ARTICLES BY:
DARREN D. DANAHY
(United States)
August 11, 2022- ALBUM REVIEW: “FAKE IT” BY LOVE IN REVERSE
ALBUM REVIEW: “FAKE IT” BY 'LOVE IN REVERSE'
(written by Darren Douglas Danahy)
AUGUST 11, 2022
Love In Reverse are back with the follow up to 2020’s brilliant, “I’m An Illusion”, with a release that hearkens back to the band’s early 90’s guitar- driven sound, the aptly-titled “Fake It”. These songs were written between the release of the previous album and the global pandemic nearly two years ago, and seem to me a relevant and necessary soundtrack for a world coming to grips with what it is now. While each of the songs on “Fake It” may have been inspired by songwriter Michael Ferentino’s process of turning his own internal struggles into music (as good songwriters do), the end result is a collection of songs that reflects the listener’s experience over this time, as well, including many of our hopes and fears.
The band were formed in the late 80’s in New Jersey, originally as a home recording project by singer/guitarist Michael and bassist/keyboardist Andres Karu named “Dog”. They spent a number of years writing and recording (something like 30 albums worth of material) before eventually becoming Love In Reverse, joining with drummer/percussionist Dave Halpern, and releasing their first EP on Reprise records (“I Was Dog”) in 1996. This trio remains today, and Fake It is their fifth full length album and their first on Dada Drumming records.
The album starts off with the first single released from it, “Manifesto”, and this surely sets the tone for the entire album here. Jangling acoustic guitar drives the chord changes in the song, while it’s driven by a banging glam rock beat fleshed out by thunderous bass, washes of chiming electric guitars, distant congas and organ stabs. This distinctly LIR environment takes us in no short order to the sing-along-able and somewhat Beatley chorus. It immediately seems to encapsulate the feeling that I, and perhaps many others, felt reading through people’s breakdowns during the two years we were stuck with social media as our main social interaction during the pandemic: “I’ll tell you something, I think you’re full of shit. This manifesto has a million holes in it”…Syncopated drum fills and acoustic riffing provide welcome musical release in relation to the song’s denser sections, making its 3 1/2 minutes pass so quickly that when it ends on a sustained unresolved guitar chord, you are left wanting more.
More deft acoustic guitar riffing follows up before we have a chance to take a deep breath, accompanied by a funky, filtered rhythm introducing the next track, “Breaking Through” just before it comes on with a sort of urgent intensity and takes off. Once again, the song is driven by Michael’s acoustic guitar and excellent voice, which breaks out into harmony on occasion during this track. It’s clear he’s been singing and playing guitar regularly over the past two years. Both the guitar and vocals so far sound up front, confident, and seem less effected overall. The breaks in this song contain some fantastic industrial-sounding guitar scraping, and wah-wah guitar soloing brought to epic levels by Andres’ rumbling bass and Dave’s bombastic drumming. The trio truly showcases and amplifies the dynamic nature of the song which is a quality I’ve come to admire about this band.
Next up is the second single from the album, “Assholes and Astronauts” (doesn’t leave much room for anybody else, eh?), a driving, melodic banger where Dave’s toms are as important to the mix as Michael’s observant wit. This song features an infectious vocal melody (curse you for having me sing the word “assholes” out in public all week) that is further ingrained in the listener’s brain by its repetition on a guitar underscored by a Moog synthesizer. When Michael sings, “I know in the end I will be free again / Someday after all, I will be home again”, I want to believe him more than anything else. In fact, if these fellows are going to join this new space race we find ourselves in, I’ll sign up to be on their rocket. I may not end up free, or home, but I’ll sure enjoy the music quite a lot.
Things take a more tender turn with “Don’t Believe Them”, which is carried by Michael’s acoustic guitar and earnest vocal. Emotive, vibrating Hammond organ chords and melodic bass guitar playing underscore the feelings of longing the track evokes. The song seems to invite one to make a new life, away from this place, perhaps to that home described in the previous song. It sounds very nice to me. The absence of drumming lends a contemplative nature to this point in the album, a moment to look back and reflect and say : “Darling, I’ve been thinking we could talk things over, get the hell out of here”.
From this space, the title track “Fake It” comes sneaking up on you, and before you know it, completely encompasses the listener. It’s a song that seems to progressively grow in sonic complexity, thick with layers of guitars reminiscent of early Smashing Pumpkins. There seems to be a somewhat defiant tendency on this album to knowingly put swear words in some of the otherwise more radio friendly songs: “All the money in this world of shit / Here’s another song that will never be a hit” and I have to smile, as the punk in me is thrilled with the rebellious nature of this habit. It’s another song you’ll find yourself singing along to after a few listens, as LIR has a great way of making very infectious choruses, lyrically and musically.
