giovedì 27 marzo 2014

"Recover": out the third record by Armonight


Genre: Rock/Hard Rock

Release date: March 20th 2014

Label: Klasse1 Edizioni

Digital distribution: Amazon, iTunes

Buy "Recover" at these links:



https://play.spotify.com/album/7ifzPTwBEDfoWemMGT7xNp



On the 17th of December, 2013, italian rock band Armonight released their third album, "Recover". From the record came the single "Night of Illusions", the video of which is available on YouTube- the brainchild of Fjord (aka Pietro Viola) lead guitarist of the band and directed by Riccardo Pittaluga of Minimal Zero.

The ten tracks on "Recover" are a mix of rock-style Armonight but, unlike previous work, namely the debut "Suffering And Passion" in 2010 and the subsequent "Tales From The Heart", dated 2012, the new studio effort has numerous catchy guitar riffs from the first listen. The band, in doing this, intends to deviate from the melancholy aura that characterizes the gothic genre which has been so sterotyped in the past by critics, through the presence of keyboards and female vocals.

Front cover of Armonight's new album

"Recover", recorded and mixed at Malo Sound Therapy Recording Studio, in the province of Vicenza, is distributed by Klasse1 Edizioni and is available on all channels of digital music distribution (Amazon , iTunes, amongst others .. ); the physical format of the CD is also available for order directly from the "Shop" section of the band's official website.

 In the last year and a half, Armonight played a long series of concerts in the UKSwitzerland,Netherlands, France (and, of course, Italy) feeding an increasingly large group of fans. FromAugust 2014 (venues yet to be confirmed), the band from Vicenza will be touring to mark the release of "Recover"- these dates will see the hard rock group performing around Europe fromAugust 29 to September 20.


Night Of Illusions (Official Videoclip)


Official website: www.armonight.com







www.blobagency.com

Skype:sgrooveman







Oldermost - "I Live Here Now"


OLDERMOST, at its core, is human and beautiful. The Philadelphia rock five-­piece just completed recording their debut full-­length album I Live Here Now with Jonathan Low from Miner Street Recordings (Daniel Rossen, Sharon Van Etten, Twin Sister, The War on Drugs, The National) in the Fishtown neighborhood of Philadelphia. In April of 2013, the band self-­released a digital 7-­inch introducing the myriad ways their sound has grown since 2010‘sOldermost EP (mixed by Bill Moriarty).
“Close to the Fire” is a powerful, driving song that builds and charges over a unique bed of texture, rock n roll affinity and lyrics that bridge the gap between mystical and real-­talk honesty. “Once I Left” hints at the chamber-­pop elements of the full-­length debut. It profiles the band’s love for classic songwriting, era-blending American rock and layers of strings and vocals. Like the album, it is warm and inviting but complex and exciting. Oldermost’s music comes from a broad, well understood, musical vocabulary. The art of I Live Here Now lies in the carefully considered tonal “words” by which Oldermost has constructed their sentences in a genuine and eloquent way. Clear harmonies and melodic lines work in tandem with the powerfully curious lyrical subject matter.
Without being too overtly experimental in sonic nature, the band seems to stand confidently on the edges of the current musical zeitgeist. At its best, OLDERMOST sincerely connects with the new lost generation, a group whose age perimeters are widening and social statuses are blurring compared to previous generations. Although not depending on story or setting the songs still act as an emotional coming of age story where the music creates a warm place for soulful investigation.
There is a painful mix of helplessness and hopelessness conveyed in I Live Here Now, but it’s less tragic and more akin to a late evening filled with fuzzy over-­disclosure and ever-­changing catharses encircling a table slowly becoming crowded with empty bottles. There’s a healthy blend of itinerant wonderment and discontentment that seems vulnerable to every vibrating rhythm in each moment, image or idea, both ordinary and extraordinary, tragic and ebullient. The sincerity and candidness in the songs seems to have been created for others.
The songs, characterized by sweet, bellowing vocals swimming over a sea of string and vocal harmonies, can be both feral and gentle at any moment, but they are always wholehearted.
WXPN’s blog The Key wrote about their first EP, saying, “Oldermost produces beautifully-­crafted melodies drizzled with soft-­spoken vocals, delicate piano strokes and rhythmic drumming.
I Live Here Now was tracked in Oldermost’s home studio and Miner Street Studios in Philadelphia. The new album which is out now, introduces two new members to the band: Geoff Bucknum, formerly of Free Energy and David Richard.
OLDERMOST is Dan Wolgemuth, David Richards, Stephen Robbins, Geoff Bucknum and Bradford Bucknum.
http://www.oldermost.com/

http://reviewindie.com/2014/03/oldermost-i-live-here-now-warm-and-inviting-but-complex-and-exciting/

Bare Mutants - "The Affliction"

Front cover of Chicago-based band Bare Mutants' new album


I’m writing this review mid-way through a six-pack in my bedroom at 12:30 at night, contemplating what to do with a romantic entanglement. I’m doing this because it’s the best way to appreciate The Affliction, a fantastic new album by new band Bare Mutants. Bare Mutants aren’t exactly rookies, as their members consist of several veterans of the Chicago music scene. Featuring meditations on guilt, regret, isolation, resentment, sometimes doubling down on those plights, The Affliction is the best drinking alone album in recent memory. The best part is that more often than not it offers redemption.

