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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.

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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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Album Review

Gitkin unveils an afro-latin blues with sonic psychedelia in his recent Album “Golden Age”

Gitkin

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.

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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.

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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.

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For more information about Gitkin, please visit [website].
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Album Review

Never Heavy Releases “Never Heavy Is One Full of Light”

Steve Alex’s new album is Never Heavy Is One Full of Light. The former frontman of the nineties alt-rock band Four Star Riot has forgone excess production value for a simpler, much more acoustic touch. The album skews the distinctly modern with the excess throwback, something decidedly in for the last couple of years because of romanticization of the past.

FACEBOOK: https://www.facebook.com/neverheavy

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It could be the sixties, with the sexual revolution fashion and counter-cultural zeist, the seventies being the era of the singer-songwriter juggernauts, when the maestro of the excess confessional was sexiest person of the year. “Never Heavy Is One Full of Light” skews the latter excessively, literally starting with the title, down to the lyrics Alex has written for each track. The album also reflects the era because of the fact each song is a story, all thematically linked, with beginnings middles and ends. The other thing very much a welcome throwback is how personal Alex makes each song, feeling like a vulnerable creative expression.

What makes the album as a whole compete aside from nostalgia is the assuredness with which Alex performs each track. It’s unusual to feel like an artist has their own material on lock, there naturally being hits and misses throughout the course of their career, even their own, individual releases. I’m pleased to say Mr. Alex never falls into any traps on that front. The album is insanely consistent, maddeningly so. I would have liked to see a few cracks here and there, but all in all it’s a solid and entirely immersive achievement.

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There’s a visceral quality to each of the tracks, something deeply gripping not just about the music itself but the stories it tells. Storytelling is the lost art of songwriting, much like poetry it’s about speaking to the heart in addition to the mind, conjuring immersive emotive experiences not easily dismissible even when it ends. A lot of this in Alex’s case likely points back to his experiences as rock frontman for Four Star Riot. It’s clear he’s carried this over to “Never Heavy Is One Full of Light,” once stating in an article with V13 Media: “The stage is a great leveler. It is the true yard-stick by which an artist can be measured.”

In the same article, Alex was quoted as saying, “The only reason to be in a rock band is to play live, period…The energy that is given during the show between the band and the audience is the most exhilarating thing I know. It’s fun as well as emotional, but I guess the best part is the danger. My Pseudo-dance and swagger has in the past, produced sprained ankles and bloody puncture wounds. Y’know, the possibility that at any moment the whole thing can fall apart, but that is the beauty of live performances, it’s here, then it’s gone and on to the next song.”

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APPLE MUSIC: https://music.apple.com/us/artist/never-heavy/1492197159

He carries this mentality to the soft rock nature of his independent release. In many ways, the aforementioned sentiments have never proven more relevant. People crave connectivity in this era, with polls regularly pointing out depression, isolation, and a lack of social cohesion are at record highs. It’s nice to see someone turn back the hands of time on that front, if just a little bit, reminding us about everything that works outside of the corporate-controlled, digitally enhanced world of the top forty still has it.

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Loren Sperry

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