Gunslinger - Breaking Through

Gunslinger - Breaking Through
2013, Gunslinger

The post-genre movement in music has seen a lot of strange bedfellows, but there has always been something of an unwritten rule:  When it comes to guitar rock and dance music, never the twain shall meet.  Until now, that is.

Gunslinger has put down that last barrier like a rabid cur.  Big, powerful guitar sounds coincide with heavy doses of electronica and dance beats on Gunslinger’s compelling album, Breaking Through.  Having opened for acts such as Tiesto, Paul Van Dyk and Pendulum, Gunslinger is no stranger to large clouds, but bids for an even larger stage with an album that is messy, complicated, and occasionally brilliant.

Gunslinger kicks things off with the title track, which opens on a moody, post-apocalyptic sonic landscape before moving into a rhythmic dance/rock arrangement. This is a catchy and enigmatic number built on a disturbingly out of sync melodic/harmonic structure in the lead and backing vocals. The disco beat keeps it all light and danceable, however. Just watch out for the zombies. "Surrender" has an infectious, new wave feel that will get your toes tapping. The lack of enunciation in the vocal line makes it hard to follow the song, but the music will get stuck in your head. "Busy Pop" is set against a schizophonic rock arrangement that mixes instrumentation and electronic effects to create an unsettled yet decidedly pop flavored sound.

"Next In Line" finds Gunslinger writing in a balladeer roc style, but without the force of great storytelling or clearly defined musical movements. There is a certain grace to their atypical musical style, and this comes out at times during the song, but there are enough messy transitions to make this an uneven experience. "At The Top" is the song where Gunslinger puts it all together, with a coherent mid-tempo rocker with solid harmonic structure and a minimalist compositional style. Gunslinger is always going to be something of an acquired taste, but the taste is much easier to acquire here. They keep that momentum while moving to a more dance oriented arrangement for "Looking At You". The vocals start way too low for the vocalist’s or the listener’s comfort, but there is no doubt that this tune will get people out of their seats.

"Eternal" is a dark, minor key anthem full of electronics and attitude. This isn't so much a love song as an emotional fetish set to music, but the sound is absolutely compelling. Gunslinger blows out the lights with "Open Flame", an expansive and experimental number that includes many intriguing musical twists and turns. Gunslinger's chorus is catchy, driven by an irresistible pop chorus, but the band stumbles into this chorus rather than building to it with each verse. The guitar work here is impressive, however.

Gunslinger is a complex and meaty musical treat.  There are moments here that simply don’t work, yet others that work so effortlessly and brilliantly that you’ll be clamoring for more.  The marriage of big rock and dance has some wobbly legs, but Vidal and Anthem appear intent on making it work.  If Breaking Through is any indication, they are on to something.

Rating: 3.5 Stars (Out of 5)

Learn more at www.thelastgunslinger.com. 

Forrest Day - Forrest Day

Forrest Day - Forrest Day
2011, Ninth Street Opus

Tragedy and comedy are the two extremes borne of the chaos of life. Tragedy is often accompanied by mirth, and comedy often hides sadness at its core. The juxtaposition of these two extremes offers insight into the madness that roils all of us, and the beginning of understanding. If one were to write an academic paper on Forrest Day, this might be the opening paragraph, for Day seems to understand the interoperability of tragedy, comedy and chaos better than most. His debut album, with his like-named five piece band, is a treatise on the hardships and hard-won victories of life, seen through the wisdom of knowing sadness and humor, and wrapped in an innovative blend of hip-hop, rock, jazz and electronic musical sounds.

Day writes, raps and sings without filters, discussing his own struggles with mental illness and coping with day-to-day life in song. The best of his material sounds like an ingenious blend of Was (Not Was), Beck, They Might Be Giants and Fatboy Slim, alternating between talk-sing and full-singing styles in a voice that's pleasantly imperfect. Day exposes the humor in awkward moments, like on the opening track "Sleepwalk". This catchy, talk/sing number is born of rhythmic madness and a varied arrangement with a Middle Eastern flavor. It's very rare to find anything in pop music that even approaches unique, yet Forrest Day just might have a claim here. "Hyperactive" is catchy and incessant, with a stream-of-conscious lyrical makeup that keeps pounding away at your brain with ideas. The allegory of both message and sound intrigues. "River Rat" is incredibly infectious. If there's a bonafide pop and dance hit on the album, this is it. Day turns wryly observational on "Baby Shoe", before launching into the declarative anthem "Everybody’s F###ing With My Mind". This high energy romp simply adds to the fire, and is itself another potential hit.