Bare Mutants is a band I struggle to maintain neutrality on, considering how my love for the member’s previous bands during my years in Chicago have shaped my perception of the musical world (I am on a first name basis with most of the band’s members). Jered Gummere of the Ponys, a band that nearly single handedly helped me survive four Chicago winters, may be the most prominent name. Also featured is Seth Bohn on bass, the drummer and emotional core of Mannequin Men, legends in Chicago who’ve struggled to break out nationally. Jeanine O’Toole of the 1900s, a band whose brand of deceptively muscular indie pop put dozens of more recognizable bands to shame, handles tambourines and backup vocals. 

O’Toole and Gummere’s vocal harmonies are the true musical highlight of this album. Gummere, who drew incessant Richard Hell comparisons for the first half of his career, has now fully reinvented himself as a restrained baritone. O’Toole’s backing vocals become so instinctually tied to the album that you feel you must be hearing her when she’s nowhere to be found in the mix.

In fact, each of these members brings the strengths from their previous bands: Gummere brings the Ponys’ confident, informed songwriting, Bohn brings Mannequin Men’s the ability to cut deep and not pull any emotional punches for the sake of appearances, O’Toole brings the 1900s ability to find cheer and humor where it seems like there’s none to be found. Credit must also be given to Leslie Deckard who comes through in the clutch with organs, and Matt Holland, whose relentless drums that manage to keep the pace up on what would otherwise be an emotional slog.

The Affliction broadly covers a wasteland of emotions, and though most of the members of the band are in stable relationships or marriages, on songs such as “I Suck At Life,” “Inside My Head,” and “Devotion,” Bare Mutants prove uncannily able to identify with being alone, isolated, and thoroughly depressed. But as the album progresses, the band finds its true strength pulling themselves out of that muck -- they’re even better when pulling themselves out of the muck. Starting with O’Toole’s turn as lead singer on “Nothing Is Gold” and the sincere, funny “Cunt,” things start to pick up. After two tracks that find redemption in defiance of religious dogma, The Affliction comes to a head on “Scars,” which finds catharsis in the ability to move on, on the album’s last and best track.

While the songwriting can get quite repetitive at points, it’s difficult to dispute the confident, defiant maturity behind lyrics like “can you let your feelings go/ oh oh no /can you let your feelings grow” and “I know we can make it better / but I guess I have to see your way.” This album soundtracks the progression from the crash and burn of young adulthood into the reality of adult life, and makes it all seem survivable. That makes The Afflictionnot just a great album, but for many people like me, a necessary one.

By: Ethan Stanislawski



http://www.thespacelab.tv/spaceLAB/2013/08August/062-Music-Review-Bare-Mutants-The-Affliction.html




lunedì 24 marzo 2014

New album "Recover" and tour in Europe for italian hard rock band Armonight


 Hard-rock band Armonight from Italy present “Recover”, the group's third studio album, published via KlasseUno Edizioni on December 17th. "Recover" contains ten songs which are the perfect representation of Armonight's hard rock style, with the presence of more catchy guitar riffs than in the previous albums (“Suffering and Passion” in 2010 and “Tales From The Heart” in 2012). Night Of Illusions” is the name of the first single extracted from “Recover”; the official videoclip of the song is now available on YouTube; the video came out from the idea of Armonight's lead guitarist Fjord and was shot by Riccardo Pittaluga of Minimal Zero. In the last year and a half, Armonight played several gigs in Uk, Switzerland, Netherlands, France and Italy; since August 2014, the italian band will be touring to promote the new album “Recover”. Though locations are yet to be confirmed, Armonight will be on tour all over Europe from August 29 to September 20 2014

Videoclip "NIght Of Illusions"


http://www.armonight.com/

https://www.facebook.com/Armonight

http://armonight.bigcartel.com/

mercoledì 19 marzo 2014

Great Barrier – "Let It Sink In"


Sometimes our own personal journey equips us in such a way that we discover we were internally asleep to a consciousness that had been held captive like buried treasure. At the bottom of our heart, deep beneath the tattered waves of endless emotion lies a sunken ship waiting to arise from the depths. As we awake from the dream of this new-found discovery, the invisible ropes no longer hold us down. Gravity cannot keep our ship from sailing. We have escaped from a hidden layer of silent shadows, from a great barrier.

