A Crack in Time and the Break of Dawn.  That’s a rather romantic and intriguing name for a band.  The name alludes to mysterious and mystical melodies and vibrant, colorful soundscapes.  The band states on the back cover of the CD that this is “a musical and artistic expedition reaching out for the ever-present, everlasting Now.”

In keeping with this philosophy, A Crack in Time and the Break of Dawn begins their three-song album Remedy with an 18-minute track that is the equivalent of entering an altered state of consciousness.  The longer one listens to it, the deeper one gets taken.  The first track begins with a surfer-esque guitar riff that sets the tone for the surreal and spontaneous jam session that is about to commence.  The track is long, occasionally monotonous, and the singer’s voice leaves something to be desired as he is frequently off-key and sometimes sounds shrill.  These issues aside, the instrumentation is well done and the overall vibe of the first track is one of spectral elegance.

Track two is slow to begin and one may wonder if it will ever start.  There is nearly 4 minutes of not much of anything happening and the listener may become restless while waiting for this track to get underway.  Close to the four-minute mark the song picks up, such as it is, with some vocalization that one is hesitant to call lyrics.  They are not words, per se, at least in the usual sense, and the vocalization is mediocre at best.  Again the singer seems to be performing in his own key and his voice cracks and peters out at unexpected moments.  This 24-minute piece is rife with reverb and has a bit of a schizophrenic and otherworldly sensation to it that is not exactly comforting or harmonious.

However, there is also a rather addictive quality to this song.  It is impossible to stop listening and the guitar work is slightly reminiscent of the guitar work in Roger Waters’ song “Amused to Death.”  The drummer appears to be going through a test of endurance as the song marches forth and he tirelessly keeps the rhythm.  The basis of a jam session is to play and record in the now, and A Crack in Time and the Break of Dawn is doing precisely that.  The chaotic feel to track two and the seemingly inconsistent patterns is the result of this.  While it may not be the most pleasing or harmonious music, the listener must respect the fact that the music is improvised and spontaneous and this adds to the charm and mystery of it.

The final track is a whole different experience from the preceding two tracks.  There is a tribal essence to this piece that is savage and melodic at the same time.  The rhythm tends to emulate the sound of a train, especially as the song picks up speed.  While listening to this, one may get the vision of people dancing a secret dance, a ritualistic rite of passage that not many understand.  The closing track is by far the most intricate and pleasing of all the tracks, and at roughly 9 minutes, it’s unfortunately the shortest.  The build-up is fantastic and the climatic peak is orgasmic.  While listening to the final song, one now gets a much better understanding of the talent that this band possesses and a clearer grasp of what improvisational music is all about.

After listening to Remedy through once, the listener may be a bit confused and may sit silently pondering what has just been heard, not quite understanding the concept of what A Crack in Time and the Break of Dawn is trying to accomplish.  A second listen-through better solidifies the artistic experience of this album and the listener may now be more open to the unique and original way that this collective perceives music.  By the time the listener gives it a third go around, all bets are off and the music itself has become oddly addictive.  The sheer idea of improvisational music is unique and rarely done, most especially the way A Crack in Time and the Break of Dawn does it.  The music itself may not be all that fantastic, but the idea behind the music is mind blowing.  It may take people a minute to fully grasp it, but once it clicks, there is no turning back.

Review by Rhonda Readence

Reviews, Rhonda Readence A Crack in Time and the Break of Dawn, Remedy

Self-taught musicians are more often than not much more creative than the ones who have had diligent guidance from music teachers, vocal coaches, and the like.  Self-taught musicians tend to think outside the box and create music based solely on their emotions, instincts and life-long influences.  Michael Lee is a prime example of this.

Lee’s music comes from the heart and it is clear that he is the master of his domain.  With influences such as Incubus, Jeff Buckley and Sting, Michael Lee has created an album rife with emotion, creativity and originality.

Face Forward opens with “Land of Change” and it is a softly melodic way to introduce the world to Lee’s music.  There is a heavy Incubus influence to this track and Lee’s voice is uncannily similar to that of Brandon Boyd’s.  The production is flawless and the sound is crystal clear.  Each note rings out wonderfully.  With a slightly spectral vibe to this piece, it is easy to envision vibrant colors swirling across a shining white landscape.  “Land of Change” sets the pace for a melodic journey into Michael Lee’s world.

“Trust” and “Despite” also feature Incubus-influenced melodies with Lee’s own unique flair.  Both tracks are expertly produced and engineered and Lee’s vocals, especially in “Trust,” showcase his extraordinary range and strength.  Brandon Boyd may need to take heed, as he is about to be surpassed in the music circuit.

“Tired” seems to be more Lee’s own style, starting with beautiful piano work that might make the Piano Man Billy Joel himself jealous.  This track is hauntingly harmonious and exceptionally well-crafted.  “Tired” takes the album in a slightly different direction and the lyrics are tinged with sadness, despite the uplifting melodies of Lee’s flawless piano work.  His vocals are taken to new heights in this piece – something that is wholly his own.

The album continues on in this vein with “Mystery of Life,” which slows down the pace significantly.  Working the acoustic guitar with skills that rival those of Jeff Buckley, Michael Lee croons out this melancholy ballad effortlessly and then rolls smoothly into “Youth.”  The transition between these two very different songs is excellent.  Lee doesn’t miss a beat and the listener is not shoved rudely from the slow-paced “Mystery of Life” into the faster tempo of “Youth.”  This is a perfect example of ideal song placement on an album and superior engineering.

The opening rhythms of “In the Picture” have a vague and barely perceptible Blue Oyster Cult feel to it, specifically the song “I Love the Night”, and Lee again proves that his vocal abilities far surpass those of more prominent artists.  Letting himself flow with the mellow groove of this track, Lee soothes his own tortured soul, and by proxy, all of ours.

