Tag: Reviews

(CD, 2002)

No.5251

Doctor Pocket’s “Turn It Around” is an exhilarating excursion into the realms of hard rock and funk, with a versatility that captivates from the first note to the last. Released in 2002, this album not only showcases the Syracuse-based band’s impeccable musicianship but also their ability to seamlessly navigate through a multitude of styles, making it a treasure trove for aficionados of dynamic, genre-blending rock music.

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The dual guitars of Jim Adamo and Tom Binasco stand out as one of the album’s most intoxicating features. Their interplay is nothing short of mesmerizing, as they weave intricate patterns around each other, creating a rich tapestry of sound that serves as the perfect backdrop for Joshua Farrell’s impressive high-range tenor. The chemistry among the band members is palpable, with Matt Belardinelli on drums and Brett Hobin on bass laying down a foundation that allows the band to explore a myriad of musical landscapes.

Fans of bands like Dave Matthews Band and Red Hot Chili Peppers will undoubtedly feel at home with “Turn It Around.” However, Doctor Pocket’s range extends far beyond these comparisons. The album is a testament to the band’s phenomenal range, effortlessly touching upon elements of R&B, soul, and even jazz, all while maintaining a cohesive sound that is undeniably their own.

What sets Doctor Pocket apart is not just their technical prowess but also their songwriting. The tracks are deep and layered, filled with gorgeous melodies and harmonies that resonate long after the music stops. Their ability to marry the exploratory spirit of jazz with the funky complexity of rhythm patterns, all powered by a rock-driven force, is remarkable. It’s a blend that captures the exuberance of George Clinton, the studio polish of Earth, Wind & Fire, and the innovative spirit of Prince.

The album’s accolades speak volumes, with a #1 spot on the Syracuse Area Music Chart reflecting both sales and airplay success. This recognition is a testament to the band’s appeal and the impact of “Turn It Around” within the local music scene and beyond.

Live performances are where Doctor Pocket truly shines, as noted by fans and critics alike. Their electricity and energy on stage bring the songs to life in a way that must be experienced to be fully appreciated. It’s this live prowess that has earned them a dedicated following and a reputation as one of Syracuse’s best-kept musical secrets.

“Turn It Around” is more than just an album; it’s a musical journey that defies easy classification. With its blend of groove, R&B, funk, and soul, Doctor Pocket has crafted a contagious brew of sounds that is both diversified and tightly executed. It’s a record that not only belongs on the radio but also deserves a spot in the collections of those who treasure the artistry and passion that define great rock music.

For those yet to discover Doctor Pocket, “Turn It Around” is the perfect entry point. It’s a rich, engaging album that promises to turn any listener into a fan, offering a sonic experience that’s as thoughtfully composed as it is thrilling to hear.

(Digital, 1984) No.5250

The 1984 release “Quantum Geometry Networks” by Tom Furgas stands as a testament to the boundless creativity that can emerge from the most unassuming materials. This digital album, now accessible via Bandcamp, is an immersive journey into the world of ambient music, crafted with an eclectic mix of sounds that Furgas had at his disposal during its creation. The result is an auditory landscape that feels both intimately personal and expansively cosmic.

Furgas’s approach to this album is akin to a sonic alchemist transforming mundane objects into gold. “Quantum Geometry Networks” is a showcase of how everyday items, when viewed through the lens of creativity and ingenuity, can become instruments of artistic expression. From the gentle hum of a saw to the atmospheric drone enveloping radio static, Furgas weaves together disparate elements into a cohesive and entrancing musical tapestry.

The inclusion of traditional instruments like synthesizers, electric guitars, and pianos alongside unconventional sound sources such as wind-up toys, TV and radio noises, and rhythm generators, speaks volumes about Furgas’s experimental ethos. It’s as if he’s inviting listeners on an expedition through the quantum geometries of sound, where familiar audio textures blend with the unexpected to create something wholly original.

Listening to “Quantum Geometry Networks” is like tuning into the frequencies of an alternate reality. The album flows seamlessly from one piece to the next, guiding listeners through an ethereal space where time seems to stand still. The use of tape loops and sound processing techniques adds layers of depth to the compositions, creating an immersive experience that captivates the imagination.

What is particularly striking about this album is its ability to evoke vivid imagery and emotional responses without adhering to conventional musical structures. Furgas’s skillful manipulation of ambient sounds and his intuitive sense of composition ensure that, rather than descending whole cloth into cacophony, the album maintains a harmonious balance between chaos and order.