Great Barrier’s new EP Let It Sink In is truly a heart-felt demonstration, a deep breath of exhaled emotional freedom. Each track is a personal piece of self exploration, a chronicle of new awakenings. Jackson Firlik, the master-mind behind this amazing solo project, is an incredibly adept singer-songwriter-musician. Having both self-performed and produced this EP, one can not help but recognize that the music is in a class of it’s own.

To explain the name behind the music, Jackson said:

If you’re wearing some stiff suit in an office all day, being told to ‘act professional’, are you really being who you are? To me, at least, the great barrier is whatever obstacle is put up, unwittingly, which prevents your true self from showing through.
When asked to describe this beautiful collection of the process, the emotions, the experience of his personal journey through the making of this project, Jackson replied:
Looking back now, I can see that it’s been a lifetime in the making. The album loosely chronicles what I feel like was (and still is) a gradual awakening in my life. I’m still not entirely sure what I mean by that, but I think that’s part of the process. Most of the actual writing took place over the past year, with the exception of “Wake”, which I wrote my junior year of high school. I did everything alone, including all the recording and production; not because I’m opposed to working with other people, but I felt it was necessary for this particular project. Sometimes I would literally be running back and forth between hitting ‘record’ and playing in the studio, and although that may not be the ideal way to produce an album, I think it resulted in a raw, human touch that suits my style of music.
Dream Weaver, the first song on the EP, sets the stage for an enchanted voyage on a spacious sea of perfectly poised poetic waves. Jackson encourages the listener to taste the salt of lyrical purity, to indulge in the expanse of unexplored emotion, to let go.  ‘You don’t have to cut the rope, You know we’re all just blowing smoke, But dreamweaver, I’d breathe easier’ lulls Jackson. And one will breathe easier after having been exposed to the unique world of aqueous rhythms that rise and fall as light reflects a subtle lecture from Jackson’s well-watered soul.
Heavily influenced by Radiohead, Jackson shared:
Their music (Radiohead) has an indescribable quality to it, almost as if it simply radiates out of nothingness, without being pulled or pried at by a human mind. ‘Uncontrived’ is the closest I can come with a word. I would say that I strive to create that quality in my own music, but then I think I’d be missing the point.
In regards to lessons learned, Jackson admits:
Don’t force anything. If an idea hasn’t come to you yet, don’t bother trying to create one with your mind, because it will never be as inspired or seem as honest as something that comes from beyond the mind. I’ve encountered this countless times while writing and producing, having to put something aside indefinitely when the inspiration just isn’t there. Although it can feel like ‘giving up’ at times, I think it always turns out for the better.
Let It Sink In is exactly what I would recommend you do with this EP. It is an atmospheric adventure, like echoes playfully dancing amidst a hidden crevasse. There is something epic about Jackson’s arrangement of sound. It is quite cinematic. I would not be surprised to hear Great Barrier music in film over the next couple of years as it would pair well with visual storytelling.
Two thumbs up to Great Barrier. Let It Sink In is unquestionably a tremendous work of audio art. Tremendous.
Genre: Indie/Alternative
Location: Miami, Florida

http://goo.gl/eUwlDy

Rexxy - "Rexxy"


Rexxy from the Brooklyn in the USA is an alt-synth outfit centred around Monica Velasquez, who works alongside various musicians – the likes of Rob ArbeloDon Lavis and more as necessary.
Seeping out of the speakers in layers of dreamy clouds emerges the sounds of Rexxyand immediately the listener is transmogrified into a new spectral space as though gravity has been nullified. The dreamlike sequences float across the room as the audience tumbles in the magnetic sweeps.
Of some surprise is how the material can be played at full blast or at muted levels and either way it delivers a sentient reaction in the brain, each similar. Somewhat psychotropic, Rexxy, take the audience by the hand to the dance-floor in a weaving motion which reminds – if you have ever had the dream of being able to jump and keep in the air for an age – if you haven’t that will make no sense, but you are missing out on great dream sequences, the out-put will reference your missing space, should that be the case.
Whilst offering much sonically, there is a gentleness to the music, which allows the mind to rest easy and the body to float in easy sways.
A début ten track eponymous LP was released in December and judging by the initial offering, there is much that Monica Velasquez has to add to the world of music both immediately and for the future.


http://rexxymusic.com/

https://itunes.apple.com/us/album/rexxy/id731237730?ign-mpt=uo%3D4

http://goo.gl/pkblpB