“Distant Future” changes it up with a catchy, almost Western American guitar riff that is upbeat and bouncy.  The lyrics make it clear that this is a love song, and a beautiful one at that.  There is a minimal amount of instrumentation in this song, which makes it simple and easy to listen to.  It is patently clear that Michael Lee can hold his own without a ton of effects and overdubs.  Michael Lee and a guitar sound just perfect.

“Never Enough Time” brings forth a side of Lee that was not made evident before now.  The guitar work and the rhythm of this track again bring to mind Incubus, but there is a touch of something darker and more sinister here, perhaps even sensual.  The band TOOL comes to mind, and this is wholly unexpected but undeniable all the same.  “Never Enough Time” is unlike anything on the album thus far and it takes Michael Lee to a different plane of musical genius.  The rhythm is seductive, his guitar work is heavier, and his vocals are grittier and more powerful than any of the previous tracks.

The title track, “Face Forward,” is an instrumental work and it encompasses everything that Michael Lee is trying to accomplish.  It is a masterful piece of musical genius that shows, without any doubt whatsoever, what a talented and gifted artist he is.  Self-taught and self-contained, Lee plays all the instruments on all his tracks.  While the listener may know this from the beginning, it doesn’t really hit home until listening to “Face Forward.”  The piano work is impeccable, the guitar positively screams, and the overall feeling of this piece is one of awe and inspiration.  This track is comparable to something that Pink Floyd would be happy to call their own.  In fact, this track is comparable to something that anyone would be happy to call his own, but it is Michael Lee’s all the way.  “Fast Forward” embodies everything that Michael Lee stands for.  It is pure melodic perfection, brimming with talent and emotion.

The closing track, “That Day,” continues with Lee astounding his listeners once more with his stellar piano playing.  He graces us one last time with his heartfelt vocals and his unusual and unique way of provoking emotions that have been lying dormant and forgotten in the hearts of his listeners for quite some time.

Michael Lee is an extraordinary artist with the skills, talent, and power to make his music a basic tool of survival not only to himself, but to anyone who is fortunate enough to be graced by the beauty, honesty, and creativity that his music brings forth.  Face Forward is not merely a good album.  It is the very essence of life itself.

Review by Rhonda Readence

Reviews, Rhonda Readence Face Forward, Michael Lee

Hu-manilectro.  That’s what JD Shultz calls his art, his music, and his contribution to making his world, and OUR world, a better place.  This multi-instrumentalist, vocalist, producer and songwriter has created something that is wholly unlike the super vanilla soft alternative that pours out of speakers all over the world.

Shultz coined the term Hu-manilectro to put a name to the smooth melodies and rhythmic beats that are currently pleasing the ears of anyone fortunate enough to be able to listen to them.  A refreshing blend of electronica, alternative, soul and pure talent, the album Vision Days on the Life Ride starts with the track “Floor on Fire” and it is immediately intriguing.  The sound is crystal clear and extremely clean.  From the opening notes of this album, it’s an attention grabber with the power to make people stop everything they’re doing and really listen.  There are very few artists who can combine so many different and diverse elements into such a pleasing blend of perfection.

The sound is smooth, the vibe is funky, and JD Shultz adds his own unique flair to each song to make it all his own.  The track “You Are Everything” is a perfect example of this.  It has a bit of a hip hop beat, coupled with darkly seductive lyrics and what is quickly becoming known as Shultz’s own Organitronic.  He gives it his own twist by adding an Egyptian-sounding guitar riff every now and then.  Most artists would never be able to pull this off in the context of this song, but Shultz can.

“The Lucky Ones” has more of a rock flavor with a contagious guitar riff and Shultz keeps the soul coming with a slick bass line.  His vocals in this piece are what really carry it and the lyrics are haunting.  Shultz makes them even more so by adding several layers of vocals and changing up the delivery.  The guitar work in this song is stellar and “The Lucky Ones” embodies much of what Human Brother is all about.

“Drown” takes Shultz’s music to another level.  This is a more aggressive song that has cutting edge lyrics and sounds that seem to defy conventional music of every genre.  Human Brother continues to amaze and astound as we are taken on a ride of epic musical proportions.  Spectral, astral, and with a vibe that positively screams of sensuality, “Drown” is by far the best cut on the album yet.

The music of Human Brother can not readily be classified into any specific genre because it contains so many various aspects of so many diverse influences.  The track “Torture and Grace,” for example, is nightclub material through and through.  While most of the songs on the album have an electronic touch to them, this particular track vamps it up to the extreme and it should be played in dance clubs around the globe.  In addition to this, there is a bit of an underlying jazz feel to it that would make it equally appealing to listen to at a high end jazz club that specializes in smooth flowing music that makes patrons want to drink fine wine while tapping their feet and swaying in their seats ever so slightly.  With the track “Torture and Grace,” Human Brother shows that this is universal music that can be enjoyed by just about everyone.

Closing the album is “Live at Shlembley Stadium” and it’s an excellent choice to end with.  It begins slow and then packs a punch.  Human Brother sounds just as polished live as they do on the studio tracks and this song has the slightest bit Cure influence in it, evident in the opening guitar riffs.  JD Shultz graces us with his unique vocals and “Live at Shlembley Stadium” leaves one with the sensation that Human Brother has only just begun.  The possibilities are endless and Hu-manilectro music is on the rise.

JD Shultz has proven that he is a master of his craft with the album Vision Days on the Life Ride.  Combining influences from every genre known to the music world, Human Brother cannot be neatly packaged and contained into a single category.  It is as unique and diverse as the term Hu-manilectro.  If this is any indication of what is to come, the world is about to experience a whole new way of looking at music.