“A Song To Myself” is a sort of rock waltz that kicks off “side two” of this album. I’d like to note that while all the songs thus far can be carried by an acoustic guitar and vocal, the production is a very large part of why they are so effective. The dynamics in the orchestration of the songs, guitar and drum tones, and song sequencing are essential to the success of “Fake It”. As it happens, the album was mixed and produced by band member and multi instrumentalist Andres Karu. Perhaps his connection to the songwriter over the years is what has enabled the production to mirror the songs so intimately. A Song to Myself contains all of these elements that have made the album work thus far.
A dirty, rumbling guitar introduces “Bones”, which becomes a magnificent wall of throbbing, droning guitar tones guided by a thumping kick drum. When the drone breaks and sets you up for the chorus a minute and a half later, this wall of sound still doesn’t let up. Instead, more layers of vocals and wailing guitars take over the mix. A few breaks in the dirge give the listener time to absorb all of these mantles of harmony and tone. As the song fades like a thunderstorm rolling off into the distance, it feels more like a league of musicians making this sound rather than a trio.
A well timed release from the dark layers of the previous song, “I Hope I Never Want To leave You”, is a sparsely decorated ode to love and devotion. Lush synthesizer pads, sustained bass guitar notes and a gentle tapping on a ride cymbal seem to be all that is needed to guide this tune through its sections effectively in terms of dynamics, while the core of the song is conveyed via strummed guitar and vocals. A distant lead guitar echoes the vocal harmonies in places, which truly are the star of this track.
The push/pull dynamic to the album sequence stays firmly in place here as “My Misery” starts directly off into a chorus. Ironically, this track is one of the most joyful sounding on the album from the outset (Don’t be fooled by the title, as you’ll find that that the aforementioned misery is gone). Indeed, “My Misery” seems exactly like the song I want to be blaring through the open windows of my car as I drive through the mountains. As a matter of fact, I’m going to do just that when I finish writing this review. I’d say this is my favorite track on the album, but that wouldn’t be fair as it needs to be near the end of the album where it is in order for the listener to feel its full effect, in my opinion. It’s almost a sort of reward, in a way. I hope to hear it blaring through other open windows soon also, or I truly will be miserable - this is a song worthy of a hit, if only because I want to hear lots of people singing along with the song, “My misery is gone”, as I drive past their cars on the highway.
The album closes with “Half Of You”, which fades into existence with some guitar that’s a cross between early Cure and Syd Barret’s Pink Floyd, before the booming drums kick in and propel the song into 21st century Love In Reverse as only they can do. These guys know how to end an album, the closing songs on their LPs seem to alway somehow SOUND like closing songs. Much of what is said through the album seems to be summarized here, both musically and lyrically.
I’m not exactly positive if I’m in the half that will understand what “Fake It” truly means to Love In Reverse, but by this point in my experience of listening to the band I sure feel like I understand what it is supposed to mean to ME, and you may as well. Many of us have been faking it for the past couple years, and it’s OK to admit it. But it’s also a good thing to look around and see how far we’ve come and whom is still standing here with us, having experienced many of the same struggles. “Fake It” is a resounding reminder that we are truly not alone in our experience.
“Fake It” releases on August 19TH on Dada Drumming Records
🖊️Lightly edited & posted by Marina Verdi
🖊️More reviews at PerturbRadio.com/Articles
Check out the “Assholes & Astronauts” music video
The band were formed in the late 80’s in New Jersey, originally as a home recording project by singer/guitarist Michael and bassist/keyboardist Andres Karu named “Dog”. They spent a number of years writing and recording (something like 30 albums worth of material) before eventually becoming Love In Reverse, joining with drummer/percussionist Dave Halpern, and releasing their first EP on Reprise records (“I Was Dog”) in 1996. This trio remains today, and Fake It is their fifth full length album and their first on Dada Drumming records.
The album starts off with the first single released from it, “Manifesto”, and this surely sets the tone for the entire album here. Jangling acoustic guitar drives the chord changes in the song, while it’s driven by a banging glam rock beat fleshed out by thunderous bass, washes of chiming electric guitars, distant congas and organ stabs. This distinctly LIR environment takes us in no short order to the sing-along-able and somewhat Beatley chorus. It immediately seems to encapsulate the feeling that I, and perhaps many others, felt reading through people’s breakdowns during the two years we were stuck with social media as our main social interaction during the pandemic: “I’ll tell you something, I think you’re full of shit. This manifesto has a million holes in it”…Syncopated drum fills and acoustic riffing provide welcome musical release in relation to the song’s denser sections, making its 3 1/2 minutes pass so quickly that when it ends on a sustained unresolved guitar chord, you are left wanting more.
More deft acoustic guitar riffing follows up before we have a chance to take a deep breath, accompanied by a funky, filtered rhythm introducing the next track, “Breaking Through” just before it comes on with a sort of urgent intensity and takes off. Once again, the song is driven by Michael’s acoustic guitar and excellent voice, which breaks out into harmony on occasion during this track. It’s clear he’s been singing and playing guitar regularly over the past two years. Both the guitar and vocals so far sound up front, confident, and seem less effected overall. The breaks in this song contain some fantastic industrial-sounding guitar scraping, and wah-wah guitar soloing brought to epic levels by Andres’ rumbling bass and Dave’s bombastic drumming. The trio truly showcases and amplifies the dynamic nature of the song which is a quality I’ve come to admire about this band.
