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Singer/Songwriter Robert LaRoche Releases New Music
I’m no stranger to Robert LaRoche’s songwriting. Longtime songwriter, solo artist, and frontman for The Sighs, LaRoche enjoys a well-deserved reputation as a songwriter’s songwriter who commands respect from his peers and has a devoted following stretching back years. I approached his new solo release Forevermore with excitement. My faith in his abilities proved well-placed as LaRoche serves up ten songs rich with the accumulated experiences of a lifetime and brimming with the same unique talents that have secured his place in the modern indie music scene. For those familiar with him, Forevermore is a reaffirmation of his gifts while, for newcomers, it gives them an excellent place to start their discovery of his work.
Acoustic guitar is integral to this album and “Steal Your Heart” announces that from the first. This isn’t a folky singer-songwriter effort, however, as LaRoche’s decades-long experience fronting bands serves him well here and elsewhere. It’s a full-throated ensemble performance replete with satisfying changes and a lyric that veers between aching affection and borderline heartbreak. Zonder Kennedy’s guitar solo puts a fiery exclamation point on “Burn That Kingdom Down”, the album’s second song, but LaRoche’s lyrics are equally impressive. He writes and sings as if this were one of those songs that took a week or so to write and two decades to live. The sense of stakes is audible from beginning to end.
“Forevermore” is a strong title song. LaRoche aims for more of a mood piece with this cut and the diverse instrumentation he utilizes for the collection surfaces here in a pronounced way. He frames the unattainable object of LaRoche’s desire at the heart of this song in tasteful poetic lyrics that he’s well suited for conveying with his voice. Vocal harmonies play an important role in fleshing out many of Forevermore’s songs and sweeten the obvious vulnerability underlying a song such as “Safter Inside”. It adopts the same semi-brisk pace as many of the release’s other songs but never feels rushed.
He serves up a nuanced song about lost love with “Temporary Virtue” and mature listeners will appreciate his unique take on the subject. There’s heartache and regret galore throughout this lyric. LaRoche and the sensitive arrangement conspire well to communicate those emotions. It lays his heart bare in a more direct fashion, at least musically than some of the preceding songs while being no less effective. The rueful “Traitorous Heart” gains a lot of traction from the contrasting laid back character of its arrangement and LaRoche’s scornful lyrics. He lays out betrayal and undermining behavior in a matter of fact manner. There are hints of the underlying resentment, however, provided by the song’s electric guitar passages.
This is a thoroughly successful release from beginning to end. Robert LaRoche deserves fulsome praise for his ability to write about a subject as old as song itself, love, in such an individualistic fashion. He isn’t remaking the songwriting wheel with Forevermore, but he pours old wine into new bottles with a skillfulness that deserves our applause and attention.
Jamie Morse
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Featured
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.
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
Artist Spotlight
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.
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