Review by Rhonda Readence

Reviews, Rhonda Readence Human Brother, Vision Days on the Life Ride

It always starts off well with a band who cites Syd Barrett as an influence.  Ten points for Frantic Planet.

The record open “Games We Play”, beginning with a snappy guitar riff and drums and bass to complement it nicely. Steve’s vocals kick in almost right away and I’m treated to a catchy tune that gets my feet tapping from the get-go.  I start listening to the lyrics as the song unfolds before me, and I am enthralled. “Games We Play” is basically about manipulation.  The lyrics are thought provoking and will bring to mind the times we have been played, hurt, taken for a ride.

As for the instrumentation of this piece, I absolutely love the guitar work.  It sounds fantastic and there is clearly some serious talent here.  The rhythm is contagious and the drums make it work.  The bass falls in place perfectly and the sound of this song is very good.  Steve’s vocals are perfect for this piece.  His voice blends smoothly with the music and everything flows together extremely well.  With the lyrics, Steve’s vocals, and the instrumentation of this song, I would be absolutely delighted to hear “Games We Play” performed live.  This is a crowd pleaser like none other.

The second track, “You’re So Cold,” gives me a better sense of what Frantic Planet can do and what they are really about.  It’s got a bit of a British punk rock feel to it and it just flows beautifully.  Steve’s vocals are vaguely reminiscent of Iggy Pop combined with Billy Idol, and a bit of Richard Butler from the Psychedelic.  This is a great piece of music and Frantic Planet has done it perfectly in their signature style.

“Lonely Days Again” tones it down a notch, showing the lighter side of this band. This is a melodic tune that makes me want to hold someone while I close my eyes and drift off into oblivion, feeling warm and safe and content. The instrumentation on this is gorgeous. The sound is excellent. Steve’s vocals really come through crisp and clean. I can also hear each individual note that comes from each instrument. “Lonely Days Again” is currently my personal favorite so far.

The next piece, “No Control,” starts with a guitar riff that makes me think of Kings of Leon for a minute. There is some funk going on in this one, then Steve starts to sing and I am reminded again of Richard Butler with a touch of Ian Curtis of Joy Division.  The guitar really takes this track to a new level and this is another stellar piece of musical talent put on display by Frantic Planet.

The final track, “California Nights,” takes it down quite a few notches with a Jim Morrison approach.  Eerie, giving chills, this song has serious attitude and I dig it.

Frantic Planet combines several influences on this short five song album, and I am confident that there is much more lying in reserve.

Review written by Rhonda Readence

Reviews, Rhonda Readence

What do you get when you cross Pat Benatar with Chrissie Hynde, add a bit of Linda Perry and a dash of Lita Ford?  You get Lily Sparks with a twist.  Women of rock ‘n’ roll take heed.  Lily Sparks has come out swinging with their album Cooper Cobra.

It begins with “Stars,” a fantastic song about stars, guitars and muscle cars. I t’s also about feeling fine and free, cruising down the road with some good tunes blasting and the wind in your hair.  This is a killer track that simply rocks.  Niamh’s vocals are spot on and she sounds extraordinary.  The guitar screams, the drums and the bass are right in synch, and “Stars” sounds spectacular.  There is an old school feel to this piece that makes me feel cooler just by listening to it.

“Let Go” starts a little slower and I totally dig the guitar riff.  Niamh’s vocals are sultry and sexy and she sounds nothing less than perfect.  I thought she sounded great while listening to the previous track, but I had no idea the sheer talent she had in those pipes of hers until I started listening to “Let Go.”  Voices like that are few and far between.  The whole song is seductive from Niamh’s voice to the rhythm of the drums and the bass to the guitar riff.  I don’t think I’ve ever heard a more seductive song.  I would love to see this performed live.  I could just imagine the looks on the faces of every male concert goer in attendance.  They would be standing there gaped mouthed and drooling on themselves.  That’s the power that this song has.  That’s the power of Lily Sparks.

The next track, “Walk Away,” has a catchy groove and rhythm to it, and I am once more impressed with Niamh’s vocals.  There is a bittersweet undertone to this piece, and beneath the pure unadulterated rock feel of it, there lies a quiet peaceful sort of pain that tugs at the heart.  “Walk Away” gives me a sense of the softer side of Lily Sparks, especially while listening to the lyrics.  At the end of this track, I am left remembering good times that have passed but have left me with warm memories.

“Where We Are Today” is definitely a softer tune and I’m glad to hear it.  They slow it down a notch and I find myself really focusing on the instrumentation in this one.  As usual, Niamh hits it and she sounds amazing, but this track allows me to see what the rest of the band is made of.  The sound of this piece it truly phenomenal and each member of the band are in tune with the others, and I’m not just talking about being musically in tune.  I get a sense that the members of Lily Sparks are in tune with each other mentally and emotionally as well.  This is a great collaboration of talent and it could not possibly sound any better.

The final track, “The Girls,” has a slightly country vibe to it and this catches me by surprise.  I wasn’t expecting a country flavor, but I welcome it.  It only goes to show that Lily Sparks is diverse and can play several different styles of music, which is always a good thing for any band.  “The Girls” is definitely the slowest track on the album and it’s more of a story than it is a song.  The lyrics take me to other places in my mind and I am there; in New York City, on Bleecker Street, heading to O’Donnell’s to have a few rounds with the girls.  There is excellent imagery in this piece. I feel warm and friendly towards a place that I have never been, and I feel even warmer towards this band that has made me feel a little bit of everything.  I went from feeling cool and walking with a strut,  to remembering old memories and feeling that old bittersweet pain, to feeling nostalgic for a place that I have never been. When a band can bring forth so many emotions that are so wholly unconnected, that’s when I know I’ve just heard something extraordinary.

