Few phenomena captivate the imagination quite like the dynamic energy of family acts. From the infectious harmonies of The Jackson 5 to the sun-drenched melodies of The Beach Boys, the familial bond has yielded some of the most enduring and beloved music of our time. Yet, amidst this illustrious lineage, a new chapter unfolds—one that is as innovative as it is invigorating. Slowly creating their own path through the modern indie scene, Streaking In Tongues is a father-son duo comprised of Ronnie and Elliott Ferguson, whose latest offering, Einstein’s Napkin, stands as a testament to the boundless creativity and DIY spirit that pulses through their musical veins.

URL: https://www.streakingintongues.com/

At its core, Einstein’s Napkin is a sonic odyssey—a journey through the labyrinthine corridors of the Ferguson’s collective imagination. Drawing inspiration from the poetic musings of “sometimes-bandmate” Marty Achatz, the album unfolds like a series of musical vignettes, each one a testament to the duo’s fearless experimentation and unwavering commitment to their craft. From the lilting guitars of “Lumbering Along Bluff Creek” to the jazz-inflected rhythms of “Timber Wolf With Hiccups,” Streaking In Tongues showcases a mastery of their instruments that is as awe-inspiring as it is infectious.

But what truly sets Einstein’s Napkin apart is its DIY ethos—an ethos that permeates every aspect of the album’s creation. From the inception of the melodies to the final mastering touches, Ronnie and Elliott Ferguson have poured their hearts and souls into every note, eschewing traditional studio methods in favor of a more organic and hands-on approach. It’s a testament to their ingenuity and resourcefulness, and one that pays dividends in the album’s overall aesthetic and feel.

Of course, no discussion of Einstein’s Napkin would be complete without mentioning the essential inclusion of saxophonist Patrick Booth. His evocative contributions add an extra layer of depth and texture to the album, elevating tracks like the aforementioned “Timber Wolf With Hiccups” and “God’s Deep, Wide Pocket” to transcendent heights. Together, the trio creates a musical synergy that is nothing short of magical, weaving intricate melodies and harmonies that transport listeners to another realm entirely.

https://open.spotify.com/artist/1yMeAzPQ6ku0XOH4o6ZBM8?autoplay=true

In many ways, Einstein’s Napkin is a throwback to a bygone era—a time when musical experimentation was not just encouraged, but celebrated. It’s a nod to the “DIY pioneers” of the past—family-centric bands like Oasis and The Bee Gees—who blazed their own trails and rewrote the rules of what was possible in contemporary music. Yet, it’s also a testament to the enduring power of creativity and innovation, proving that even in today’s hyper-connected world, there is still room for bold experimentation and artistic expression, especially with family.

Einstein’s Napkin is a triumph of musical innovation and DIY spirit—a testament to the boundless creativity and ingenuity of Streaking In Tongues. With its infectious melodies, evocative arrangements, and unwavering commitment to experimentation, the album stands as a shining example of what can be achieved when artists dare to dream and forge their own path.

Rachel Townsend 

If you’ve ever heard the music of Eric Schroeder before, you already know that melodic sting is often the backbone of his heady rock sound, but in his latest release Turned on the Stereo, which was released this year everywhere quality indie-rock is sold and streamed, it plays as great a role as the lead vocal does. The guitar is the star in the title track of this LP, much as it guides the grooves of singles “Parting (No. 2)” and “Stayed the Same,” and whether you’re a six-string buff or not, it’s an element that will engage anyone who catches a glimpse of this album’s most powerful moments.

There’s a lot more to Turned on the Stereo than just gilded guitar tones; after all, when listening to songs like “Mother Said,” “The Kind of Wound That Never Heals,” “Plan For Me” and the juggernaut “Never Go Away,” everything from the percussion to the vocal harmony itself is presenting us with a different layer of emotion. There’s scarcely a juncture in this record where Schroeder doesn’t sound deeply invested in the narrative he’s trying to get across, which is something I could only wish to see among his mainstream competitors nowadays.

At the center of every song on this LP is the magnetizing melodicism of the leading man, which despite flexing some legit muscle in past releases bearing the Eric Schroeder name sounds much more relaxed and on-point in tracks like “Do Done Now,” “Claire’s Song” and “Easier Way to Go” than it ever did before. There’s no hesitation on the part of our leading man here; if anything, I’m not sure that he’s come across quite as confident in his performance as he does in a couple of this record’s most climactic fever pitches.

https://open.spotify.com/album/7h8hV4kn18WMWcov4723YN?si=CgrNzFBvRs6D-BaqroToKQ&nd=1&dlsi=b22a7ce812e34a6e

As far as the production quality is concerned, Turned on the Stereo is a superbly tight album that doesn’t leave us guessing how richly textured and full a song like the title track or “Never Go Away” might sound in a live capacity, which is undeniably a tough feat to pull off. It’s perhaps not as evenly mixed as The Crucifixion of Eric Schroeder was, but I don’t know that he was looking to go super-polished in this instance; there’s a certain authenticity that comes with filtering fresh material through a raw, unconventional sound, and that could be why this LP stings as hard as it does.

Though I just started exploring Eric Schroeder’s complete discography a little closer this April, I’ve come to appreciate his approach to songwriting all the more thanks to Turned on the Stereo, which I deem the most mature offering he has released thus far. Schroeder isn’t working with major label assets by any means here, but he’s nevertheless turning in something that feels wholly compelling and different from what his contemporaries are producing in this first half of 2024, and that alone makes it a worthwhile listen for anyone who demands organic quality in rock anymore. Top to bottom, this is a terrific listen for those who love indie riffs and smoldering lyrical emissions.

Sebastian Cole