Day turns more mellow as the album progresses, capturing a distinctive groove with "Without A Trace" that's part mystery show theme song and part Spanish Jazz/Hip-Hop hybrid. Perhaps not as vibrant or mind-bending as some of his other material, Day manages to such in listeners here with a quietly compelling number that slowly and stealthily grabs more and more of your attention. "The Grease" sounds like The B-52's playing a James Bond theme with a rap/spoken-word vocal based in madness. The disjointed and disturbed lyrics are compelling, beckoning you on if simply to see where Day will end up. "A$$holes" has a reggae flavor and an entertaining take on unemployment. Day goes all-vocal on "Headfirst", a self-dissection on motivation and creation. The mellow vibe here offsets a nervous energy that runs through the arrangement, creating an interesting bit of cognitive conflict in the process. Forrest Day concludes with "It's Just Me", sounding like a hybrid of classic 1950's pop and hip-hop, dressed up with mariachi horns. The laid back vibe here is appealing, and the lyrical resolution of the tragic comedy is perfectly crafted.

Forrest Day is a revelatory introduction to both the man and the band. The intellect, energy, inspiration and pure musical genius of the album is hard to define, and impossible to ignore. Forrest Day is one of the most innovative albums to be released thus far in 2011, a year to be remembered as the the one in which the pop music world finally saw the Forrest for the trees.

Rating: 4.5 Stars (Out of 5)

Learn more about Forrest Day at www.forrestday.com or www.myspace.com/forrestday.  Forrest Day drops on October 11, 2011. 

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Review: Eat Sugar - It's Not Our Responsibility

Eat Sugar - It's Not Our Responsibility
2009, Eat Sugar

Cincinatti, Ohio's Eat Sugar comes back with their frenetic mix of Punk and Electronic Rock for their Sophomore EP, It's Not Our Responsibility, available September 1, 2009. The seven song EP was recorded and produced by Enon's John Schmersal, and captures the rapidly evolving sound of a band still finding its direction. The title was taken from the utterance of a promoter on a 2008 tour of the UK, and reflects the somewhat scattershot yet charming collection of tunes within.

It's Not Our Responsibility opens with Seeing Red, a Synth-heavy post-punk/New Wave hybrid that's highly danceable in spite of turning out to be something of a sonic mess. Distortions Of The Heart drags Psychedelia kicking and screaming into the electronic age in a musical rant intertwining multiple effects into what might be loosely considered a melody. Pop Singer is something of a musical still life, a reflection that's more about sound than structured progression. Suddenly Eat Sugar takes a turn; having shown off their more experimental and progressive musical ideas, the band heads back for the Pop side of the spectrum with It Will All End In Tears. I didn't say it was radio Pop, mind you; more like Fatboy Slim ala Tim Burton, but the creepy arrangement makes this an interesting listen. So Into You carries decent pop intent and construction and might just have some commercial punch when all is said and done. The EP closes out with Falling Out. Falling Out has a Noise aesthetic wrapped up in a 1980's New Wave Sound. It's a daring combination that works.

Even at a relatively short seven songs, It's Not Our Responsibility shows two clear and distinct sides of the band. The first four tracks reflect an experimental outfit based heavily in electronic creation that is probably fun for those involved and for the small demographic that get hopped up over Noise. The last three tracks reflect more of an "out of left field" pop aesthetic wrapped up in electronic and electric instrumentation that's just normal enough to get considered in the popular realm and just unusual enough to get noticed. I suspect Eat Sugar will continue to develop their sound, which might just be one of the most original ones I've come across in the past year and a half. I can't say I liked everything presented on It's Not Our Responsibility, but I was challenged by what I didn't like. The lyrical content wasn't anything spectacular, but the music is interesting.