Review written by Rhonda Readence

Reviews, Rhonda Readence Cooper Cobra, Lily Sparks

Hawk and Dove. What a fabulous name for a band. The name alone brings to mind visions of perfect blue skies, crisp clean air, and the unlikely possibility of a hawk and a dove flying in harmony together. It’s a peaceful image. And because this is the vibe that I got from the name of this band alone, I was anxiously anticipating what their music would sound like. I wanted to know if the images that came into my mind fit the vision of this band.

So I began listening. The album starts with the song “Furious Armies” and it is as melodic and soothing as I thought it would be. It is almost hypnotizing. I found myself swaying back and forth with my eyes closed, just soaking up the peaceful vibe and the lyrics that carry so much hope. The guitar work on this piece is fantastically well done. In fact, all of the instrumentation is stellar. The sound quality is phenomenal and it is obvious that Hawk and Dove have put much time and effort into crafting this album.

The second track, “Stain,” has a more back country feel to it, as in old cowboys hanging out in front of the general store waiting for someone to come say hello. I picture a dusty, hot desert, cacti, and rusty pick-up trucks driven by land weary Native Americans with a handful of children with haunted eyes riding in the bed. The lyrics of “Stain” are tainted with sadness and melancholy accompanied nicely by the violin. The rhythm of this track is slow and smooth and each member of the band has the chance to show what they are made of. The guitar really carries this piece, but it would be nothing without the drums, and the drums would be nothing without bass, and holding it all together are Elijah’s vocals and the melodic violin. There is so much going on in this piece, but it is so exceptionally well done that it simply flows together effortlessly. I also get a much better sense of Elijah’s vocal ability, especially towards the end of the song when he opens up a little more. “Stain” is not just a piece of music; it is also a work of art.

“Boy on the Moon” begins with a dreamy and spectral guitar riff that is accompanied beautifully by Elijah’s vocals. And due to the fact that this track begins with nothing but the guitar and Elijah, I am focusing very closely on the lyrics. “So much time I don’t know what to do, tell me, Mister, are we leaving soon.” That is how the song begins and for some reason it is haunting and comforting at the same time. “Boy on the Moon” has rather deep meaning, I am sure, and it is somewhat of a sad song. I am discovering that Hawk and Dove have the ability to make me feel lonely and yet comforted, isolated and yet open to every possibility, help captive and yet feeling free. And that’s only what the lyrics do to me. The music is spectacular and this song clearly shows that Hawk and Dove have unlimited potential and that each member has an unending supply of talent.

The final track is titled “Muscle Breaks” and it is a live one. I find this extremely intriguing for many reasons. Studio and live cuts have very different sounds to them for the most part. Live recordings are not nearly as polished and professional sounding as studio recordings and that is what lends them such charm. Hawk and Dove, however, sound just as tantalizing with a live recording as they do with studio ones. “Muscle Breaks” is a compilation of talent, heart and soul. That violin again…… It can give a person chills. In fact, it just did.

Hawk and Dove have obviously mastered the art of creating original and captivating music. This EP is alive, colorful and thought provoking, not to mention the sound is just phenomenal. I look forward to hearing more from these talented and gifted musicians.

Reviewed by Rhonda Readence

Reviews, Rhonda Readence

All hail the Rock ‘n’ Roll capital of the world…… Cleveland, Ohio.

That is where Downforce calls home, and that’s quite fitting. Gritty, honest, hard working and hard rocking music. Nothing comes easy in Cleveland, least of all musical success, but Downforce might be on their way.

The album “Tight” starts off with some foot tapping beats and a nice down home rhythm that will be sure to get any bar crowd singing and dancing with the best of them. The opening track, “Too Little, Too Late,” screams of good times with good friends, hanging out at the local pub, swigging down beer, and jamming to some classic rock with a Cleveland twist.

“Insecurity” starts off a bit harder and rocks while it rolls. It has a bit of a punk vibe to it, coupled with the standard classic rock riffs. This is another great bar song and I am confident that Downforce is a fantastic live band. I especially like the transitions in this track and the screaming guitar. “Insecurity” is an all around king hell bastard of a song.

The third track, “”Judgment Intoxication,” is along the same vein as the previous two tracks. Good old down home rock ‘n’ roll. I find myself digging on the lyrics with this one. This song is about raw attraction, sex, and being drawn to things that aren’t necessarily good for us. But those things, while they may be self-destructive, are usually the most fun, aren’t they. Downforce knows this, and they sing it well.

“You’re Not the You I Knew” starts off a little slower and this track changes it up a bit. I’m beginning to suspect that there is more to this band than good times and good tunes. This piece gives me a little more insight into the workings of Downforce and lets me know that they’ve got heart as well as balls. The rhythm is addictive and the lyrics are more thought provoking than any I’ve heard from this band yet. The guitar work is damned good and this is by far the most melodic song on the album as of yet. Nice work.

From the melodic rhythms of the previous track, “Surrender the Night” starts effortlessly and the flow is exceedingly well done. A very smooth transition. This is another slower tempo piece with some pretty wicked effects going on here. The guitar is what carries this song. What a perfectly beautiful solo. This track clearly shows off the skills of this band, most especially the guitar player, but I would be a terrible reviewer if I did not praise the vocals as well. “Surrender the Night” gives me a much better idea of the vocal ability of the singer – and what a set of pipes he’s got. Each member of the band gets his chance to shine during this song and that’s when you know it’s a good one.

