Category: Music Reviews
Review: Drew Beskin – ‘Cha-Ching Machine’
Drew Beskin has worn many hats. He’s been the frontman for the bands The District Attorneys, Party Dolls and PURSES, which have spanned Atlanta and Athens venues such as Smith’s Olde Bar and the Caledonia Lounge. He’s also been serving as the manager of the Georgia Theatre in Athens for the past few years. These days, however, he’s been working on a solo, self-titled project: an album entitled Cha-Ching Machine, out today.
Beskin teamed up with Chase Park Transduction (the Athens studio that’s been instrumental in bands like Drive-By-Truckers and Deerhunter) and is self-releasing the record on his own label, Laser Brains, with the help of This Is American Music. The 29-year-old recruited his fellow Athens creatives to make the album feel like one big jam session.
In February, he premiered the album’s first single, “Love Trauma,” with Pure Volume. Even though he considers the song to be “a silly song,” he admitted that it’s actually the one that “kind of brought the project together.” It was written in a mere five minutes the day before he went into the studio proving that sometimes the songs that simply happen end up being the best ones. It’s definitely a good introduction song for a new fan since it sets the tone nicely.
Last week, he premiered the second single, “Hair Metal,” with Paste Magazine where he described the song as accidentally becoming the “intense emotional climax of the album.” After taking a listen, I couldn’t help but be drawn into the complex (but well-balanced) sound the song emits.
Each song on Cha-Ching Machine is carefully constructed with melodies that are unique but still catchy enough to get stuck in your head. Stylistically, you can hear the ‘80s rock influence on the guitars and drums, making it a throwback album without losing its relevance.
When it comes to musical influences, the artist notes Elvis Costello, The Cure, The Smiths, Roy Orbison, Pavement, T. Rex, Beck (the Sea Change era) and Marshall Crenshaw.
The opening song, “Smile In Denial,” is an energetic track that pleas with listeners to “get up and lose control.” From the kickoff, it’s clear we’re in for a good time over the next 10 tracks.
“I Don’t Know What To Do”–one of the deeper cuts on the record–starts off with a percussive piece that sets the groove for the next five minutes. On the heels of belting out the honest title lyric about confusion, Beskin pulls out his falsetto. It’s airy, beautiful and contrasts nicely with the rough-around-the-edges rock feel of the rest of the album.
Beskin’s token love song, “Eyes At Me,” is as sweet as it gets and passed my belting-in-the-car test beautifully. Well done.
The album closes with “Save Your Thoughts,” making its entrance with a smooth synth and bringing in some vibey jazz elements as it builds. An excellent closer.
Cha-Ching Machine is available now. Have a listen, and then—if you’re an Athenian—head over to the Caledonia Lounge tomorrow, where Beskin will be playing an album release show, along with opening bands Chief Scout, Neighbor Lady and Blanko.
8/10
Haiku Review: Real Estate, Zarra Larrson, Frances
Real Estate – In Mind
Driven by guitar,
Reminiscent of oldies,
Groove in all the tracks
Zara Larsson – So Good
Pop with extra sass,
Hooks that stick better than glue,
Radio ready!
Frances – Things I’ve Never Said
Piano for days,
Effortless vocal styling,
Float along with her
Haiku Review: The Shins, Jay Som, John Andrews & The Yawns
The Shins – Heartworms
Whimsical and fun,
Dancey yet sentimental,
Heartworms warms the heart
Jay Som – Everybody Works
Feminine and soft,
Telling and lifelike vignettes,
Musical vision of love
John Andrews & The Yawns – Bad Posture
Descriptive lyrics,
Intimate, soft melodies,
An acoustic dream
Haiku Review: Dirty Projectors, Xiu Xiu, Summer Moon
Dirty Projectors – Dirty Projectors
Cryptic melodies,
Circular loops and layers,
A tale of heartbreak
Xiu Xiu – Forget
Abrasive yet calm,
abstract and moving lyrics,
dark and grim album.
