

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
Album Review
INTERCONTINEN7AL unveils a sonic revolutionary masterpiece in its debut EP, “World Over”

INTERCONTINEN7AL, a pioneering musical ensemble based in Castle Rock, Colorado, has set a new standard for global music collaboration with the release of their debut EP, “World Over.” This five-track recording represents a sophisticated and ambitious artistic endeavor, featuring contributions from 21 musicians across all seven continents, including Antarctica. The EP creates a cohesive and innovative musical experience that transcends traditional boundaries. Drawing inspiration from the legacies of renowned groups such as Pearl Jam and The Beatles, the band skillfully interweaves a rich array of genres, encompassing progressive rock, pop, Latin, jazz, and bossa nova.
In addition to its musical ingenuity, “World Over” exemplifies the capacity to redefine musical connectivity through its deliberate and ambitious approach to collaborative artistry, thus challenging established paradigms in the history of music. Over a four-year production period, “World Over” has emerged as a considerable case study in musical evolution, representing an unparalleled instance of creative expression that bridges historical and contemporary innovations while acting as a uniquely intimate and universally resonant form of communication.
The EP opens with “Puerto Aisen,” an engaging fusion of classic pop-inspired harmonic tones and euphoric melodies that encapsulate the thrill of exploration. The subsequent track, “Night Shift,” is a shimmering and soulful anthem featuring an ethereal guitar introduction recorded in Antarctica, authentically reflecting the band’s groundbreaking ethos. This song’s therapeutic warmth and rich emotional spectrum exemplify the band’s skill in transforming unique narratives into universal connections.
Midway through the EP, “Butterflies“ emerges with a jazz-infused elegance, providing a heartfelt exploration of introspective sonic vulnerability. The fourth track, “The Chamber,” employs a modern pop sensibility characterized by rhythmic piano chords and dynamic elements that invite listeners into an auditory realm of emotional reflection. The EP culminates with “Manor Hill,“ a hauntingly beautiful finale imbued with jazz rhythms and poetic lyricism. This concluding track leaves a lasting impression through its intricate storytelling and shimmering instrumentation, creating melodic beats that resonate long after the music has ended.
“World Over” represents an immersive auditory experience that reflects the band’s versatility and unwavering dedication to authentic musical expression. Each track exhibits lush arrangements, evocative vocal harmonies, and meticulous production, crafting a holistic narrative that appeals to listeners on profoundly personal and global levels.
As INTERCONTINEN7AL continues to evolve, “World Over” establishes itself as a groundbreaking work within the literature of artistic collaboration, integrating emotional depth and progressive musical techniques. This debut EP constitutes essential listening for individuals who value music that challenges conventional norms and fosters genuine connectivity through sound. “World Over” promises to enrich and influence the musical landscape for enthusiasts worldwide, significantly impacting playlists and listeners’ hearts.
For more information about INTERCONTINEN7AL, please visit [website].
CLICK HERE TO STREAM INTERCONTINEN7AL’s EP “World Over“ on Spotify.
CONNECT WITH INTERCONTINEN7AL | Instagram | Twitter |
Album Review
Couldn’t Be Happiers unleashes a harmonious ode to modern existence with its EP “Couple(t)s Side A”

Get ready to be enchanted as North Carolina’s folk-rock duo Couldn’t Be Happiers invites listeners into their universally resonant anthems by releasing their eagerly awaited EP masterpiece, “Couple(t)s Side A.” This ambitious and heartfelt six-track collection brimm with introspection, poetic storytelling, and bold sonic exploration. The timeless melodies EP showcases the duo’s signature blend of heart-on-sleeve authenticity and genre-defying artistry.
More than a clever title, “Couple(t)s Side A” celebrates Jodi Hildebran Lee (playing drums, vocals, harmonica) and Jordan Crosby Lee (guitar, vocals) both as a married couple and as fervent admirers of poetic couplets. Produced in collaboration with Doug Davis of Flytrap Music Production, the EP is a testament to the duo’s harmonious synergy that defines their partnership in music and life. Organized thematically into categories of romantic compositions, protest anthems, and folk narrative ballads, the EP interweaves a complex tapestry of emotion, resulting in a work that is both diverse and cohesive.
The EP evocatively begins with “Come Back Tomorrow,” a euphoric folk-rock brilliance brimming with optimism and hope. With assertive harmonies and striking lead vocals, the track embodies a poignant reflection on the resilience of love and community amidst the uncertainties of modern life. The title track, “When I Die,” follows with a soulful warmth that lays bare life’s imperfections through melancholic yet therapeutic tones.
Each subsequent track deepens the EP’s emotional and thematic complexity. “Plastic Bag Odyssey (I’ll Never Die)” delivers a skillfully crafted critique against societal ills, while “Tear It Down” electrifies with timeless folk-infused grooves and emotive instrumentation. The haunting “Devil’s Tramping Ground” pairs dynamic beats with a dreamlike atmosphere, exploring the euphoria of discovery. Closing the EP, “Pretty Polly” leaves an indelible mark with its hauntingly introspective folk narrative, with trembling vibrato and seamless narrative flow.
With robust instrumentation including sousaphone, melodica, accordion, and musical saw, “Couple(t)s Side A” captures the essence of the duo’s dynamic live performances while pushing the boundaries of their artistry. It’s a sonic odyssey that invites listeners into the intimate, heartfelt world of Couldn’t Be Happiers, blending classic folk vibes with modern, introspective charm.
This EP marks a significant milestone in the duo’s growing discography, highlighting their unique approach to songwriting and storytelling. As Couldn’t Be Happiers continues to evolve and innovate, “Couple(t)s Side A” firmly solidifies its place as an exciting rising voice in the folk-rock scene.
For more information about Couldn’t Be Happiers, please visit [website].
CLICK HERE TO STREAM Couldn’t Be Happiers’ EP “Couple(t)s Side A“ on Spotify.
CONNECT WITH Couldn’t Be Happiers | Instagram | Facebook |
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