“Song of Hope” begins with some great acoustic guitar work and *gasp* windchimes. I got a little bit of a chill just now. Bands don’t use windchimes enough and it does my heart good to hear them every now and then. There is also some piano in this track and I am so loving this song. Downforce has proven to me that they are so much more than a great bar band. They have depth and emotion and their lyrics are meaningful. Not to mention they are skilled musicians with the power to make people dance one minute and cry the next. But they do it so craftily that it all flows together so smoothly that it just makes perfect sense. “Song of Hope” is inspirational and amazingly well produced. Excellent piece of music.

I was slightly worried about the transition from “Song of Hope” to the next track, “Change My Mind,” and it is a bit harsh. Sort of like waking from a deep sleep with a bone rattling fall from bed. The previous three tracks were a bit slower and I was lulled into my Happy Place, but after the initial shock of going from soft and melodic back to rockin’ and rollin’ I am once more back in the Downforce element. “Change My Mind” gives the drummer a chance to show us what he’s got and the bassist is right along with him. And while the musicianship is again way beyond average, this is not the best track on the album. Perhaps I feel this way because I was lulled into a calmer place by the preceding tracks that were much slower. I might suggest looking at the placement of the tracks on the album. Perhaps a faster song needs to fall in place between the previous three slower tracks so the listener doesn’t feel so brutally shocked back into the rhythm of the faster music.

“Speed of Rock” is an upbeat little number that solidifies the transfer from the softer side of Downforce back into the foot tapping, hard working music we have come to know and love. This track is about running through life full bore ahead, taking what comes and living at the “Speed of Rock.” It makes me want to get out there and DO something. A very motivational piece of music that would also be wonderful to see performed live. I really like this one because of the line “It was worth it, right or wrong.” I love that. We can never go back and change what has already happened, so it better be worth it, right? I dig this one a lot.

“Hating You” begins with the signature Downforce riffs, and then I am surprised to hear a guest vocalist. Kathy Lindberg adds a little something to what Downforce has come to mean to me, and it’s a nice touch. “Hating You” is another great down home boogie tune and would be quite popular at the local pub. Once again, the guitarist shows us what he’s made of and the rest of the guys simply flow with it and rock like only Downforce can.

“The End” tones it down a notch and the acoustic makes another appearance. I really enjoy the rhythm of this song and the lyrics are exceptionally well written. This song will make you think, no doubt. Just when I am about to get overly emotional on this one…… WOW…… Downforce pulls a trick on us, huh? They go from soft to totally heavy and then back to soft. I got chills again. That was a NICE touch. Genius. I am almost done with this album, and I can tell you without doubt which song is my own personal favorite. It’s “The End” hands down. What a brilliant piece of work. Downforce has won me over completely with this amazing display of talent and emotion.

The album closes with “Day Job” and Downforce wraps it up with strength and conviction. They leave us flying high and wanting more. And since we can all relate to having day jobs and really not liking it, this tune is universal. It screams of the frustration of wanting to do something else and trying so hard to get there. And while the guys of Downforce probably DO have day jobs to support their musical careers, I have faith that they will one day be able to quit those meaningless jobs to make music full time. That’s the American Dream, right? Downforce CAN get there.

I am thoroughly impressed by this album and I am anxious to see Downforce perform live. Cleveland born and bred, I will be sure to check them out any time I can. The studio album is well produced, the sound is good, and the music is fantastic, but I think Downforce live and in color would be a force to be reckoned with. This album has all the elements of what Cleveland rock is about – good times, good friends, good music, and above all, working hard to make dreams become a reality. Cheers.

Reviewed By Rhonda Readence

Reviews, Rhonda Readence Downforce, Tight

When I think of Great Britain, the first thing to come to mind is tea and crumpets, royalty, and cool accents. And while this is all well and good, it’s always nice to know that there is some killer music that comes out of Great Britain too. The UK, that is. Pink Floyd, Black Sabbath, the Beatles, Mary Poppins…… Oh, wait……

In any case, the list goes on. Included on that list should be one Menelaos Georgiou, the mastermind behind the band Afflicted. The album is based on his divorce, and when I read this, I cringed ever so slightly. I was expecting to hear some sad sappy heart broken love songs. I was gritting my teeth and wondering how I could possibly write a decent review about an album that revolves around something as serious and painful as separating yourself from someone you once loved enough to marry?

Well, I need not worry. Menelaos is not about to send us into hysterical crying jags. With the first track he makes it clear that this is not an album designed to mire anyone in sadness or despair. “To the Light” is a song that speaks volumes. I feel stronger just by listening to it. The sound is excellent and the lyrics can give hope to anyone who is going through hard times, regardless of what those hard times might be. I take some sort of cold comfort from the fact that someone can make a song like this. It makes me feel like picking myself up after I’ve just been knocked down by life…… Picking myself up, giving myself a brisk shake, and sauntering off into the future, whatever it may bring. “To the Light” is an inspiration.

“Enemy” is a high energy track and Menelaos’ voice makes me think of the singer from Nickelback. This tune rocks and I’m really digging the guitar work in this one. This is some amazing musicianship and I’m starting to understand the talent that is pouring into my ears through my crystal clear headphones. Still keeping in mind the theme of divorce, the lyrics are again very deep and thought provoking. I have never been married, which means I have likewise never been divorced, but I’m beginning to think this album can reach many people from all around the globe regardless of what the message is or what people have been through.

The third track, “Live and Die,” is another hard hitting tune and again the musicianship is fascinating. However, the musicianship is secondary in this song. The lyrics of “Live and Die” should be heard and listened to by everyone. Menelaos has something important to say here. “There’s more to this life than to live and die.” Indeed. I’m really starting to like this guy.