Summer Moon – With You Tonight
Far, lofty vocals
driving bass and melodies
Strokes’ basist’s new band
Haiku Review: Big Sean, Sampha, Syd
Syd – Fin
Sauve and sultry voice
Velvety smooth production
Syd’s dropped her debut
Sampha – Process
King of baritone
A one man gospel choir
We’re under his spell
Big Sean – I Decided
Jhené on a track
Flow got Curry inspired
Sean Don has bounced back
Artist to Watch: JERK
It is beyond exciting to find a band that captures a new niche in the music industry. The trio JERK, backed by their label Very Jazzed, is not just a pop band with pop songs, but one in which they encompass deep and eerie tracks that make it impossible not to tap your foot to. With the release of their debut EP entitled Jerk on November 11 you will not be disappointed. In the meantime, you can listen to their first single “Delicacy” out now!
The key musicians include Austin Smith, as a multi-instrumentalist; Zach Alderman, drummer from his band Deep Cuts; and Vicki Lynn, keyboardist and vocalist from the band Black Kite. Austin Smith is the man to creatively put the three together and come up with the idea behind the music. His goal was to attack this record in a different way than he had before by experimenting with limitation. “Before, I’d use anything at my disposal to fill maximum room in a song, so for JERK I worked inside a set of rules where I couldn’t do that, which forced some inventive creativity on my end.”
I am incredibly impressed with the vocals throughout the entire EP. The dynamic between a mixed-head voice with a very low chest voice flow nicely with their transitions. These fluctuations, however, may or may not be in sync with the feel of the background music which can have a listener have back-and-forth experiences throughout one track.
The contributions from each person in JERK, set the stage for incredible rhythms, large synthesizer swells and carefully placed guitar riffs make each track unique but highly identifiable. The use of a constant beat on a majority of the tracks make the record feel like a single on-going track.
JERK definitely captures a new experience of pop music that will excite anyone.
Track-By-Track: Review of JoJo’s “Mad Love”
The soulful girl who provided the soundtrack to preteen breakups in the mid-2000’s is grown and has a new album to prove it.
JoJo, who was thrust onto the mainstream music scene in 2004 with the anthem “Leave (Get Out),” dropped her third album Mad Love on Friday – a decade after her previous LP The High Road – trading in her signature stripped-back R&B style for a more refined pop sound. As expected, JoJo has done some maturing since her last effort. Sonically and lyrically, this album marks a turning point in her career.
In honor of JoJo’s much anticipated return, here’s a track-by-track breakdown of Mad Love.
Track 1: “Music.”
Perhaps the most vulnerable song on the album, this ballad is an ode to her late father, who passed just last year. It features JoJo laying bare vocals over a faint piano, crooning the line, “Tell me who would I be without you?” in the song’s chorus. “Music” grabs your attention and sets the tone for the rest of the record.
Track 2: “I Can Only.” (feat. Alessia Cara)
“I Can Only” introduces the theme of self-awareness that carries throughout the Mad Love. The song embodies the pop genre with its simple arrangement and effortlessly charming hook. Cara, who is also on the track’s writing credits, appears in the second verse and takes on the following chorus by herself, adding her unique vocal flavor.
Track 3: “F*** Apologies.” (feat. Wiz Khalifa)
As the lead single from Mad Love, “F*** Apologies.” has been the face of the record thus far. It’s a fun, catchy track that encapsulates everything a pop song should be. Enlisting the ever-imaginative Wiz Khalifa to feature doesn’t hurt either. Check out the Francesco Carrozzini-directed music video below.
Track 4: “FAB.” (feat. Remy Ma)
“FAB.” (which stands for Fake Ass Bitches) is a metaphorical middle finger. Terror Squad alum Remy Ma, who was recently at the top of the charts with her and Fat Joe’s summer smash “All the Way Up,” lends her rhymes to the track in her typical no-nonsense fashion.
Track 5: “Mad Love.”
If you only listen to one song off of Mad Love, make it this one. A nod to her R&B roots, “Mad Love.” earns its position as the title track. While the instrumental bears similarities to Beyoncé’s “All Night,” the song is a vocal treat, with JoJo hitting almost every note in her repertoire.
