Album Review
Veteran Singer Songwriter James Mastro Releases Album for the Ages, “Dawn of a New Error”
James Mastro is a veteran songwriter and guitarist with an impressive career spanning several decades. He made a name for himself as a teenager in the iconic CBGB scene as part of The Richard Lloyd Group. As a member of The Bongos, Mastro achieved mainstream success with the release of three acclaimed albums. He went on to front Americana band The Health & Happiness Show, releasing three highly praised albums. Mastro has opened for a diverse range of artists including Wilco, Johnny Cash, and Barenaked Ladies. He has also collaborated with renowned musicians such as Patti Smith and John Cale. Additionally, Mastro has been a longtime member of Ian Hunter’s band, playing guitar on Hunter’s last seven albums. With an impressive list of credits, including production work for artists like Steve Wynn and Jill Sobule, Mastro is a highly sought-after musician in the industry. His latest project, the upcoming album Dawn of a New Error, is set to be released on February 21, 2024 on MPress Records.
Produced by Tony Shanahan, bassist and co-producer for Patti Smith, Dawn of a New Error is a masterful showcase of Mastro’s musicianship. From the soaring guitar riffs to the clever lyrics, each of the 11 tracks on the album is a testament to his artistic vision and musical prowess.
The album kicks off with the energetic and infectious “Right Words, Wrong Song,” featuring guest vocals from the legendary Ian Hunter. With its driving guitar riffs and catchy chorus, it’s a perfect introduction to Mastro’s musical world. The hopeful “The Face of the Sun” and the fast-paced “Three Words” continue the trend of earworm-worthy hooks and powerful vocals.
But it’s not all about the rock and roll on this album. Mastro shows his range with the introspective “My god,” a song about belief in oneself and others. It’s a beautiful track that sets the tone for the rest of the album with its poignant lyrics and engaging melody.
“River Runs Forever” takes listeners on a journey through lost loves and the end of days. The mandolin-driven “Everywhere” conjures up images of old photographs, while the gospel-tinged “Someday Someone Will Turn Your Head Around” is a message of perseverance and hope.
One of the highlights of the album is “Here Beside Me,” a hauntingly beautiful track that showcases Mastro’s vocals and songwriting skills. The dreamy “Never Die” features the high backing vocals of legendary drummer Steve Goulding and a more than memorable groove that lets Mastro’s guitar skills shine.
The album features many high notes, including “Trouble,” a lively track that features guest vocals from The Jersey City New Heights Gospel Group, adding a touch of soul and gospel to the mix. Overall, Dawn of a New Error is a rich and diverse album that showcases Mastro’s talents as a musician, songwriter, and producer.
What sets Mastro apart from other musicians is his ability to seamlessly blend genres, from Americana to Art Rock to Gospel. His diverse influences are evident throughout the album, creating a unique and engaging sound that will appeal to a wide range of music lovers.
The production of the album is top-notch, with a team of talented musicians and engineers bringing Mastro’s songs to life. Tony Shanahan’s contributions as producer, bassist, and backing vocalist add an extra layer of depth to the album, while the guest appearances from Ian Hunter and The Jersey City New Heights Gospel Group add even more dimension to the tracks.
In a world where many artists are chasing trends and trying to fit into a specific genre, James Mastro stands out as a true original. Dawn of a New Error is a testament to his talent and his ability to create music that is both timeless and timely. With this album, Mastro steps out of the shadows and into the spotlight, proving that he is a force to be reckoned with in the music world. Fans of Elvis Costello, Tom Petty, and Wilco will not want to miss this album. Dawn of a New Error is a must-listen for any music lover.
–Felix Crosse
Album Pre-save/order link: https://mpress.lnk.to/DawnOfANewError
Album Review
Saint Escape sets the past on fire with latest release “Look At What You Made”
Saint Escape isn’t here to reconcile the past, they’re here to torch it. Now, with the release of their new single “Look At What You Made,” Saint Escape have unleashed a punishing, nu-metal-infused anthem that just sounds like an equal measure of reckoning and release. It is loud, confrontational, and honest, exactly what a purging rock record should be.
Produced and mixed by Joe Rickard, Starset, Three Days Grace, Breaking Benjamin, the track delivers a tight punch that fuses wild aggression and arena-sized power. “Look At What You Made” doesn’t stop. Rickard’s slick production redoubles Saint Escape’s raw edge rather than sanding it down, and the song takes on a huge, modern rock sound without losing its bite.
“Look At What You Made” is a primal response to toxic authority figures, the kind who kept order through fear, misinformation, and control, and knew where best to leave emotional scars. On “Look At What You Made,” the anger boiling beneath the surface becomes something purposeful, an anthem for anyone who’s been moulded by manipulation and left in its wake. The effect is communal shake-off, a determination not to be shaped by the past.
And lead vocalist Matt Cox provides a threatening, buffed clean vocal performance, of sorts as well, one that’s heavy with anger and determination. There is rage here, but also clarity, a sense that this is less about revenge than about reclaiming autonomy. As Cox puts it, the song is a purge, a reminder that the future belongs to those willing to to take it back. “Look At What You Made” is a testament to strength and newfound independence, it’s further evidence that Saint Escape are bleeding their past into something louder, stranger, and harder to ignore.
Album Review
Big O redefines artistic evolution with “When it’s Not Said, But Done” album
Big O’s “When it’s Not Said, But Done” is a whisper of transformation narrated through rhythm, texture, and space. Across its fifteen tracks, spanning just under forty-seven minutes, Big O sacrifices flash for feeling and ego for essence.
The production feels like an artist who has finally quit chasing something external and is instead listening inward. The flow of the album is methodical but organic, with each track leading into the other as if they were diary entries. On “Free Spirit,” Big O creates a soundscape that embodies freedom in action, with rhythms that propel you forward. It’s one of those rare songs that can be at once contemplative and propulsive, with a slow revelation. And also, “New Found Joy” is an anthem for rebirth.
Big O’s production vision here is sweeping and cinematic, but also intimate. The presence of live musicians gives an organic texture. Jeronimo G’s xylophone on track nine tolls like an intimate conversation, while IB Delight’s saxophone on track ten blows satisfying warmth and longing into the mix. These collaborative moments are the crucial parts of Big O’s unfolding language.
Every choice, from the minimal artwork by Andriyan Robby to the in-house mixing and mastering by Big O himself, is consistent with the album’s spirit of transformational thought. In “When it’s Not Said, But Done,” Big O has created a statement on silent courage. It is an album for those who know that, in reality, real change does not need to be shouted from the mountaintops, but only heard, felt, and lived.
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