Next up is the second single from the album, “Assholes and Astronauts” (doesn’t leave much room for anybody else, eh?), a driving, melodic banger where Dave’s toms are as important to the mix as Michael’s observant wit. This song features an infectious vocal melody (curse you for having me sing the word “assholes” out in public all week) that is further ingrained in the listener’s brain by its repetition on a guitar underscored by a Moog synthesizer. When Michael sings, “I know in the end I will be free again / Someday after all, I will be home again”, I want to believe him more than anything else. In fact, if these fellows are going to join this new space race we find ourselves in, I’ll sign up to be on their rocket. I may not end up free, or home, but I’ll sure enjoy the music quite a lot.
Things take a more tender turn with “Don’t Believe Them”, which is carried by Michael’s acoustic guitar and earnest vocal. Emotive, vibrating Hammond organ chords and melodic bass guitar playing underscore the feelings of longing the track evokes. The song seems to invite one to make a new life, away from this place, perhaps to that home described in the previous song. It sounds very nice to me. The absence of drumming lends a contemplative nature to this point in the album, a moment to look back and reflect and say : “Darling, I’ve been thinking we could talk things over, get the hell out of here”.
From this space, the title track “Fake It” comes sneaking up on you, and before you know it, completely encompasses the listener. It’s a song that seems to progressively grow in sonic complexity, thick with layers of guitars reminiscent of early Smashing Pumpkins. There seems to be a somewhat defiant tendency on this album to knowingly put swear words in some of the otherwise more radio friendly songs: “All the money in this world of shit / Here’s another song that will never be a hit” and I have to smile, as the punk in me is thrilled with the rebellious nature of this habit. It’s another song you’ll find yourself singing along to after a few listens, as LIR has a great way of making very infectious choruses, lyrically and musically.
“A Song To Myself” is a sort of rock waltz that kicks off “side two” of this album. I’d like to note that while all the songs thus far can be carried by an acoustic guitar and vocal, the production is a very large part of why they are so effective. The dynamics in the orchestration of the songs, guitar and drum tones, and song sequencing are essential to the success of “Fake It”. As it happens, the album was mixed and produced by band member and multi instrumentalist Andres Karu. Perhaps his connection to the songwriter over the years is what has enabled the production to mirror the songs so intimately. A Song to Myself contains all of these elements that have made the album work thus far.
A dirty, rumbling guitar introduces “Bones”, which becomes a magnificent wall of throbbing, droning guitar tones guided by a thumping kick drum. When the drone breaks and sets you up for the chorus a minute and a half later, this wall of sound still doesn’t let up. Instead, more layers of vocals and wailing guitars take over the mix. A few breaks in the dirge give the listener time to absorb all of these mantles of harmony and tone. As the song fades like a thunderstorm rolling off into the distance, it feels more like a league of musicians making this sound rather than a trio.
A well timed release from the dark layers of the previous song, “I Hope I Never Want To leave You”, is a sparsely decorated ode to love and devotion. Lush synthesizer pads, sustained bass guitar notes and a gentle tapping on a ride cymbal seem to be all that is needed to guide this tune through its sections effectively in terms of dynamics, while the core of the song is conveyed via strummed guitar and vocals. A distant lead guitar echoes the vocal harmonies in places, which truly are the star of this track.
The push/pull dynamic to the album sequence stays firmly in place here as “My Misery” starts directly off into a chorus. Ironically, this track is one of the most joyful sounding on the album from the outset (Don’t be fooled by the title, as you’ll find that that the aforementioned misery is gone). Indeed, “My Misery” seems exactly like the song I want to be blaring through the open windows of my car as I drive through the mountains. As a matter of fact, I’m going to do just that when I finish writing this review. I’d say this is my favorite track on the album, but that wouldn’t be fair as it needs to be near the end of the album where it is in order for the listener to feel its full effect, in my opinion. It’s almost a sort of reward, in a way. I hope to hear it blaring through other open windows soon also, or I truly will be miserable - this is a song worthy of a hit, if only because I want to hear lots of people singing along with the song, “My misery is gone”, as I drive past their cars on the highway.
The album closes with “Half Of You”, which fades into existence with some guitar that’s a cross between early Cure and Syd Barret’s Pink Floyd, before the booming drums kick in and propel the song into 21st century Love In Reverse as only they can do. These guys know how to end an album, the closing songs on their LPs seem to alway somehow SOUND like closing songs. Much of what is said through the album seems to be summarized here, both musically and lyrically.
I’m not exactly positive if I’m in the half that will understand what “Fake It” truly means to Love In Reverse, but by this point in my experience of listening to the band I sure feel like I understand what it is supposed to mean to ME, and you may as well. Many of us have been faking it for the past couple years, and it’s OK to admit it. But it’s also a good thing to look around and see how far we’ve come and whom is still standing here with us, having experienced many of the same struggles. “Fake It” is a resounding reminder that we are truly not alone in our experience.