Released on March 1, 1984, and recorded at Tom’s Studio, “Quantum Geometry Networks” is a pioneering work in the realm of ambient music. It predates the widespread adoption of digital production tools, making Furgas’s achievements all the more remarkable. The album is a reminder of the limitless possibilities that await those willing to explore the full range of sound sources available to them, no matter how unconventional.

For aficionados of ambient music and experimental soundscapes, “Quantum Geometry Networks” by Tom Furgas is an essential listen. It offers a glimpse into the creative process of an artist unbound by traditional musical boundaries, and it serves as an inspiration for future generations of musicians to look beyond the obvious in search of their unique voice.

Available at Tom Furgas Bandcamp, this album is not just a collection of tracks but a portal into the imaginative mind of its creator. It invites listeners to embark on a journey through the quantum networks of sound, where every listen reveals new patterns, textures, and dimensions.

no.5247 (CD, 2002)

In the landscape of modern music, where genres blend and identities often merge into a homogenous mix, Snacks’ album “The Cinnamon Show” emerges as a delightful anomaly. This 2002 release, steeped in the traditions of keyboard-based pop/soul R&B, taps into a rich vein of musical nostalgia while forging its own distinct path.

At the core of “The Cinnamon Show” is an evident homage to the ringing Rhodes piano, a hallmark of classic soul and R&B. Yet, Snacks doesn’t merely replicate the sounds of yesteryears; they punctuate this familiar base with tasteful guitar work that offers both punctuation and counterpoint, elevating the album beyond mere pastiche. The influence of Donald Fagan is palpable, not just in the intricate arrangements but also in the sophisticated storytelling that unfolds across the tracks.

However, Snacks is not content to rest on the laurels of their influences. The album veers into art rock territory, with echoes of Peter Gabriel’s pioneering spirit. Kevin Wiggins and John Richardson, the masterminds behind this project, craft a sonic journey that rewards listeners with new discoveries upon each listen. Unexpected elements, like a banjo leading a charge towards the album’s climax, serve as testament to the band’s willingness to explore and innovate.

“The Cinnamon Show” feels like a concept album, but it’s more akin to a radio play or telethon in its execution. There’s a theatricality to the music, a sense of narrative that binds the songs together into a cohesive whole. This is an album that doesn’t just aim to entertain; it seeks to engage, to provoke thought and evoke emotion.

The inclusion of Brett Kull, described as a reincarnated Norse Viking, on strings adds layers of complexity to the album. Kull’s versatility on instruments ranging from the mandolin to the electric guitar, combined with his vocal harmonies, enriches the sound palette of “The Cinnamon Show.” His background, spanning from AAA bands like Grey Eye Glances to philoso-rockers Echolyn, brings a depth of experience that shines through in the production.

Bassist Cutty, or John Richardson, stands as a pillar of the album’s sound. His bass lines are unconventional yet melodic, providing a soulful undercurrent that anchors the album’s more experimental flights. The dynamic between Cutty and Wiggins, born from years of collaboration and a shared vision, lends “The Cinnamon Show” a solidity that’s rare in albums daring to defy genre conventions.

In conclusion, “The Cinnamon Show” by Snacks is a rich, multifaceted work that defies easy categorization. It’s an album that pays homage to its roots while boldly charting its own course. For those seeking a musical experience that combines the familiar with the unexpected, “The Cinnamon Show” is a journey worth taking.

Apple Music

No.5244

(CD, Digital, 2023)

GAJOOB Review by Bryan Baker:

Emerging from Brisbane, Australia, Naaki Soul’s “Nylon Songs,” released in 2023, strikes a chord with its unique blend of post-punk guitar sounds and emotive vocals. This album, produced and recorded by Christopher Brownbill at Underground Audio, is as much an exploration of genre boundaries as it is a showcase of Naaki Soul’s distinct musical style.

The album kicks off with “Dreaming at Dawn,” setting the stage for the sonic journey that lies ahead. With tracks like “Valley Song” and “Summer Palace,” the listener is treated to a mix of punk, grunge angst, and chartreuse soul pop – a testament to Naaki Soul’s versatility as an artist.

Arguably, one of the standout tracks is “Likened Me to Baby’s Breath.” It begins with a beautiful blend of clean guitars with a hint of overdrive, before erupting into an emotional frenzy. The track is further enhanced by a unique deathcore backing vocal, creating a soundscape that is both thrilling and unexpected.

The use of monologues and dialogues interspersed throughout the album adds an extra layer of poetic depth to the listening experience. These snippets imbue the album with a flickering noir sense, adding a cinematic diary quality to the music.

“Stop It You’re Splitting Again,” is stripped vocal and stunted acoustic guitar, joined by layers of tiny synths and then a winding chorus of vocals full of complexity, and raw energy.