“Break Me Down” is another rockin’ piece of musical bliss despite the harsh reality of the words. Menelaos hits home with this one. He’s fighting back now. He’s feeling his strength and letting everyone know that nothing is going to break him down. This track makes me feel strong too. And it’s not just the lyrics. There is some seriously wicked guitar work happening here and it’s phenomenal.

“The Lie” tones it down a notch and this is more of a sad song even though it still kicks. It deals with love and lies and trying to move on but not wanting to. Being caught in something that simply can’t work, but being afraid to let it go. This album gets deeper and deeper the more I listen to it, and the music gets better and better.

Track six, “Memories,” breaks it down even further. I very much enjoy the softer feel of this song and the rhythm of it. It’s a haunting tune and anyone who has ever been hurt can certainly relate to it. I also get a much better sense of Menelaos’ vocal abilities. His voice is clear and clean on this track and I can hear the obvious talent that resides in those vocal cords. “Memories” is very nicely done and the quiet dignity in which Menelaos pours his heart out is touching.

“Cold,” which is the title track, starts off with a guitar riff that leads perfectly into Menelaos’ melodic vocals and then some hard hitting chords that takes this song to a new level. This is a brutal song. This is when reality sets in and the harshness of the situation is apparent. This is when the emotions start to get more complicated, and at the same time, they are simplified. Like turning off a switch. Shutting it down. Going cold. There is some anger in this track and that’s what makes it just about perfect. It’s about time I heard some anger on this album.

“Belief” begins with a softer and more melodic beat and I like this one already. I can tell it’s another deep one, rife with emotions. The lyrics are incredible and I feel things stir within me that have been dormant for some time. “Belief” is one of those songs that can be listening to over and over again, and each time it is heard, there is something new to be learned.

The ninth track, “Mine Again,” kicks it up a notch and I can sense the frustration of having lost someone, having parted ways, and trying to figure out what the hell to do now. I can sense great strength and determination in this song and it does me good. It makes me feel like I can overcome the hard times. It makes me feel like fighting for myself. I can find my own way home, just as Menelaos has done.

“The Sign” is a tune about searching, trying to find some THING, anything, to make it better. It has a desperate feel to it and yet it simply rocks. I was getting caught up in the story of this album and the lyrics, and I have committed a grave error. I have forgotten that this is a talented group of musicians. This song makes me remember that. The quality of “The Sign” has brought me back to the here and now and has made me realize that these guys can PLAY. Nice work.

“Desire” is clearly a hard core song from the first notes to the last. Sexy, hot, and dark, this is one of the best tracks on the album. Menelaos nails it, figuratively speaking, with this track. One night stands…… Yeah, they work for a short while, perhaps even one whole night, but it doesn’t take anything away or give anything back. All that aside, this is a great song and if I were to chose a single, this would be it.

“Gone” is full of hope and this saga is almost at an end. Menelaos sums it up well with this track. There is anger, despair, longing, love, hate, hope, fear, strength…… There is a wide range of emotions in this song and the music itself compliments it perfectly. “Gone” lets us know that life goes on, no matter what, and that we DO survive, somehow.

The closing track, “The Wind Blows,” is the final chapter of this story. Menelaos has decided to move on, and even though it will always hurt and pieces will always be missing, this song makes us understand that perhaps that’s alright. For every painful moment, there is a happy one. For every piece that is missing, there is another one waiting to be born. “The Wind Blows” ends this album on an optimistic note, and that was clearly the best way to close this one out.

Afflicted has taken us through the many stages of a break up and they have done it without being sad, sappy, or overly indulgent. This is the way rock ‘n’ roll people break up. The lyrics throughout the album are exceedingly well thought out and they hit home, not just for me, but for everyone. The musicianship is absolutely fantastic and the entire album is carefully crafted, well produced and finely written. Menelaos has done himself proud with this album, but more importantly, he has done himself proud by writing what he was feeling and getting through it. No one likes to be hurt, but if being hurt creates music like this, then there is, at the very least, a silver lining. Much love and many cheers.

Reviewed By Rhonda Readence

Reviews, Rhonda Readence Afflicted, Cold

Oh, man. Terracotta Pigeons. Where do I even start? What words do I have lying in wait for my own personal use that can even remotely begin to describe this band? Amazing, hard rocking, and totally killer are simply words. They really aren’t giving me the same magic that I felt while listening to this trio of exceptionally skilled musicians and the music that was born of them.

The album “Ever-Forever-Never” is one of the most polished albums I have ever heard. I could not detect a single missed note, skipped beat, or other imperfection whatsoever. And for some reason, I have a feeling that seeing Terracotta Pigeons performing live would be just as stellar of a performance.

The opening track “Truth” gave me chills. That heavy guitar riff in the beginning is the perfect lead-in to the opening lyrics, which is where the chills come into play. Steve sounds eerily like Mike Patton of Faith No More fame, and there are not many people who can lay claim to THAT. But wait, there’s MORE! Steve is also able to channel Zack de la Rocha of Rage Against the Machine. It’s a combination that works well and provides us with a sound that is totally Terracotta Pigeons all the way. I had to listen to this song several times simply because I liked it so much. I had a hard time moving on to the next track because I was a little fearful that the rest of the album would not measure up to “Trust”.

I soon realized that I need not worry. Within the first few seconds of “Another Dimension” I understood that my worries were completely groundless and that Terracotta Pigeons have no intention of letting their listeners down. Steve is again giving us some de la Rocha in “Another Dimension” and it’s gritty and rough and it just rocks. Everything in this song comes together smoothly even though the song itself is hard. This is a tune that metal heads and rappers can listen to together and enjoy equally. Melodic, heavy, and based in the rap genre, Terracotta Pigeons pulls of this complex feat without a hitch.

