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

Jangus Kangus shatters melodic boundaries with her debut album “Fortune Cookie”

Jangus Kangus, the intriguing musical force helmed by Jasmine Sankaran, has just cracked open her most audacious project to date, “Fortune Cookie,” an album that intricately weaves genre fluidity and emotional resonances. This collection of eight tracks serves as both a sonic manifesto and a significant milestone in contemporary indie-pop, characterized by unvarnished lyricism and engaging, jangly hooks.

The album commences with “You Only Love Me When,” a seemingly serene acoustic-pop track that establishes the thematic groundwork for a narrative exploration of desires, internal conflicts, and acts of defiance. It poignantly laments love that manifests only through revealed strength, portraying love as a timeless entity, even when entangled with the vices of broken individuals intoxicated by addictive substances. After this introduction, Kangus transitions into the introspective “Double Lives,” a shimmering soul-infused piece that methodically dissects the paradoxes inherent in love and the subdued anguish that frequently accompanies the double lives.

Progressing to “No Future In This,” the album’s melancholic yet assertive dive into romantic realism presents bold lyrical insights. This sentiment escalates into the heartbreak elegy “Our Love Is Dead,” here, rhythmic piano chords evoke a mournful grace that encapsulates the heaviness of lost love, distrust, and betrayal. The track underscores the necessity of relinquishing specific attachments to pivot away from unsafe circumstances, echoing the fortune teller’s chilling proclamation: our love is, indeed, dead. Then comes the wild card “Janakita Kirakita,” an intoxicating burst of sonic dynamism and gleeful experimental composition that injects curiosity and electric charm into the auditory tapestry, boldly challenging convention with every note.

Listeners will find “Goldilocks” particularly captivating; this genre-defying number draws from stylistic influences reminiscent of St. Vincent and The Smiths, skillfully merging nostalgia with contemporary innovation. It conveys an urgent yearning to reclaim lost love during periods of solitude. The penultimate track, “Honeymooners in Venice,” narrates a cinematic experience rich in post-modern nuances. Finally, the concluding piece, “High Rise,” offers a deep plunge into Sankaran’s introspections, leaving a reverberating and haunting impact.

Meticulously crafted with the dexterity of a seasoned lyricist and the fervor of a punk priestess, “Fortune Cookie” commands attention as a contemporary coming-of-age narrative rich with lo-fi grit and artistic ambition, all presented through a unique lens.

Featuring an outstanding lineup that highlights the intricate interplay of Steph Anderson on keys and backing vocals, Antonio White on lead guitar, Dan Perdomo on drums, and Ryan Kellis on bass, Jangus Kangus delivers a performance that harmonizes technical proficiency with emotional transcendence. The music constitutes a distinctive addition to diverse playlists, serving as an ideal backdrop for a heartbreak soundtrack or late-night contemplation, thereby ensuring its relevance and recurrence among discerning audiences.

CLICK HERE TO STREAM Jangus Kangus’s Album “Fortune Cookie“ on Spotify.
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Album Review

Eric Schroeder drops a riveting dare into his emotionally charged new album “Cat’s Game”

Eric Schroeder, a distinguished innovator within the indie rock-pop sphere, born and raised in San Diego, has unveiled his ambitious latest album, “Cat’s Game,” a masterful project that deftly explores intricate emotional landscapes. Comprising ten meticulously woven tracks, traverse through landscapes of confessional intimacy, introspection, and sonic defiance that revitalizes classic rock ‘n’ roll aesthetics. Recorded at Mant Sounds under the expert production of Rob Schnapf and engineered by Matt Scheussler, this striking new album premieres today and signifies a potential shift in the contemporary rock narrative.

As a pivotal player within San Diego’s eclectic music scene, Eric Schroeder adeptly navigates the dynamics of chaos and clarity, and “Cat’s Game” showcases his most sophisticated orchestration to date. Collaborating with a tight-knit ensemble featuring Matt Scheussler (bass), Jake Richter (drums), and Aidan Finn (keys), Schroeder breathes life into every lyric, wrapping each composition in swirling authenticity and unfiltered emotional gravity.

Commencing with the soaring rock gem “High And Low,” listeners are immediately plunged into the heart of Eric’s introspective lyricism, capturing a spectrum of euphoria tinged with unintentionality, where moments of sorrow transmute into uplifting sentiments. The follow-up single “Emily” floats a unique form of bittersweet poetry, allowing audiences to resonate with a profound longing through emotive acoustics and nostalgic melodies. Furthermore, the slow-burning “Don’t Wanna Let You Go” effectively merges vulnerability with assertive musical grit in one unforgettable, gut-punching anthem.

Tracks like “As I Sit Here In My Car” and “I’ve Got Problems” demonstrate Schroeder’s exceptional proficiency in turning everyday occurrences into deeply relatable stories, marrying lyrical poetry with infectious grooves and cinematic soundscapes. Meanwhile, “Leave Me Sleeping” arises as a notable highlight, functioning as a haunting lullaby drenched in longing and lucid dreamlike clarity, further underscoring his capacity to encapsulate solitude in a captivating sonic framework.

Mid-album highlights, such as “My Big Brother,” “Slipstream,” and “Summer In The Psych Ward,” explores the chaotic interior of memory and identity, enhancing the psychological dimensions of Schroeder’s artistry. Finally, the closing track, “The Road To Recovery,” presents an achingly beautiful exhale, a tender, tremulous resolution to a defiant, emotionally rich album.

“Cat’s Game” is a crucial addition to any rock enthusiast playlist, reminding us of the enduring significance of music in contemporary culture. The album is an immersive manifesto of emotional honesty, dynamic storytelling, and fearless creativity. Eric Schroeder doesn’t just participate in this artistic endeavor; he is rewriting the rules with his enchanting vocal delivery. His rare gift for transmuting vulnerability into visceral musical encounters cements his reputation as a mesmerizing songwriter, a burgeoning force in today’s evolving music landscape, poised to make a significant impact.

For more information about Eric Schroeder, please visit [website].
CLICK HERE TO STREAM Eric Schroeder’s Album “Cat’s Game“ on Spotify.
CONNECT WITH Eric Schroeder | Instagram |