Track 6: “Vibe.”
Very much a radio-ready hit, the song’s defining feature is its bumping bass. “Vibe.” is produced by Rock Mafia, the same hit-makers behind acts like Selena Gomez and Miley Cyrus. It wouldn’t be surprising to see this song climbing the Billboard Hot 100 in the near future.
Track 7: “Honest.”
With its confessional lyrics, ‘Honest.” is true to the album’s themes of growth and acceptance. In it JoJo unapologetically tells her significant other that she is who she is, no exceptions or façades. Once again, her seemingly boundary-less range shines
Track 8: “Like This.”
JoJo has outdone herself with this one, which is equal parts endearing and sexy. The adult-oriented theme is accompanied by slick, low-key production, letting the ambiance of the track speak for itself.
Track 9: “Edibles.”
“Edibles.” is complementary to the previous track. Although more fast-paced than “Like This.” the subject matter remains the same. Both songs are standouts on the record.
Track 10: “High Heels.”
This track is so ruthless it almost makes you feel bad for the guy it was written about. “High Heels.” chronicles a situation of infidelity and how JoJo intends to come out on top. She belts the chorus over larger-than-life production, promising to “look damn good for all of your friends.”
Track 11: “I Am.”
The most stripped-back song on the record is reminiscent of the first track, consisting only of JoJo singing over a piano. It’s a proclamation of her worth both as an artist and as a person and a powerful message of self-love.
Track 12: “Clovers.”
The first of the bonus tracks on the deluxe record, “Clovers.” is an electropop track that proves JoJo isn’t defined to any genre. She ad-libs over her own distorted vocals in the chorus, which is as fun as it is infectious.
Track 13: “Reckless.”
“Reckless” draws inspiration from new wave R&B, taking stylistic cues from artists like Miguel and Bryson Tiller. While the lyrics have a serious undertone, the production is impossibly alluring.
Track 14: “Good Thing.”
“Good Thing.” is an up-tempo dance tune. The club-ready track is certainly a departure from the sound of the rest of Mad Love, but it holds its own.
Track 15: “Rise Up.”
The record ends on a positive note with “Rise Up.” The track is symbolic of JoJo’s legal battle with Blackground Records and the other struggles she faced in the making of this much-overdo album.
Overall, Mad Love is a breath of fresh air and solidifies JoJo’s presence in the pop scene. We can’t wait to see what she does next.
Artist to Watch: Blaenavon
Since the debut of their single ‘Into the Night’ in 2013, Blaenavon (pronounced Bly-nay-von) has evolved their sound to have an identity just as recognizable as long-established bands. Their sound has been described in a variety of ways from indie-rock to alternative-pop, but the three members identify themselves to be an ghostjazz band.
The members; Ben Gregory, Frank Wright, and Harris McMillian; started their journey as teenagers in school which makes it an obvious and exciting development to see the evolution of their records as the members have grown older. Ben Gregory, the front-man and songwriter, has honed his creative process to be a meticulous analysis of each work as it compiles a relevant story to things happening in their lives. It all comes down to three maturing individuals telling their life story.
Transgressive Records has debuted Blaenavon’s Miss World EP and Koso EP which have gained rave reviews from fans and others in the industry. Their latest release ‘My Bark Is Your Bite’ was released on Spotify on October 3 this year and is no less than captivating than the rest of their song portfolio. The conveyance of each track’s story can be heard through the fundamental technique and underlying grit of the vocals. As they continue to take the UK by storm on their first headlining tour, it can be assumed that Blaenavon will continue to tell their story through music for a long time.
UPCOMING NYC DATES:
11/01 – Brooklyn, NY @ Baby’s All Right
11/02 – New York, NY @ Berlin
Artist to Watch: Post Death Soundtrack
Founded in 2007, Post Death Soundtrack is a music collective based out of Toronto, Canada. The group consists of Kenneth Buck, Steve Moore and Jon Ireson, and cites influences ranging from Bowie to Skinny Puppy. After the release of its debut album, Music as Weaponry, Post Death Soundtrack went on a brief three-year hiatus in which the group redefined the intention of their music, and ended up with something really cool.
