.”  This piece opens with the crisp sound of a killer drum beat and then the boys come forth with a Ramones-sounding “OohhhhOoohhhhhOhh!” that is refreshing and energizing.  The lyrics of this track are brimming with rage and revolt against the world in general.  “Sometimes I think and I realize I hate this fuckin’ world.  Combat crisis.  I’m tired and I feel like nothing is worth it anymore.” Perhaps not something an impressionable young person should be listening to, but they are words that many can relate to nonetheless.  “Your Life” provides the listener with a brief reprieve from the super fast-paced rhythm that is the signature Combat Crisis sound and the band slows it down just a millimeter.  The vocals are actually intelligible for most of this piece and the listener can get a better appreciation for talent that this band harbors.

The guys take a 17-second untitled break (track 7) in between songs as the band members record themselves being themselves, which is oddly endearing.  The album marches onward with “Listen Up,” a masterful minute-long track with some of the best instrumentation on the album yet, especially the guitar work and the drums.  Combat Crisis continues in this vein with the fantastic opening of “40 CCs.”  Loud, melodious guitar work sets the pace for what is perhaps the best track on Face The Crowd.  “40 CCs” is about living life to the extreme as Elisha and the boys sing, “I would take control of my own future, but you don’t get a second chance.  Once you’re gone, that’s the end.”

“Not Afraid” is up next and the message of this piece is clear and brazen; revolt and rejection of society and the hypocritical standards that much of it lives by.  In addition to extremely thought provoking lyrics, the music itself is extraordinary as the band traverses down a slightly different avenue of punk music.  It’s refreshing to hear that Combat Crisis has the ability to change up their delivery ever so slightly as they slow down the tempo mid-song and add some exceptional guitar riffs before jumping back into their comfort zone of thrash punk.  “Misled” gives the listener a taste of some truly screaming guitar as the band reverts back to more of the same – lyrics shouted with anger and rage and the distinct edge that Combat Crisis has cultivated during their careers.  However, “Misled” is vastly different from anything heard on Face The Crowd yet.  Each member gets a chance to contribute to this piece and the listener is now, perhaps belatedly, realizing that this band truly has a diverse range of influences and an exceptionally distinct sound that does indeed vary from track to track.

The title piece, “Face The Crowd,” hits hard and touches on the issue of war and how pointless it is.  “Lives were lost – it’s the ultimate cost for greed and power, but what’s left is a nation with enemies – and for what?” This is a powerful track with a message that should be heard; however, the uninitiated may have a hard time deciphering what is being sung.  The delivery is fast, as is the case with most of the tracks on the album and the punk genre in general, which is a shame.  Combat Crisis does indeed have a message in their music, but one would not know what it is without actually reading the lyrics.  “Out of Luck” and “Nothing To Lose” follow in this pattern as the album winds to a close.  The last two tracks seem to merge together to form one continuous song that ends the album with a bang.  Combat Crisis closes with a message of fearlessness in the face of diversity and the ideology that there should be no regrets in life and that it should be lived in the best possible way, whatever way that you deem fit.  This vicious band of punks has indeed brought forth their message and they have done it loudly and brashly, which is the ONLY way to do it.

Review by Rhonda Readence

Reviews, Rhonda Readence Combat Crisis, Face the Crowd