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Album Review

Northlane – “Node” [Album Review]

Northlane are described as “Australian progressive metal outfit,” which for me conjured an image of Robert Downey Jr. in the Ironman suit with an Australian accent. So… I’d say that’s accurate.

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Before I dive into the music, the press release about this album referred to Northlane as an “Australian progressive metal outfit,” which for me conjured an image of Robert Downey Jr. in the Ironman suit with an Australian accent. So… I’d say that’s accurate.

If you’re someone who has followed the rise of Northlane, you’ll know they held open auditions to replace Adrian Fitipaldes last year. If you were not following Northlane, now you know. If you were following but didn’t know that Adrian left then a) you should leave the rock underneath which you live more often, b) you call yourself a fan? Dick… and c) fear not ’cause new singer Marcus Bridge is Uh-mazing.

I had very high expectations for Node because let’s review the facts: Singularity was one of the best metal albums of 2013. But, the aggressive, throaty scream/yell of Adrian’s vocals accentuated the mood of Northlane’s albums. With that element missing, would it drastically change the sound of the band?

The answer is “sorta, yeah.” I’ll try to explain the new vibe the best that I can with words, albeit words are like arms without bones when trying to describe sounds that evoke images of dreamlike landscapes where Earth physics don’t necessarily apply and neither does Axel Rose’s depiction of “Paradise City,” which in retrospect seems like an awfully vague representation of a city in Paradise. Yes, the grass is green, but isn’t that the case in lots of places? But, I digress.

The drums appear in the forefront of many of the songs, ghost notes abound, fundamental in making this album much more dynamic than the previously, more overdrive guitar-driven albums where listening to the album felt like sitting right in front of the guitar cabs. That’s not to say that the guitars don’t have their aggressive moments, but there seems to be more of a discrepancy between the peaks and valleys within songs. This, paired with new singer guy Marcus, creates for a wide array of emotions.

Marcus works his voice throughout the album much like a guitar player would his/her foot switch with clean tone, crunch and overdrive, and it’s magnificent. Don’t know if he’s responsible for writing the vocals in “Ra” (Due to the line-up and role changes. He very well may have. I simply have no idea), but they are so delicious. My internal monologue debates whether “Ra” or “Animate” is my fave track. They both feature incredible hooks, for which I am a slut, and the guitars remind me of post-grunge, which coupled with Northlane’s progressive take on metalcore makes for some pretty good listenin’. I mean it’s a pretty delectable sauce.

Ambience or “ambiaaaaance,” if you’re an asshole. That’s the word, atmospheric ambience, a buffet line of atmospheric ambience that starts in the hollow Earth underneath Giza and ends in Ra’s bathroom. Nailed it!

Track Listing:

01. Soma
02. Obelisk
03. Node
04. Ohm
05. Nameless
06. Rot
07. Leech
08. Impulse
09. Weightless
10. Ra
11. Animate

Run Time: 44:59
Release Date: July 24, 2015

Check out the album ‘Node’ here.

Album Review

Gianfranco Pescetti – ‘DAYSTAR NOCTURNAL’ [Album Review]

Gianfranco Pescetti delivers a series of ambient/dance bangers, coalescing a nexus of complexity and intoxicating extracts on ‘DAYSTAR NOCTURNAL.’

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Gianfranco Pescetti ‘DAYSTAR NOCTURNAL’ album artwork
Gianfranco Pescetti ‘DAYSTAR NOCTURNAL’ album artwork

Composer and producer Gianfranco Pescetti recently unveiled his latest album, DAYSTAR NOCTURNAL, his first new album in almost a decade.

Speaking about the album, Pescetti says, “DAYSTAR NOCTURNAL is my attempt to explore the depth of emotions and create a profoundly personal and evocative sound without conforming to the rigid specifications of a particular genre, all while keeping an eye to the dance floor.”

Originally from the Tuscan Island of Capraia, he previously lived in France for a few years before moving to the United States to continue his music career. He currently lives on the Hawaiian Island of Maui.

Influenced by an eclectic range of music, including modern chillwave, Depeche Mode, and The Cure, Pescetti’s sound incorporates instrumental atmospheric electronica with dance vibes and elements of modern indie rock.

Comprising ten tracks, DAYSTAR NOCTURNAL starts with “Clownspunk.” Flickering tones shape a rising intro that evolves into a shimmering, ambient-flavored dance melody. As the melody progresses, a psychedelic-lite dance vivacity slowly takes over, pushing the ambient surfaces into the background.

High points include the changing emotional sensations of “Obsidian,” which utilizes amiable layers of shifting colors riding a galloping rhythm to fashion a warm, sparkling melody punctuated by glistening, chiming textures.

Gianfranco Pescetti, photo courtesy of Gianfranco Pescetti

Gianfranco Pescetti, photo courtesy of Gianfranco Pescetti

Sundog” places darker rhythmic pulses against the illumination of drifting, humming, twinkling blushes, thus giving the melody a lingering, hypnotic intensity, at once exotic and full of lavish refinement. “Be My Ghost” swings away from the ambient and pushes into the more muscular momentum of EDM, employing a driving kick drum and elusive tints of disco.

Capraia,” a blend of industrial and heavy, atmospheric dance components, molds a mechanistic mood, simultaneously shadowy and foreboding. “The Wake,” eerily haunting on one level, pours like a waterfall on another level, giving the tune dual interpretations: either a progressive lament or a celebration of natural beauty.

