Album Review
Wastelander’s New Album “What is Left of Me”
From the poetic folk-rock rundown that we encounter in “Get Older” to the more eclectic feel of “Room Full of Elephants,” the pastoral qualities found in “Broken Leg,” and simplistic melodicism of the rather rousing “Never Trust a Man,” there’s scarcely a moment in Wastelander’s new album What is Left of Me where veteran singer/songwriter Cooper Formant doesn’t sound completely at ease in the recording studio. It can be said that he’s turned in some quality work before now, I think that this latest effort might just be the most confident he’s ever sounded. Under the Wastelander moniker, Formant goes out of his way to reject the filler that many in his age group have come to lean on when crafting a new album, instead favoring a concept that gets back to the basics of folk-rock rhythms and haunting new school harmonies while still allowing himself to explore his depth as a songwriter and arranger. The aptly titled What is Left of Me covers a lot of ground both emotionally and artistically, and I think it’s this player’s most intriguing work to date.
The tempo is as expressive as any of the melodies are in “I Just Want to Be Your Friend (featuring Erin Rae),” the mildly restless “Figure it Out,” superbly paced “Caduceus” and the churning yet wistful “Be Where (also with Rae),” and from where I sit, I think it was important to make it as prominent a feature in What is Left of Me as it wound up being. There’s a great warmth to the fretwork we find throughout this tracklist, and honestly, had the rhythm not been given a little extra panache from Formant, I’m not sure that this record would feel as multidimensional and versatile as it does in this particular instance. Formant’s vocal is challenged for authority over the harmony in “Natural Light” and the similarly absorbing “Get it Right,” but even when the backing instrumentation is giving him a serious run for his money, I don’t believe there’s ever a moment in this LP where he isn’t sounding like the true star of the show from top to bottom. What is Left of Me sports a terrific production quality, but it’s clear to me that all twelve of its obstinate songs would likely sound just as charming in a stripped-down arrangement as they do here.
If what I’m hearing in this latest release from Cooper Formant is essentially just a taste of what he’s planning on filling this unfolding chapter in his career with, then I think it would be safe for his fans and critics to assume that he’s far from finished as a singer/songwriter. Formant has magnificent energy and enthusiasm in this album that is reminiscent of some of the best singers to pick up a guitar, and if he’s able to bring the same trademark tonality he’s injected songs like the title cut and “As You See” with here, I believe he’s going to see a lot more success on the mainstream side of the industry than he has in previous outings in bands like the Fluids. He’s not necessarily breaking any rules in What is Left of Me, but he’s signifying some outstanding consistency as an artist.
Christian Gardenhire
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“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.
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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 |
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