Album Review

NEEB drops a creative renaissance with its soulful summer masterpiece, “Take To The Sky”

NEEB is a band hitting its creative stride with an exhilarating vibe that thrives on collaboration and innovation, as evidenced by its latest single, “Take To The Sky.” The magic is an intoxicating blend of soulful jazz and chilled summer grooves, offering listeners a serene musical journey. The song, released under Shy Bairn Records, marks a significant milestone for the band, showcasing the sultry percussive genius of Martin Ditcham, a renowned songwriter known for his work with ‘Talk Talk,’ who joined forces with NEEB after a serendipitous encounter with their legendary drummer in London.

The most striking feature of this track is undoubtedly Jasmine Weatherill’s mesmerizing vocal performance. Initially a guest artist, Jasmine has seamlessly transitioned to a fully-fledged integral part of NEEB, and her growth within the band is evident. Her smooth, alluring vocals add an unmistakable layer of finesse to NEEB’s already rich instrumentation, blending seamlessly with the band’s delightful signature mix of funky basslines, intoxicating rhythms, Rhodes piano, synths, and drones.

The lush harmonies and overall charm of “Take To The Sky” lay the rhythmic groundwork for NEEB’s creative synergy. The ensemble musicianship of the band’s members, Tony Waite, Mark Lloyd, Jasmine Weatherill, and Mark Hand, are evidently in full creative mode, bouncing ideas and feeding off each other’s enthusiasm. The outcome underscores a fresh and profoundly engaging auditory experience that flawlessly embodies their musical evolution and dynamic vitality. It demonstrates the finest guitar proficiency, beckoning listeners to unwind and savor the relish moment of a sun-drenched day infused with a tranquil ambiance.

Having performed alongside renowned artists like Pee Wee Ellis, Gong, and Alabama 3 and gracing major festival stages, including Glastonbury and Freerotation, NEEB is no stranger to captivating audiences. With the release of “Take To The Sky,” they continue to push their creative boundaries, setting high expectations for their upcoming album. This single sets a promising precedent that particularly appeals to jazz fans with a soulful, summer-infused groove.

Album Review

“Big Colored Lights” EP Premier by Katie Curley delivers a sonic snow globe of heartfelt holiday memories

Brooklyn-based singer-songwriter Katie Curley brings a fresh glow to the holiday season with her new EP, “Big Colored Lights.” This spellbinding collection comprises seven original tracks that seamlessly integrate Curley’s honky-tonk personal sensibilities with sophisticated sonic artistry, characterized by her gift for evocative storytelling. Recorded at Cowboy Technical Services under the skillful production expertise of Eric “Roscoe” Ambel (known for his work with Sarah Borges and the Bottle Rockets), the EP is a testament to Curley’s decade-long commitment to creating one Christmas-inspired song yearly. The resultant work offers a kaleidoscope of nostalgia, resilience, and the transformative power of music that extends beyond conventional holiday cheer.

“Big Colored Lights” invites listeners on an emotional odyssey, commencing with the poignant opener, “Christmastime Therapy,” which artfully navigates the bittersweet realities of family gatherings complemented by Curley’s crystalline vocals. The expressive piano work accompaniment by Rob Clores sets the stage for a heartfelt meditation on holiday complexities.

Subsequently, the soulful track “Closing In On December“ follows, featuring Mark Spencer’s pedal steel, which infuses the song with a timeless warmth. Meanwhile, the title track, “Big Colored Lights,” paints a vivid tribute to Curley’s childhood memories of her grandfather’s dazzling holiday decorations in the woods of Washington.

Curley’s versatility is evident in “A Very Texas Christmas,” a modern take on classic holiday melodies that blends emotive guitar strumming with rhythmic piano chords. “Extra Happy Holidays“ delivers a buoyant exploration of new relationships, celebrating the optimism intrinsic to joyful festivities.

Album Review

Gitkin unveils an afro-latin blues with sonic psychedelia in his recent Album “Golden Age”

The undisputed king of modern cumbia and master of genre fusion, Brian J. Gitkin, unveils his latest 10-track masterpiece, “Golden Age,” released under Wonderwheel Recordings. This wordless sonic adventure transcends borders, featuring a guest appearance by multi-instrumentalist and producer Assaf Spector, delivering thrilling depths of Afro-Latin, desert rock, and blues with heavy doses of psychedelia. Rooted in the musical heartbeat of New Orleans, “Golden Age” offers a mesmerizing exploration of culture, rhythm, and electric guitar brilliance. This primarily instrumental experience enthralls audiences from start to finish.

Gitkin, a New Orleans-based multi-instrumentalist, channels the rhythmic soul of the Crescent City through the hypnotic twang of his signature Silvertone guitar. The album commences with the dynamic title track, “High Noon,” setting the tone for its adventurous spirit, a far-reaching sound exploration. Fans are treated to a dazzling mix of intoxicating African and Latin American influences, spiced with the desert rock of Mali and the electrified chicha style of Peru.

The second track, “Cumbia-ya,” exudes celebration with its infectious beats as the album continues to break boundaries with “Delta Mystic,” along with “Iced Coffee” and “Go Time,” the 5th composition featuring the expertise of Simon Moushabeck on the keyboard and Washington Duke on drums, which seamlessly blends jazz, funk, and Afro-American Mardi Gras roots into a jubilant groove.

Subsequently, “The One,” the eighth track, presents a hypnotic blend of classic Sudanese influences, Tuareg-style guitars, and Black Sabbath-inspired heaviness. The composition is propelled forward by a Giorgio Moroder-esque bassline, combining ’70s disco energy with soulful guitar motifs, showcasing Gitkin’s versatility and fearless approach to creating fresh, boundary-pushing music. The album’s standout track, “Tall Oaks Drive,” takes listeners on a cosmic ride with its psychedelic sitar riffs and melodic cinematic atmosphere reminiscent of a vintage spy thriller. The album concludes with the soul-stirring final track, “Golden Age,” providing a sense of closure and triumph.

Throughout “Golden Age,” Gitkin’s guitar melodies convey stories without words, evoking emotions of contemplation, joy, and spiritual upliftment. His ability to weave together global sounds with New Orleans’ rich musical heritage establishes him as a visionary in the global music scene. This album is essential for fans seeking adventurous, deeply reflective, and genre-defying sonic experiences.

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