Terracotta Pigeons tones it down a notch with “Lips are Burning,” and this piece shows us some more mastery in the Faith No More vein. The vocals are haunting and I especially like the echo effect that Terracotta Pigeons has going on here. I start to think that I’m hearing the soft side of Terracotta Pigeons, but they aren’t about to let it get TOO soft. As with all the tracks so far, there is that hard edge that keeps things from becoming an almost lullaby. The guitar absolutely screams, Steve hits us with some more heavy de la Rocha style rapping, and the drums keep pace through it all. “Lips are Burning” gives the listener a better perspective on the diversity of this band, and the melodic vibe of this tune balances well with the heavier aspects of it. Nicely done.

The title track, “Ever-Forever-Never”, is exactly what we’ve come to know and love about Terracotta Pigeons. Hard-hitting, balls to the wall rock with a twist – And not just the “Terracotta Twist,” as I’ve come to think of it, but a bonafide tongue twister as well. I tried singing along, and it’s a little rough getting all those evers forevers and nevers to roll smoothly off the tongue. Steve does it well though, and what I mean by the “Terracotta Twist” is the way they can groove and mesh just about any and every style of music into one song and still keep it smooth and melodic and hard core. This is something that most bands THINK they can do, and sadly, they try it but they can seldom make it work. However, Terracotta Pigeons proves to us that they have this particular “twist” mastered and this song clearly shows it.

“The Fall-outs” begins with an addictive bass line that swings right into the vocals, and in this song I can clearly hear the range of Steve’s vocal abilities and the strength behind that voice. This track has a bit of an industrial vibe to it, and I particularly enjoy the fact that there is so much going on, but none of it is overbearing, and likewise, none of it gets lost in the shuffle. This track is very well produced and engineered, especially since it seems like Terracotta Pigeons are using some effects with the vocals and the guitar work. While the music itself is totally Terracotta Pigeons, the band Muse comes to mind with the flawless sound of this song. Every note, each vibration, every millisecond of this song appears to have been gone over with a fine tooth comb and the results are extraordinary.

In keeping with the slightly industrial vibe of the previous track, “A Letter From Them” begins with some more industrial rockage, which makes for a smooth transition from one track to the next. While “A Letter From Them” can’t technically be qualified as industrial, it does have a vibe that is somewhat creepy, sort of eerie, and completely wonderful. This song blows me away. This is a new side of Terracotta Pigeons and I am once more shocked and astounded by the sheer breadth of the talent in this band. “A Letter From Them” is like nothing we’ve heard on this album, and Steve’s voice is barely recognizable from what we’ve come to know and love. It’s deeper, darker, and sexier than anything we’ve heard so far. The entire vibe of Terracotta Pigeons has changed in the span of one song, and this track certainly shows that they are indeed capable of anything. This is, by far, my favorite track as of yet, simply because I enjoy the feel of it and it does a great job of showcasing the diversity and the wide range of talent that this band has. This song is study in perfection.

“Pins and Needles” takes us back into the world of Terracotta Pigeons that is more familiar to us, and it hits hard after the melodic “A Letter From Them.” There is a very definite punk vibe to this song and it’s definitely a mosh pit tune. I love the take no prisoners attitude of this band, and the more I hear, the better it sounds. Dare I say I might hear a touch of Axl Rose in this song? I think so. From Mike Patton to Zack de la Rocha to a bit of Axl Rose. My god. “Pins and Needles” is so heavy and fast and it simply just fucking ROCKS… And it’s a short song, so of course, it will require repeated listens. This song is HOT. To be in the mosh pit while Terracotta Pigeons plays this live would be a great honor, and to actually walk out of the mosh pit relatively intact would be an even greater honor.

“Bridge” is a controlled cacophony of drums… and yes, the drummer certainly knows his sticks, doesn’t he? Good GOD, man. What a fantastic treat that was. I would like to hear ALL of the instruments do solos, but that was pretty damned cool. Indeed, the drums do sometimes tend to get overlooked within the music, and it heartens me to know that Terracotta Pigeons wants to make sure that we’re not overlooking ANYTHING vital. Nice display of musicianship here. Well done.

The final track of the album is called “Jungle Muse” and I can almost see Flea from the Red Hot Chili Peppers jamming the bass on this one. Once the vocals kick in, I am again reminded of Muse with a vague dash of the band Placebo. This song has quite an intense feel to it and it comes straight at us, aiming for the jugular. Terracotta Pigeons ends this album in style, and just as I was thinking that I’d like to hear another solo, here comes the guitar in “Jungle Muse” to rock me out. This was a great way to end the album and it leaves the listener wanting more.

Terracotta Pigeons is a band who knows what they’re doing and this review can’t even begin to describe the quality and diversity of this band. I meant every word I wrote here, ten times over, but in my humble opinion, the only way to get a clear feel for this band is to listen to the music and take it all in, each and every perfect note. Trying to put music like this into mere words is very difficult because there are so few words that can be used to describe it. And while those words are fitting, there really aren’t enough of them.

Cheers, mates – from Cleveland, Ohio USA to Darwin, Northern Territory Australia – What a great album.

Reviewed By Rhonda Readence

Reviews, Rhonda Readence Ever Forever Never, Terracota Pigeons

Immediately upon receiving the album, “The Sad Thing Is, We Like It Here”, I had a good vibe. With a title like that, the music’s GOTTA be good, right? And indeed, as soon as I hit the play button on my old but trusty Walkman, I was treated to a catchy rhythm that grabbed my attention with the very first notes. Melodic guitar work, strong on the piano, and then the singer introduces us to the band Shaimus. His voice makes me think of the singer from Coldplay and the beginning track has a poppy beat that gets my foot tapping. I enjoy the lyrics of the opening track as well. “Do you know what’s right or do you just believe?” That is a great line and “Interview” is an excellent song to open this album with. It leaves me anxious to hear more.