“Fake It” releases on August 19TH on Dada Drumming Records
🖊️Lightly edited & posted by Marina Verdi
🖊️More reviews at PerturbRadio.com/Articles
Check out the “Assholes & Astronauts” music video
march 15, 2022 - ALBUM REVIEW: “APPRAISAL” BY MORE
ALBUM REVIEW: “APPRAISAL” BY 'MORE'
(written by Darren Douglas Danahy)
March 15, 2022
This past Friday saw the release of “Appraisal”, the second album from Swedish synth trio MORE, which I have been listening to for the better part of this past weekend. This new release poses the question, “Does love conquer all, even in dark times?” as its central theme, which I hope to address through my repeated listens, and the impressions the album makes on me as I reflect on such thoughts.
The songs on Appraisal expand upon the sound set forth in their first album (From The Past) quite a lot, and one gets the sense that the trio (Magnus Dahlberg : vocals, Mattias Jönsson : Keyboards & backing vocals, and Lino Avian : Keyboards & backing vocals) has really honed in on their sound in the fifteen months since, while many of the same elements that make them unique can be found here as well. From the very first deliciously- resonant bass notes and Magnus’ almost foreboding “uh- huh” baritone voice on “Waterfall (time in an uproar), you can feel like there is a storm of sorts coming, electrical flashes of percussion like lightning sparking off in the stereo field, grounded by a repeated low piano note. The lyric seems to describe a constant companion with which the listener journeys through this storm with, in my case, the music itself. “The Trial” continues with more of that fantastic synth bass MORE seems to excel at, and in no short order we are treated to a repeated vocal hook that hones in on certain phrases, echoing the harp - like synth theme. I am still singing those phrases in my head when along comes the more contemplative and ballad-like “Provoked by Motions”. The change in tempo allows for more sweeping pads in addition to their signature bass sounds, while the vocal seems somewhat uncertain of things that it may have been sure of in the previous track - which lends a progression to the relationships described in the songs, and mine with the album. “Thread Of Hope” stands out to me immediately, with its much bigger drum sound and tight bass line making for a wide pocket which the song sits in comfortably. Almost guitar-like synth lines flesh out the song between verses, leading to uplifting choruses with excellent harmonies. This is possibly my favorite track on the album. A thread of hope is something we can all use right now, and this song provides. “Blind (lead the blind)” returns us to a more somber feel, but not lacking for sing along- able moments.
As the album progresses, so does the palette from which this music seems to be painted. Sounds, effects, lyrics, and emotions all seem to evolve together, growing in complexity and depth as we move through the songs. In places, Magnus’ voice reminds me of Marcus Meyn from the band Camouflage, especially in how it’s pleasantly melodic, easy to understand, yet emotive. MORE really knows how to make some killer bass sounds, “Self Control” manages to layer several of them in a grinding sort of groove, punctuated by short delay feedback notes and “woo woo” backing vocals that play in your head after the song is over. “About Last Night” draws us in with some phased strings crackling and bristling, recalling star gazing into the cosmos, pondering questions about love, life, regret, and doubt.
Earlier I mentioned how the album poses a question, if love conquers all - even in dark times - and as the album moves along, the specifics of these questions are also brought to light. “Show Me” feels a bit more like a breakup song, after a short introduction the piano chords and pulsing drums that introduce the song set a sad, almost regretful mood. As synthesizer leads and filtered drums enter the mix, the mood is expanded, bringing the track towards a more open-ended conclusion. The title track follows up with more of that fabulous, synthesized low end, this time picking up the tempo a bit. Fear, doubt, and regret again seem to be a large part of the lyric - yet Magnus near the end sings “In the darkest of nights I'll find the light and make it alright” - which in fact gives us a glimpse of the answer to the question the album poses...and this is important in my opinion, for where one does not SEE hope, one can CREATE it. As if to demonstrate that feeling, the next track (also a favorite for me) is “Shine In The Dark” which it truly does. Tight drums and bass come out of a shimmering section, and another tuneful and captivating refrain, “we will only shine in the dark”, illustrates that hope perfectly.
We close out the album with “Ballad Of A Blue Day”, which, while being a downtempo number, is still shining through and hanging onto that hopeful feeling. There are some lovely chord changes here, played across a mellotron-like sound, Moog - like bass, and sustained piano that flesh them out. It’s a very dynamic piece that makes great use of empty spaces where the lyric seem to sum up the entire album - “But behind the darkest sky, there's room for you and I.” Which may be our answer after all.
It seems quite a lot of thought went into the ordering of the tracks on this album, the music reflects what happens in the lyrics, and both progress together in a natural way. The listener is never stuck in one place, yet every track here is congruous and tied to the central theme. If love does indeed conquer all - even in dark times, it is because of all concerned making it so. Appraisal by MORE is such a labor of love, and demonstrates this in musical, lyrical, and emotional content over the course of its eleven songs, and perhaps a reflection of that work we can all do in such times.