Sounding more like a heavy experimental band from the ‘90s than a modern-age collective, Post Death Soundtrack explores depth and a variety of synthetic textures in their sophomore release, The Unlearning Curve. With swooning choruses and thick electric guitars swirling into a mash of music, The Unlearning Curve introduces a psychedelic, industrial landscape.
The true gems of this release are “You Can’t Go Back” and “Beauty Eyes I Adore,” tracks two and four, respectively. Something about the chanting on “Beauty Eyes” reminds me of Beatles-esque harmonies, and the sudden devolution into arpeggios of electric sound is a clever, robust touch.
Overall, The Unlearning Curve bites, chews and spits out the listener with walls of thick, jagged noise. The lyrics go into ideas of redemption, introspection and self-discovery which pair nicely to the heavy atmosphere of the album itself. My only complaint is the slight repetitiveness of the album, especially with tracks that have two minutes (or more) of the same lyric. That aside, The Unlearning Curve establishes Post Death Soundtrack as a true artist to look out for.
Eureka California: Versus
Eureka California is a hidden gem of Athens, Georgia. While the music scene in The Classic City presents a plethora of dreamy sounds and echo effects, the indie rock duo exudes a sound that samples from the 90’s rock style and references classic authors and musicians alike. With lyrical spin-offs of Simon & Garfunkel and Martha & The Vandellas, Eureka offers a refreshing sound. The duo consists of guitarist, Jake Ward and drummer, Marie A. Uhler. While they’ve been playing together for five years and may be a relatively new band in the Athens music scene, there is no doubt that this pair is comfortable in their own skin.
Eureka drops their new album, Versus (HHBTM Records), on March 25th, but they’ve been kind enough to give Vinyl Mag an early preview. Versus was recorded at Suburban Home Studios with MJ of Hookworms. The album opens with “Eureka California’s Night In.” The music video features Ward and Uhler walking to Athens’ own Little Italy for a slice a pizza and ends with a night on the couch watching what can only be an endless vortex of cat videos. Stylistically, Eureka is energetic with a hint of cynicism. Ward’s powerful vocals and stark guitar melodies are amplified by Uhler’s merciless drumbeats.
Lyrically, Versus embodies the isolation that comes with the uniformity and calamity of living in a cityscape. Eureka cleverly combines lively melodies with lyrics about passing up a night on the town for a quiet night in the house. Ward sings about the pageant that is Athens nightlife, although this can be applied to any city with a string of bars dedicated to millennial past-times, “I’m much too slow for a social animal.” In a city where 2 a.m. beckons the “final call”, you ask yourself, “Where did my time and money go?” Consequentially, you believe your night would’ve been better spent indoors, as Ward explains, “When I turn on the TV it makes me feel like someone’s home.” How often do we feel a strong sense of closeness to the voices coming through our televisions? There’s a strange comfort that comes with the mindless drone of advertisements in a city where nightlife conversations consist of platitudes about college majors and an uncertain future; it certainly can make you feel like “the only living boy in Athens, Georgia. However, it would be unjustified to deem Eureka as “recluse,” in fact, it seems that they also know how to have a good time, as Ward explains a typical night on the town, “Wearing clothes that I found at the bar, and I’m sobering up in the back of your car…Summer’s here and the time is right for getting black out drunk in the street.”
While the city harbors a sense of romance and unity from an outsider’s perspective, Eureka California seems to transport their listeners through the shenanigans that come with warm weather to the underlying loneliness that comes with being in a large crowd. Eureka can hang, but they also know the importance of solitude and self-awareness. Versus is dance inducing, fun and cohesive, but Eureka’s identity comes out in the lyrics. A smart listener should appreciate the modern rock group’s energy and be able to peel back the layers of their upbeat sound to find Eureka’s ability to reference reality in a subtle stream of lyrics.
4/5