The album concludes with “Stopless,” traveling on a propelling rhythm topped by intertwining layers of scintillating, aerated percolations, heady with impetuousness. For some reason, the melody conjures up the impression of EDM gingered with hints of Ennio Morricone-like Spaghetti Western.

Gianfranco Pescetti delivers a series of ambient/dance bangers, coalescing a nexus of complexity and intoxicating extracts.

DAYSTAR NOCTURNAL Track Listing:

1. Clownspunk
2. Macchia, I’ll See You…
3. Obsidian
4. Sundog
5. Nostalgia Aime Le Rouge
6. Be My Ghost
7. Capraia
8. The Wake
9. Fogbound
10. Stopless

Run Time: 35:47
Release Date: January 25, 2024
Record Label: Independent

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Album Review

Wabi Sabi – ‘The Love Insane’ [Album Review]

‘The Love Insane’ displays the psychedelic jazz band persona of Wabi Sabi and their talent shifting from genre to genre with aplomb.

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Wabi Sabi ‘The Love Insane’ album artwork
Wabi Sabi ‘The Love Insane’ album artwork

About seven months ago, Atlanta-based ensemble Wabi Sabi released their fourth album, The Love Insane, a record that not only flew under the radar but was also impacted by the pandemic, resulting in it being self-produced.

Pianist/vocalist Damien Cartier explains, “This is the first of our albums that I have produced myself. We have never done an album this way, but Covid mixed with having a spare bedroom home studio seemed like the perfect time to try.”

The genesis of Wabi Sabi occurred in 1999. Initially comprising piano, trombone, and drums, the band’s name was Damien Cartier And His My Newt Orchestra. Before long, the band added horns, bass, guitars, percussion, and singers. However, there was a problem: the band’s name, the spelling of which stymied people.

Then Damian saw an episode of King Of The Hill where Bobby discovered the concept of Wabi Sabi, a Japanese aesthetic that perceives beauty in imperfection and transience. Enter the band Wabi Sabi, whose unique sound amalgamates elements of soul, funk, reggae, and pop with tangs of jazz.

The Love Insane begins with “The Truth,” opening on a soft, low piano topped by tender vocals, mirroring pensive tones. The melody blends savors of rock and jazz, forming a dreamy, almost psychedelic flow of floating textures.

Highlights on the album include the title track, conjuring up the swaying soul surfaces of the ’60s, tinted with twangy, country-laced guitars. Cartier’s vocals are spot-on and convey touching, quixotic aromas.

New Life,” a personal favorite, evinces suggestions of Steely Dan because of its deliciously trippy-lite surfaces and grand brass accents that bray forth finessed tones. The funky “Not Yet, Sister,” with its hints of reggae, features bright horns, skiffing guitars, and a neighing organ.

The album finishes with “The Weirdo Blues,” a luscious fusion of bluesy jazz and orchestral flavors. There’s a delightful, sleazy sensation to the tune, imbuing the song with benevolent craziness.

The Love Insane displays the psychedelic jazz band persona of Wabi Sabi and their talent shifting from genre to genre with aplomb.

Wabi Sabi, photo courtesy of Wabi Sabi

Wabi Sabi, photo courtesy of Wabi Sabi

The Love Insane Track Listing:

1. The Truth
2. I Am OK
3. Manifest
4. The Love Insane
5. New Life
6. Not Yet, Sister
7. Sick Tuna
8. The Fall
9. Please Rescue Me
10. Spacetime
11. The Weirdo Blues

Run Time: 48:18
Release Date: July 28, 2023
Record Label: Independent

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Album Review

Spike Polite & Sewage – ‘Punk Not Dead’ [EP] [Album Review]

Seething with primal momentum and frenzied, punchy surfaces, Spike Polite & Sewage’s ‘Punk Not Dead’ projects an intensity of defiance and insurrection.

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Spike Polite & Sewage ‘Punk Not Dead’ [EP] album artwork
Spike Polite & Sewage ‘Punk Not Dead’ [EP] album artwork

Punk Not Dead, the latest EP from Spike Polite & Sewage, is an insolent, provocative social satire, a response to the clueless decline of Western civilization, à la Oswald Spengler. Unrestrained, the EP was produced by Ted Sabety.

Made up of Spike Polite, aka Reagan Youth and Cheetah Chrome, on vocals, Michelle Shocked (bass, vocals), Antony Romero (guitar), and Beast (drums), Punk Not Dead follows on the band’s 2021 EP, PANDEMONIUM.

Comprising three tracks, Punk Not Dead opens with “What Happened to the Punk Rock,” rolling out in buzzsaw guitars riding tight, raw percussion. A single voice segues into gang-like vocals, imbuing the lyrics with enflamed indignation. This is old-school, fulminating punk rock.

Twitter is a Death Machine” delivers a short, vicious commentary on the malicious ramifications of social media platforms, specifically Twitter, now known as X. Traveling on a fast, chunky rhythm, the harmonics slice the atmosphere with edgy guitars.

Snarling, grinding guitars give the intro to the title track chaotic textures as sneering vocals infuse the lyrics with ferocious energy highlighted by ringing percussion. The outro reveals the spoken word vocals of Spike and Michelle announcing that “punk is not dead.”

Seething with primal momentum and frenzied, punchy surfaces, Punk Not Dead projects an intensity of defiance and insurrection.

Spike Polite & Sewage, photo courtesy of artists

Spike Polite & Sewage, photo courtesy of artists

Punk Not Dead Track Listing:

1. What Happened to the Punk Rock
2. Twitter is a Death Machine
3. Punk not Dead

Run Time: 3:24
Release Date: January 15, 2024
Record Label: Solid Bass Records

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