You can check out the full EP on Bandcamp at morethecrew.bandcamp.com/
🖊️Review Written on March 13th, 2022.
🖊️Lightly edited & posted by Marina Verdi
🖊️More reviews at PerturbRadio.com/Articles
The songs on Appraisal expand upon the sound set forth in their first album (From The Past) quite a lot, and one gets the sense that the trio (Magnus Dahlberg : vocals, Mattias Jönsson : Keyboards & backing vocals, and Lino Avian : Keyboards & backing vocals) has really honed in on their sound in the fifteen months since, while many of the same elements that make them unique can be found here as well. From the very first deliciously- resonant bass notes and Magnus’ almost foreboding “uh- huh” baritone voice on “Waterfall (time in an uproar), you can feel like there is a storm of sorts coming, electrical flashes of percussion like lightning sparking off in the stereo field, grounded by a repeated low piano note. The lyric seems to describe a constant companion with which the listener journeys through this storm with, in my case, the music itself. “The Trial” continues with more of that fantastic synth bass MORE seems to excel at, and in no short order we are treated to a repeated vocal hook that hones in on certain phrases, echoing the harp - like synth theme. I am still singing those phrases in my head when along comes the more contemplative and ballad-like “Provoked by Motions”. The change in tempo allows for more sweeping pads in addition to their signature bass sounds, while the vocal seems somewhat uncertain of things that it may have been sure of in the previous track - which lends a progression to the relationships described in the songs, and mine with the album. “Thread Of Hope” stands out to me immediately, with its much bigger drum sound and tight bass line making for a wide pocket which the song sits in comfortably. Almost guitar-like synth lines flesh out the song between verses, leading to uplifting choruses with excellent harmonies. This is possibly my favorite track on the album. A thread of hope is something we can all use right now, and this song provides. “Blind (lead the blind)” returns us to a more somber feel, but not lacking for sing along- able moments.
As the album progresses, so does the palette from which this music seems to be painted. Sounds, effects, lyrics, and emotions all seem to evolve together, growing in complexity and depth as we move through the songs. In places, Magnus’ voice reminds me of Marcus Meyn from the band Camouflage, especially in how it’s pleasantly melodic, easy to understand, yet emotive. MORE really knows how to make some killer bass sounds, “Self Control” manages to layer several of them in a grinding sort of groove, punctuated by short delay feedback notes and “woo woo” backing vocals that play in your head after the song is over. “About Last Night” draws us in with some phased strings crackling and bristling, recalling star gazing into the cosmos, pondering questions about love, life, regret, and doubt.
Earlier I mentioned how the album poses a question, if love conquers all - even in dark times - and as the album moves along, the specifics of these questions are also brought to light. “Show Me” feels a bit more like a breakup song, after a short introduction the piano chords and pulsing drums that introduce the song set a sad, almost regretful mood. As synthesizer leads and filtered drums enter the mix, the mood is expanded, bringing the track towards a more open-ended conclusion. The title track follows up with more of that fabulous, synthesized low end, this time picking up the tempo a bit. Fear, doubt, and regret again seem to be a large part of the lyric - yet Magnus near the end sings “In the darkest of nights I'll find the light and make it alright” - which in fact gives us a glimpse of the answer to the question the album poses...and this is important in my opinion, for where one does not SEE hope, one can CREATE it. As if to demonstrate that feeling, the next track (also a favorite for me) is “Shine In The Dark” which it truly does. Tight drums and bass come out of a shimmering section, and another tuneful and captivating refrain, “we will only shine in the dark”, illustrates that hope perfectly.
We close out the album with “Ballad Of A Blue Day”, which, while being a downtempo number, is still shining through and hanging onto that hopeful feeling. There are some lovely chord changes here, played across a mellotron-like sound, Moog - like bass, and sustained piano that flesh them out. It’s a very dynamic piece that makes great use of empty spaces where the lyric seem to sum up the entire album - “But behind the darkest sky, there's room for you and I.” Which may be our answer after all.
It seems quite a lot of thought went into the ordering of the tracks on this album, the music reflects what happens in the lyrics, and both progress together in a natural way. The listener is never stuck in one place, yet every track here is congruous and tied to the central theme. If love does indeed conquer all - even in dark times, it is because of all concerned making it so. Appraisal by MORE is such a labor of love, and demonstrates this in musical, lyrical, and emotional content over the course of its eleven songs, and perhaps a reflection of that work we can all do in such times.
You can check out the full EP on Bandcamp at morethecrew.bandcamp.com/
🖊️Review Written on March 13th, 2022.
🖊️Lightly edited & posted by Marina Verdi
🖊️More reviews at PerturbRadio.com/Articles
February 21, 2022 - EP REVIEW: “EVERYWHERE IS MY HOME” BY Marina Verdi & Microchip Junky
TRACK/EP REVIEW: “EVERYWHERE IS MY HOME” BY Marina Verdi & Microchip Junky
(written by Darren Douglas Danahy)
Friday, February 4th saw a first time release from collaborators Microchip Junky (AKA John Peacey) and Marina Verdi (also of Spirit Dies First ), on the track “Everywhere is my Home”, which this reviewer hopes is the first of many such collaborations to come.