“Nylon Songs” is a a testament to Naaki Soul’s talent and creativity. The album showcases a wide range of influences and styles, resulting in a sound that is uniquely Naaki Soul’s own. For those who appreciate post-punk, grunge, and soul pop – or for anyone looking to discover something new and exciting – “Nylon Songs” is a must-listen.

Media: CD, Digital.

Visit Naaki Soul

Bandcamp URL: https://naakisoul.bandcamp.com/album/nylon-songs

No.5243 (Cassette, Digital, 2022)

GAJOOB Review by Bryan Baker:

Fentom’s “Residue,” released in 2022, is a masterclass in ambient music artistry. This five-song album, available on cassette and digital platforms, paints an evocative soundscape with its atmospheric electronics, field recordings, echoing piano, muffled voices, and vintage residue arpeggios.

The journey begins with “where it begins,” a track that only hints at the tone for the rest of the album. It’s a tease; the album has much more to reveal (yet disguised).

The second track, “among them,” follows suit with its captivating blend of sounds. “Hand” and “dust” continue to build on the established atmosphere. Voices begin to question the proceedings.

Finally, “bat” rounds out the album. It leaves a lasting impression, and leaves me wanting more, with its hauntingly beautiful filters distorting an intricate sound design.

One of the most fascinating aspects of “Residue” is its origin story. Created during a time of societal lockdown and pandemic pressure, Fentom was asked to create five ambient pieces for an art performance by Marlies van Grootel. The result is a collection of tracks that not only complement the art performance but also stand strong on their own.

The physical release of the album is a collaboration between Fentom and van Grootel. Each cassette comes with a miniature piece of van Grootel’s art as the J-Card, further enhancing the uniqueness of this release.

“Residue” is an album that stands out in the realm of ambient music. Its wide-ranging approaches and beautiful sonic junkyard make it a must-listen for anyone interested in the genre.

Media: Cassette, Digital.

Visit Fentom

Bandcamp URL: https://fentom.bandcamp.com/album/residue-3

No.5241

ARTIST/LABEL NOTES:

Billy Lopez (vocals, guitar) started the band with Julian Graham (drums), Chris Cumming (bass) and Beau Alessi (lead guitar) in late 2010 after deciding it was probably a good idea to get this sort of thing out of his system before he turned 30. Fun fact: Bel Argosy rehearses in the attic of the rectory of an Episcopal church. Enclosed is a copy of our new cassette EP, Let’s Hear It For Bel Argosy. It’s the first tape we’ve ever done, but not the first LP — we put out a vinyl 7″ record last year which was met with sesounding acclaim within the community of people who write blogs about free records they get in the mail. This time around we’re really trying to focus our promotion on a smaller, more elite group — people who still have tape players in their stereos/cars. Can you help us out?

GAJOOB Review by Bryan Baker:

“Let’s Hear It For Bel Argosy,” the 2013 release from Bel Argosy, is a compelling thrust into the realm of post-punk music that demands attention and holds it. This six-song EP, available on both cassette and digital platforms (it’s free on bandcamp), is an energetic exploration of guitar-driven music that impresses with its upbeat tempo and infectious hooks.

The album kicks off with a blast of guitars, drums, bass, and vocals, setting a high-octane tone that persists throughout the entire EP. There’s a certain rawness to the production that lends a sense of authenticity to the tracks, making them feel more like live performances than studio recordings. This is particularly evident in the slack, singalong choruses that are propelled with a palpable energy and enthusiasm.

The band, started by Billy Lopez (vocals, guitar) in late 2010 along with Julian Graham (drums), Chris Cumming (bass), and Beau Alessi (lead guitar), brings a ratcheted dynamic to the table. Their chemistry is apparent in their tight-knit performance, with each member contributing to the overall sound while also standing out in their own right.

Did I say this is a rush? This is the kind of tape you keep in your car to save on gas!

Despite the band’s tongue-in-cheek approach to self-promotion, there’s a sincerity to their music that can’t be denied. They clearly have a deep love for what they do, and it shines through in every track. From the raucous guitar riffs to the catchy vocal melodies, every element of “Let’s Hear It For Bel Argosy” feels like a celebration of made-up myths and kid-legends (and sometimes girlz).

“Let’s Hear It For Bel Argosy” is an impressive release that showcases the band’s undeniable vigorverve and passion for music. Whether you’re a fan of post-punk or just looking for something new to listen to, this EP is worth checking out.

UPDATE: Also, for fans of cool kids animated TV, Billy is the creator of Welcome To the Wayne and other stuff.

Media: Cassette, digital.

Visit Donkey Town Records

Bandcamp URL: https://belargosy.bandcamp.com/