“Turn the Other Way” is another snappy little number with a beat that makes me want bounce as I walk. I enjoy this song very much and Shaimus does a fantastic job showcasing their talents, most particularly the vocals and the diverse playing methods the band members utilize in this track. There is a little bit of everything in this song and it flows well. The transitions are smooth and seamless and the production of this piece is exceptional.

Just when I thought I had Shaimus pegged, here comes “All the Good Ways” that starts off with a haunting guitar melody that I wasn’t expecting. This is a softer song that once more brings to mind Coldplay, but is clearly Shaimus through and through. There is some screaming guitar work in this track and it’s a rather positive and optimistic tune that makes me feel good. The more of this album that I hear, the more convinced I am becoming that this band is on the brink of breaking into mainstream music and becoming a household name. “All the Good Ways” should clearly be their first single.

“Tie You Down” picks up the pace again and this track does a great job highlighting the musical talent of this band. The vocals are great, indeed, but this piece allows the listener to truly understand just how talented the musicians in Shaimus are. As in “Turn the Other Way”, there is much happening in this track and I am treated to several different genres in one song. The band does a phenomenal job blending all of the different layers and sounds of “Tie You Down” into a masterpiece of musical genius that is guaranteed to please even the pickiest of listeners.

A tropical guitar lick and some nice piano work begin the next song, “Heads or Tails”, and it has a definite reggae feel to it. This melodic and soothing tune shows a side of Shaimus that I have not experienced yet, and I am once again astounded by the plethora of styles that this band is capable of. “Heads or Tails” showcases the vocal talent of the singer and I enjoy his voice very much in this piece. The placement of this song on the album is a good choice as well. It comes at the halfway point, and the listener is intrigued by the mellow reggae-esque feel of this tune and begins to wonder what other sort of tricks Shaimus has up their sleeves.

”Don’t Want the Story” is heavier than the previous track, yet just as melodic with a beat that grooves and stellar musicianship. The lyrics are especially good too, and I am becoming more and more enamored with the singer’s voice. This track really gives the listener a nice solid dose of what the singer can do, and the backing vocals are nicely done as well. As with all the preceding tracks on the album, “Don’t Want the Story” is exceedingly well engineered and produced and the sound is very clear and crisp.

“Let Go” is a welcome change, and again, I must say the placement of the songs on the album is well thought out. The melancholy piano notes at the beginning of this song certainly move something inside me. The rest of the instruments come into play as this track unfolds, but I can still hear the piano clearly, which enforces the fact that the production of this album is beyond professional quality. The piano is essential to this piece, and Shaimus does a wonderful job of not making it too obvious, and likewise, not making it sound muddy beneath the other layers. “Let Go” also has some rather deep lyrics and I hope the listeners don’t get so caught up in the song itself that they overlook the lyrics, because that would be a shame. This song is my personal favorite so far and Shaimus has yet to let me down. “Let Go” is haunting and deep, and I think I might be falling in love with these guys.

Shaimus gave us their soft side in the previous track, and now they give us their gritty side in “Like a Fool.” There is a jazzy, bluesy vibe to this one, and I can picture people dancing around a very large ballroom as Shaimus plays on into the wee hours of the night. The singer gives us his all in this track and the musicianship is beyond anything I’ve heard as of yet. Everyone is in synch, there is not one missed note or beat, and the singer gives us balls to the wall wailing while still maintaining his signature melodic style. “Like a Fool” is quite possibly the most intricate track on the album, and Shaimus does it well. Nice.

“While We’re Young” takes it down a notch and it begins with soft tones and quiet vocals. The guitar in this piece is addictive and we hear the catch phrase “The sad thing is we like it here.” This is a slow song that is somewhat sad and I get a sense of mourning while listening to this one, but Shaimus isn’t about to let us cry in our beer. There is still an upbeat rhythm that brings us out of our reverie and keeps us from going too deep inside ourselves. Shaimus does a great job harmonizing during this song and even though it may be a rather sad and melancholy song, I begin to feel energized and optimistic towards the end, which is extremely well done. Shaimus is preparing to bid us a fond adieu, and they are sending us on our way with accolades.

The final song of the album is called “Stuck Around” and Shaimus is not about to send us on our way without giving us one more stellar performance. The hand clapping and piano is a nice way to kick this one off, and “Stuck Around” has a bit of a retro vibe to it that makes me want to swirl around in a poodle skirt and saddle shoes. The guitar completely rocks, the vocals are great, and the song is polished and well done. I, too, wish Shaimus could stick around.

The album “The Sad Thing Is, We Like It Here” was a pleasure for me to listen to and I don’t see anything sad about being here with Shaimus. The band took me on one hell of a ride through several different musical genres and a wide range of diverse talent. Their sound is original, the musicians are obviously quite talented, and the singer’s voice will forever be with me. Not only are the songs themselves amazing, but the overall sound quality of the album is exceptional. The production and engineering was clearly done by someone who is very talented and who knows how to make great music sound even better. I am looking forward to more fantastic albums from Shaimus, and I would be absolutely delighted to see them perform live. I am quite confident that they sound just as great live as they do in the studio, and if the band ever tours in my neck of the woods, you can rest assured that I will be there, front and center. Cheers.

Reviewed By Rhonda Readence

Reviews, Rhonda Readence Shaimus, The Sad Thing Is, We Like It Here