Album Review

Scaling New Heights: A Review of Michael Zuzek’s Everest LP

In an era where the musical landscape is as diverse as the peaks of the Himalayas, Michael Zuzek’s latest LP, Everest, stands as a towering achievement that boldly scales the lofty aspirations of classic rock. A self-engineered, produced, and mastered effort alongside Aidan Ellison, *Everest* is an ambitious, introspective journey that reflects both the weight of emotional highs and the depths of personal valleys.

The album opens with “The Man Who’s Never Found,” a track that immediately sets the tone for the LP’s thematic exploration of solitude and the quest for identity. Zuzek’s vocals, tinged with a weary yet resilient edge, carry the narrative of a man wandering through life’s desolate roads, seeking something elusive. The collaboration between Maarten Colenbrander and Scott Fordham on bass, coupled with Marco Ciardullo’s evocative guitar work, creates a rich, layered soundscape that complements Zuzek’s poignant piano and synth lines. The song’s narrative evokes a sense of yearning and disillusionment, reminiscent of the existential musings found in Springsteen’s *Nebraska*.

“All Comes Back” serves as a cathartic response to the opener’s despair, offering a glimpse of redemption amidst the chaos. Zuzek’s use of the piano and organ here is particularly notable, blending seamlessly with Scott Fordham’s bass and Ciardullo’s guitar to create a soulful, almost gospel-like atmosphere. The song’s lyrics suggest a cyclic nature of life’s trials and tribulations, with the recurring refrain “it all comes back to you” acting as both a warning and a comfort. There’s a subtle nod to Robbie Robertson’s influence, not just in the composition but in the thematic depth that reflects the cyclical struggle of life, akin to The Band’s explorations of American mythology.

With “5000 Days,” Zuzek dives into the themes of loss and the relentless passage of time. The track’s driving rhythm and haunting melodies evoke a sense of urgency, as Zuzek’s lyrics recount the pain of separation and the longing for reconciliation. Ciardullo’s guitar work once again shines, weaving in and out of Zuzek’s emotive piano lines, while Colenbrander’s bass provides a steady foundation that grounds the song’s emotional weight. The song’s energy and tempo—a brisk 180 BPM—capture the frantic attempt to reclaim lost time, a sentiment that resonates deeply with the listener.

“No Other” is perhaps the most heart-wrenching track on Everest, a love song that veers away from sentimentality and instead delves into the darker corners of human relationships. Zuzek’s lyrics explore the push-and-pull of a relationship fraught with misunderstanding and emotional distance. Brandon Marks’ guitar work, alongside Leah Vanderbyl’s drumming, adds a sharp, almost discordant edge to the track, mirroring the tension between the song’s protagonists. The contrast between the verses and chorus, with their differing tempos, reflects the instability of the relationship Zuzek sings about—a dissonance that ultimately feels cathartic.

“Sweet and Kind” provides a momentary respite in the album’s emotional journey, offering a softer, more reflective tone. The interplay between Zuzek’s piano, E-piano, and organ, along with Colenbrander’s bass and Ciardullo’s guitar, creates a lush, almost ethereal soundscape. The lyrics, however, suggest an underlying tension, as Zuzek sings of a love that is fleeting, always just out of reach. The song builds slowly, never quite reaching a climax, much like the unfulfilled promises it describes.

The existential dread reaches its peak with “Has My God Forsaken Me?”, a track that plunges the listener into the depths of despair and doubt. The song’s heavy organ and synth, combined with a relentless bass line and Ciardullo’s ominous guitar riffs, create an atmosphere thick with foreboding. Zuzek’s vocal delivery is raw and unfiltered, as he grapples with themes of abandonment and loss of faith. The track’s intensity is only heightened by its placement within the album, serving as a dark mirror to the fleeting moments of hope found earlier.

Closing the album is “Graystone,” a track that encapsulates the themes of memory and nostalgia that permeate *Everest*. Zuzek’s piano-driven melody is hauntingly beautiful, with Fordham’s bass and Colenbrander’s acoustic guitar adding layers of warmth and depth. The song reflects on the passage of time and the remnants of the past, much like a weathered stone that still holds the echoes of history. Zuzek’s lyrics are introspective, touching on the bittersweet nature of memory and the inevitability of change. It’s a fitting end to an album that has journeyed through both the peaks and valleys of the human experience.

Everest is a masterclass in modern rock songwriting, blending introspective lyrics with rich, textured instrumentation. Michael Zuzek’s ability to craft songs that resonate on both a personal and universal level is evident throughout the LP. The collaborative efforts of the musicians, particularly Ciardullo’s versatile guitar work and Colenbrander’s steady bass, elevate the album to a sonic landscape that feels both vast and intimate.

In Everest, Zuzek has created not just a collection of songs, but a cohesive narrative that explores the complexities of life’s emotional terrain. It’s an album that invites the listener to reflect, to feel, and ultimately, to understand the beauty in the climb, no matter how steep the path.

-Albert Ignatius

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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.

Infusing a touch of country flair, “Shotgun Wedding In Bethlehem“ reimagines the nativity narrative, enhanced by the gorgeous angelic harmonies from fellow artists Drina Seay and Shanelle Jenkins. The EP closes on a high note with “New Year’s Too,” a soul-stirring duet with powerhouse vocalist Lizzie Edwards that profoundly impacts the listener.

Katie Curley’s “Big Colored Lights” transcends the limitations of typical holiday tunes, offering deep reflections on shifting landscapes, cherished traditions, and the unyielding pursuit of light in life’s darker moments. Supported by her core band, including her husband Brendan Curley on guitar, Max Newland on bass, and Kenny Soule on drums, the EP resonates with authenticity and warmth. This EP is essential listening for those seeking revelatory holiday charm with meaningful and uplifting music that promises to light up the heart and soul. Set to become a treasured addition to festive playlists, “Big Colored Lights” solidifies Katie Curley’s emerging status as an enchanting voice within Brooklyn’s music scene.

For more information about Katie Curley, please visit [website].
CLICK HERE TO STREAM Katie Curley’s EP “Big Colored Lights“ on Spotify.
CONNECT WITH Katie Curley | Instagram | Facebook |

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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.

For more information about Gitkin, please visit [website].
CLICK HERE TO STREAM Gitkin’s Album “Golden Age“ on Spotify.
CONNECT WITH Gitkin | Instagram | Facebook |