From the first sort of electronic insect noises from John’s DSI Pro 2 synthesizer that start the first mix of the song, I feel pulled in and almost giddy at what seems to be coming. It’s not long before a few low bass synth notes introduce Marina’s voice - much more up close and personal than I’m used to hearing in Spirit Dies First, and well suited for it. After a quick first verse we are treated to a killer groove, quirky and industrial in its way, but now supporting a sort of chanted vocal echoing the main vocal line, which cements its place in my memory. As this track develops, the groove deepens and the vocals become increasingly more complex, effected, and overlapping. In places I’d even describe the vocals as “witchy”, and they remind me of BC’s Vague Notion - albeit a very different palate of sounds supporting and pushing those vocals out.
.
Next up on the EP is the “Nomad Mix” of the song - this reviewer’s favorite mix on the EP. This mix starts off with the chanted vocal bit before giving way to some rocking drums and bass, immediately recalling a sort of punk rock vibe - but after the first verse we hear what I feel truly marks this version of the song - an incredibly infectious clean guitar riff I’ll be humming for weeks to come, reminiscent of Martha and the Muffins being mashed up with Wire. Just wonderful ear candy that is equally as addictive as any sugary treat. Either of the first two versions would be suitable for single airplay but on two different station formats. Such a re-imagining that it’s practically a cover of itself.
.
Which sets the stage for this third re-imagining of the track, the “softer mix” - definitely a drastic departure from both first versions, this is more of a “deep cut” mix of the song - hearing more orchestral type sounds here, beginning with a sort of low synth cello eventually giving way to things like cathedral organs, cavernous reverb, and spaced out choirs. The initial feeling reminds me of the song “Spiritual High” by Moodswings but also not unlike some of Bjork’s more drastic remixes. It’s really quite remarkable how a different setting can change one’s perspective of a vocal melody, or the lyrics themselves. With each subsequent version, I am getting new overtones and flavors from the same song - almost to say that this music exists outside of the sphere of genre.
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The EP finishes up with Marina’s original raw vocal idea for the song - which truly feels well placed here after the orchestral version, as if as the EP progresses we come to learn just how little of all the elements we may have come to love about the song, or the different musical genre-based environments where it exists are of little consequence, that it is more than the sum of its parts and no single thing about it “makes” the song, so to speak. This vocal-only version recalls the Doors song “My Wild Love” a bit to me, and hearing it I’m surprised at all the different directions it took from here. I bet that this EP would tell a different, but still congruous story if played in reverse order.
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Indeed, “Everywhere is my home” could find a home with just about any kind of music fan, there is a way to appreciate this song from several different angles on this release, and not a single one of them suffers for it. May it find a home in your music collection.
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You can check out the full EP on Bandcamp, At MarinaVerdi.Bandcamp.com/album/everywhere-is-my-home
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🖊️Review Written on Feb 5th, 2022.
🖊️Lightly edited & (finally) posted by Marina Verdi
🖊️More reviews at PerturbRadio.com/Articles
🖊️We realize there’s a small conflict of interest here as Marina runs PerturbRadio, and Darren is one of our freelance writers, but his review was an organic outcome of his hearing our music, and we are truly grateful for his beautiful words -Marina.
From the first sort of electronic insect noises from John’s DSI Pro 2 synthesizer that start the first mix of the song, I feel pulled in and almost giddy at what seems to be coming. It’s not long before a few low bass synth notes introduce Marina’s voice - much more up close and personal than I’m used to hearing in Spirit Dies First, and well suited for it. After a quick first verse we are treated to a killer groove, quirky and industrial in its way, but now supporting a sort of chanted vocal echoing the main vocal line, which cements its place in my memory. As this track develops, the groove deepens and the vocals become increasingly more complex, effected, and overlapping. In places I’d even describe the vocals as “witchy”, and they remind me of BC’s Vague Notion - albeit a very different palate of sounds supporting and pushing those vocals out.
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Next up on the EP is the “Nomad Mix” of the song - this reviewer’s favorite mix on the EP. This mix starts off with the chanted vocal bit before giving way to some rocking drums and bass, immediately recalling a sort of punk rock vibe - but after the first verse we hear what I feel truly marks this version of the song - an incredibly infectious clean guitar riff I’ll be humming for weeks to come, reminiscent of Martha and the Muffins being mashed up with Wire. Just wonderful ear candy that is equally as addictive as any sugary treat. Either of the first two versions would be suitable for single airplay but on two different station formats. Such a re-imagining that it’s practically a cover of itself.
