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2 Shadows Show They Are Ready For Prime Time With New Song “Mad God”

Somehow I missed hearing 2 Shadows until now. I intend to redress that oversight with this review. The pair of lead singer Glen Bridden and guitarist Tyrst Germaine first banded together as 2 Shadows in 2015 yet still deliver new music with every bit of the passion you’d expect from a hungry debuting act with a chip on their shoulder and something to prove. They are in full effect during their new single “Mad God” and, frankly, I haven’t heard metal this immediate and bracing in many years. This band is definitely ready for prime time and I don’t think there’s any stopping them.

Tryst Germaine’s mammoth guitar sound will be a big reason why. It is one of the chief characteristics of their music that I believe separates 2 Shadows from many of their brethren. It immediately dominated the song once it entered the picture in full force, but I must say that it never diminishes the vocal. This is because both Tryst’s guitar, as well as other elements of the song, are so well produced that there isn’t a single component that stands out at the expense of another.

Glen Bridden may be the only singer alive who could keep up with him and this demanding track. Segueing from the bleak and ruminative opening featuring his voice and piano into the six-string bloodletting that follows isn’t something every vocalist can do. He does and, in my opinion, makes it sound easy. He hits many particularly thrilling high points during the song’s more aggressive sections that will leave all but the hardest of hearts thrilled by his musical presence.

Presence is something that this song and band have in abundance. I mentioned that Germaine’s guitar has an all-consuming sound, but it’s really the band as a whole that cannot be denied. The opening section with its piano and singing creates a world all its own without ever seeming like some sort of put on. There’s no doubt in my mind that 2 Shadows would still make music together even if they never recorded another note. These guys are “lifers” and you hear it in their voice and playing alike.

It ends conclusively bookended by the same quiet atmospherics that begins the song. It’s another indication of how the band began the recording process for this track with a clear imaginative vision and followed it through to its logical conclusion. Their focus pays off with one of the most thunderous metal/hard rock tracks in recent memory high and leaves a mark on listeners.

There’s so much music out there and so little time. 2 Shadows simply hadn’t landed on my radar yet. Well, they’re here now, and here they’ll stay. As an older metal fan, I am thrilled to hear a band that likes living on a creative knife edge, but I’m even happier to hear a band that compromises nothing and says take us as we are because we aren’t going anywhere. The single “Mad God” proves 2 Shadows will be with us for some time to come and we, as music fans, are better off for it.

Brent Musgrave

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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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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.