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Scotty Hollywood is Triumphant on New Album Release “Wondervu”

Yo, listen up, my fellow music fans! We all know that Americana and Folk music can be pretty damn awesome. I mean, there’s just something about those genres that can hit you right in the feels while keeping it real. But let’s be honest, it can also get a bit stale when everyone’s pumping out the same old sounds and ideas. That’s why Scotty Hollywood’s latest album, “Wondervu,” caught our attention. It’s like a breath of fresh air in a room full of stale farts, if you know what I mean.

Now, let me tell you, “Wondervu” takes you on a mesmerizing journey. It’s like cruising through the heartlands of acoustics, drenched in classic Americana and Folk vibes. But here’s the kicker, my friends – Scotty Hollywood ain’t just recycling the same old crap. No, sir! He’s taken those familiar sounds and slapped a fresh coat of paint on ’em. So, the million-dollar question is, does he deliver on this promise?

Right off the bat, with the opening track “Ricochet,” you know you’re in for a wild ride. The upbeat and catchy riffs hook you in, but there’s this underlying melancholy that grabs hold of your soul. It sets the tone for the whole damn album, my friends.

And let me tell you, what sets “Wondervu” apart is its ability to keep you on your toes. It’s like a damn rollercoaster of styles and moods. Scotty Hollywood is a frickin’ genius, blending tradition with innovation. This album pays tribute to its roots while venturing into uncharted territories. It’s like he’s created a whole new genre, man.

Take “Killing Time,” for example. This song takes you to dreamland, my friends. The shimmering instrumentals give it this smooth and joyful vibe, but wait till you hear the lyrics. It’s like diving into the deep end of the human experience. Scotty Hollywood captures the complexities of life and its emotional landscapes like a freakin’ poet.

And let me tell you, Scotty’s storytelling skills are off the charts. “Jumpin’ Joe” is a prime example. You’d think it’s gonna be some fun and games with a title like that, but nah, man. It digs deep into your soul, weaving a web of emotions with minimalistic production. The layers of instruments blend together like a frickin’ symphony, creating an eargasmic experience that’ll blow your mind.

Now, let’s talk about the title track and album closer, “Wondervu.” This one’s a game-changer, my friends. It’s a calm piano ballad that showcases Scotty Hollywood’s vocal prowess. The dude can make your heart shatter with just one note. And the acoustic guitars? They wrap you up in this warm embrace that feels like a damn cozy blanket on a chilly night.

In conclusion, “Wondervu” is a frickin’ triumph for Scotty Hollywood. This album is a testament to his artistry and the evolution of his sound. It’s got emotional depth, musical variety, and production that’s on point. If you appreciate the beauty of acoustic melodies and the timeless allure of Americana and Folk, then this baby is a must-listen. Don’t sleep on it, my friends! Get your asses over to Apple Music and give it a spin. You’ll thank me later!

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Eric Schroeder Releases Album

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

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The Skinny Limbs Unveil Galactic Soundscape with ‘Mozart for Martians’ EP Premiere

The Skinny Limbs have unveiled their latest EP, “Mozart for Martians,” which consists of five stellar tracks that revolve around the complex universe of emotions accompanying a long-term relationship’s end. This EP’s celestial soundtrack for heartbreak, rejuvenation, and reflection seamlessly blends indie-pop with lo-fi vibes and Japanese pop influences, transcending musical genres.

This eclectic mix creates a vibrant tapestry of sound, drawing listeners into a realm that is both familiar and otherworldly. The raw vulnerability in each track reflects band member Max Knoth’s personal journey through love, loss, and life’s unpredictable twists.

Lead single “Too Little Too Late” is a gut-punching anthem that blends poignant lyrics with a sonic fusion of Japanese pop and indie elements, capturing the EP’s emotional core. Meanwhile, “To The Limit” offers a celestial blend of melodies and evocative lyrics, portraying the feelings of confusion and frustration that accompany life’s hurdles.

The EP’s sonic journey is completed by the unreleased gems, “Monday,” a jammy reflection of Max Knoth’s tumultuous breakup week, “I Know You Care,” an older track reborn, and “For So Long!,” a groovy exploration of confusion, patience, and the search for clarity.

Produced by Connor Robertson, Jake Rye, and The Skinny Limbs, and mastered by Mike Cervantes (known for his work with Dolly Parton and MisterWives), this EP is a masterful blend of heartfelt storytelling and musical innovation. The production quality is top-notch, and the EP’s 18-minute runtime provides a concise yet powerful journey that will leave listeners craving more.