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Which sets the stage for this third re-imagining of the track, the “softer mix” - definitely a drastic departure from both first versions, this is more of a “deep cut” mix of the song - hearing more orchestral type sounds here, beginning with a sort of low synth cello eventually giving way to things like cathedral organs, cavernous reverb, and spaced out choirs. The initial feeling reminds me of the song “Spiritual High” by Moodswings but also not unlike some of Bjork’s more drastic remixes. It’s really quite remarkable how a different setting can change one’s perspective of a vocal melody, or the lyrics themselves. With each subsequent version, I am getting new overtones and flavors from the same song - almost to say that this music exists outside of the sphere of genre.
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The EP finishes up with Marina’s original raw vocal idea for the song - which truly feels well placed here after the orchestral version, as if as the EP progresses we come to learn just how little of all the elements we may have come to love about the song, or the different musical genre-based environments where it exists are of little consequence, that it is more than the sum of its parts and no single thing about it “makes” the song, so to speak. This vocal-only version recalls the Doors song “My Wild Love” a bit to me, and hearing it I’m surprised at all the different directions it took from here. I bet that this EP would tell a different, but still congruous story if played in reverse order.
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Indeed, “Everywhere is my home” could find a home with just about any kind of music fan, there is a way to appreciate this song from several different angles on this release, and not a single one of them suffers for it. May it find a home in your music collection.
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You can check out the full EP on Bandcamp, At MarinaVerdi.Bandcamp.com/album/everywhere-is-my-home
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🖊️Review Written on Feb 5th, 2022.
🖊️Lightly edited & (finally) posted by Marina Verdi
🖊️More reviews at PerturbRadio.com/Articles
🖊️We realize there’s a small conflict of interest here as Marina runs PerturbRadio, and Darren is one of our freelance writers, but his review was an organic outcome of his hearing our music, and we are truly grateful for his beautiful words -Marina.
February 17, 2022 - TRACK REVIEW: “JUST A LITTLE” BY CHURCH OF TREES
TRACK REVIEW: “JUST A LITTLE” BY CHURCH OF TREES
(written by Darren Douglas Danahy)
February 17, 2021
Before I get started on my track review, I’d like to say that this reviewer would have loved to review the entire Church Of Trees album, “Pish Posh”, but seeing as I’ve contributed to one of the tracks on the album, I feel it may represent a conflict of interest, so I’ve chosen a track to review that is possibly my favorite one. Luckily for me, it appears twice on the album in different versions. I will start with my favorite, the “Rob Preuss Mesmerace mix” of the track. This track starts with a few seconds of ambience before hooking you in with (the now-official Church of Trees) singer Stella Panacci’s “la la la’s”, catching your ear with their fairy-tale sweetness, and you’re barely given a moment to breathe before the first verse and the incredibly catchy back beat kick in - you will find yourself scrambling for the lyric sheet so you can sing along like I did. Everything in this mix of the song is equal parts shiny and infectious, bubbling joy through all sonic frequencies. Like most of us during the past couple years with the pandemic and intense isolation and division, even amongst friends and family, this sweetness is so very welcome... it reminds me, like the song says - that we need to live/love/dream “just a little more” because it’s never been more apparent how much we all NEED to.
If I were to complain at all about this song, it would be about the fact that it ends after four minutes or so - but lucky for us, there is another mix of the song on the album - the original mix by Jordon Zadorozny. The original mix of the song is definitely more “album oriented”, for lack of a better term - it takes a little more while before letting you know how catchy it is, as if downplaying itself with a sense of knowing pride. Jordon’s mix on the track relates to Pish Posh as a whole very well, as can be said of how it relates to the overall sound of Church Of Trees. As someone that has come to be a fan, all my favorite COT elements are here in the songwriting and production.
I can see why there are two versions on the album, and I personally would not be able to decide which of these would be best to place on it. In contrast, I would choose Rob’s mix to introduce newer, and perhaps younger listeners to the band - though they both say what needs to be said equally well. I am thankful to hear, in a recent interview with Church Of Trees' mastermind, Bernard Frazer, that he is “always writing” (indeed, the band is prolific - and seems to be increasingly so), because I’m confident that once you’ve been converted to this particular church, you’re going to need a little more - in fact, MUCH more.
You can check out the full Church of Trees album on their Bandcamp page.
If I were to complain at all about this song, it would be about the fact that it ends after four minutes or so - but lucky for us, there is another mix of the song on the album - the original mix by Jordon Zadorozny. The original mix of the song is definitely more “album oriented”, for lack of a better term - it takes a little more while before letting you know how catchy it is, as if downplaying itself with a sense of knowing pride. Jordon’s mix on the track relates to Pish Posh as a whole very well, as can be said of how it relates to the overall sound of Church Of Trees. As someone that has come to be a fan, all my favorite COT elements are here in the songwriting and production.
I can see why there are two versions on the album, and I personally would not be able to decide which of these would be best to place on it. In contrast, I would choose Rob’s mix to introduce newer, and perhaps younger listeners to the band - though they both say what needs to be said equally well. I am thankful to hear, in a recent interview with Church Of Trees' mastermind, Bernard Frazer, that he is “always writing” (indeed, the band is prolific - and seems to be increasingly so), because I’m confident that once you’ve been converted to this particular church, you’re going to need a little more - in fact, MUCH more.
You can check out the full Church of Trees album on their Bandcamp page.
SEPTEMBER 24, 2021 - TRACK REVIEW: "UNGULATE" SINGLE BY VAGUE NOTION
SINGLE REVIEW: “UNGULATE” BY VAGUE NOTION
(written by Darren Douglas Danahy)
September 24, 2021
Vague Notion have returned with another dynamic and masterful single, the appropriately-named “Ungulate”, that is on fire in more ways than one.
The song’s lyrics and music (as well as the accompanying music video) play both openly and implicitly with themes associated with fire, heat, smoke, smoky air (even words themselves as a smoking gun), and the reactions they may trigger - anger, fear, confusion… in short, the “fight or flight” reaction that this reviewer himself associates with both fire and smoke.
The burning world presented in the track not only focuses on our forests, but on our interactions with our fellow humans. These interactions have become increasingly heated - this being the “fight” part of the reaction. Anger being like a fire in our minds burning so hot that it goes directly to our mouths rather than through our hearts first, and it’s one of our most valuable resources - EACH OTHER - that gets burned, only adding to the fire.
Rhythmically speaking, the first thought that came to my mind was 'how does one describe Forest rhythms VS Jungle rhythms?' I believe that these self-professed makers of “Deep Mountain Electronica” have woven a track with lots of active, frantic, scurrying noises moving through the stereo field, creating the illusion of being in the middle of a sort of electronic grove of Pine trees. Some of the rhythms even evoke the hooves of a very scared animal fleeing through this burning forest.
Cheryl’s voice and the unique way it blends with their particular sound (I see a future one day where synths will come with a Vague Notion bass preset or two) takes on several characters throughout this virtual forest, those above, below, all around you…and reminds us at many times that we are animals in this forest also - ones that lives parallel and superimposed on our world, whether it be surrounded by trees, buildings, or the mixture of both most of us live in. Instruments take on animalistic tendencies in the music, at times even threatening and feral, from what I am guessing is Bevan’s distorted guitar growl - unless they managed to find an electric bear and added it to the mix. It seems to manage to get the last word on the song, too.
Of all the personnas in this song, one of the most dominant is our sun. Portrayed here almost as a double-edged sword, it makes life on earth possible, yet as the climate rises, sets the stage for this raging character that is not only “burning up the life” but is also the “taker and leaver of strife”, setting at the end of the music video, bookending its rise at the beginning. It’s as if to remind us that we can still find hope in music and celebration in spite of difficult times. To once again quote the lyrics, “you may as well lighten up and dance” and I, for one, wholeheartedly agree.
Support Vague Notion by checking our their Bandcamp for ungulate and other great music, and by finding them on Facebook.
The song’s lyrics and music (as well as the accompanying music video) play both openly and implicitly with themes associated with fire, heat, smoke, smoky air (even words themselves as a smoking gun), and the reactions they may trigger - anger, fear, confusion… in short, the “fight or flight” reaction that this reviewer himself associates with both fire and smoke.
The burning world presented in the track not only focuses on our forests, but on our interactions with our fellow humans. These interactions have become increasingly heated - this being the “fight” part of the reaction. Anger being like a fire in our minds burning so hot that it goes directly to our mouths rather than through our hearts first, and it’s one of our most valuable resources - EACH OTHER - that gets burned, only adding to the fire.
Rhythmically speaking, the first thought that came to my mind was 'how does one describe Forest rhythms VS Jungle rhythms?' I believe that these self-professed makers of “Deep Mountain Electronica” have woven a track with lots of active, frantic, scurrying noises moving through the stereo field, creating the illusion of being in the middle of a sort of electronic grove of Pine trees. Some of the rhythms even evoke the hooves of a very scared animal fleeing through this burning forest.
Cheryl’s voice and the unique way it blends with their particular sound (I see a future one day where synths will come with a Vague Notion bass preset or two) takes on several characters throughout this virtual forest, those above, below, all around you…and reminds us at many times that we are animals in this forest also - ones that lives parallel and superimposed on our world, whether it be surrounded by trees, buildings, or the mixture of both most of us live in. Instruments take on animalistic tendencies in the music, at times even threatening and feral, from what I am guessing is Bevan’s distorted guitar growl - unless they managed to find an electric bear and added it to the mix. It seems to manage to get the last word on the song, too.
Of all the personnas in this song, one of the most dominant is our sun. Portrayed here almost as a double-edged sword, it makes life on earth possible, yet as the climate rises, sets the stage for this raging character that is not only “burning up the life” but is also the “taker and leaver of strife”, setting at the end of the music video, bookending its rise at the beginning. It’s as if to remind us that we can still find hope in music and celebration in spite of difficult times. To once again quote the lyrics, “you may as well lighten up and dance” and I, for one, wholeheartedly agree.
Support Vague Notion by checking our their Bandcamp for ungulate and other great music, and by finding them on Facebook.