Rating: 3.5 Stars (Out of 5)

You can learn more about Eat Sugar at http://www.eatsugarmusic.com/ or www.myspace.com/eatsugarmusic. It’s Not Out Responsibility will go on sale September 1, 2009. Except availability through Amazon.com, CD Baby and iTunes.

Review: Modern Science - Modern Science

Modern Science - Modern Science
2009, MIMORTL Records

Las Vegas-based duo Modern Science has forsaken their generation's obsessively melancholic musical angst in favor of old-fashioned fun-time Rock N Roll with a modern edge. Songwriter/guitarist/lead singer Kane Churko met bassist/backing vocalist Mike McHugh through MySpace in the midst of a troubled solo project entitled Mr. Kane. Finding an instant bond, the duo was born and took the moniker Modern Science as their own. Add in production from Juno Award winning producer, and father of Kane, Kevin Churko (Ozzy Osbourne, Shania Twain, Phil Collins), and the end result is an energetic and infectious collection of ten songs entitled Modern Science.

Modern Science is great for the first seven songs. There's an element of Devo-esque geek chic that runs deep below the surface of wonderfully constructed pop gems. Look Where You're Walkin' is funky and infectious bit of modern guitar Pop you won't be able to get out of your head. Every Little Thing has some serious hooks and is very danceable. I'm The One (Pick Me) is the highlight of the album. This song could be a top ten single on the Pop charts with the right support. It's that rare rock/pop song that would be as accessible to the club and dance scenes as it would be to mainstream and AAA radio. Release this in May and you have a potential "summer song" that will be around for years. Baby Please has a bit of a classic Motown sound to it and is highly entertaining and danceable. Modern Science changes the vibe a bit on the virulently electro-rock Whatever You Say, and then again as they bring the funk on U Funk Me Up. Even the modern rock meets Devo sound of Desperately fits perfectly with the dynamic Modern Science has established on their self-titled debut.

By the time we get to the last three songs it seems like Modern Science has exhausted their A material and picked out a few songs to fill out the album. While good, these last three just don't have the energy or urgency that characterizes Modern Science up until this point. While this may have been a conscious choice, and the songs themselves aren't bad, they are a bit of a come down from the first seven.

Modern Science has a great, catchy pop sound that is bound to grab some attention. If another golden age of Pop/Rock music is about to start then don't be surprised if Modern Science is one of the bands at the forefront. The first seven songs here are Desert Island material; the last three worthy listens. All in all, Modern Science is an outstanding effort. Make sure these guys are on your "got to check them out" list.

Rating: 4.5 Stars (Out of 5)

You can learn more about Modern Science at http://www.themodernscience.com/. You can purchase a copy of Modern Science at www.cdbaby.com/cd/modernscience.

Review: Desmond Drive - I Called I

Desmond Drive – I Called I
2008, Desmond Drive
Desmond Drive is an Atlanta band with a big sound. Practicing the fine art of melody-driven rock in the vein of The Beatles or XTC, Desmond Drive literally turns heads when they start to play. Vocalist/keyboardist Bill Shaouy was raised on great melodic pop and managed to internalize that sensibility. It comes through in droves on Desmond Drive’s debut album, I Called I. With the help of Chuck Kelly (drums, percussion); Steve Platnick (Bass), and Rob Gal (guitarist and Producer), Shaouy offers up some of the sweetest pop confections you’re likely to hear.

Desmond Drive travels the highways and byways of big melodies and strong pop themes. The fact that these are applied to a distinct Americana style makes for a highly listenable and universal album that eludes distinct classification while constantly breaking new ground. I Called I opens with Two-Headed Beast, classic Americana in the image of Canadian trailblazers Blue Rodeo. Vocalist Bill Shaouy has a heavenly voice that's as smooth as anything and twice as pleasant. Desmond Drive nearly reinvents themselves on Poker Face, with a strong Roy Orbison thing going on. This is pure 1960's pop music; a love song with a slight country twang and big harmonies. Desmond Drive changes gears again on Isn't It A Wonder, a Beatles-esque pop ditty that's bizarrely beautiful in the most esoteric sense.

If you've ever spent much time on the folk scene in Upstate New York you may have come across a band called The Foothills Trio. I mention them because Desmond Drive's next song, Goodbye, sounds like The Foothills Trio sat down to jam with the Traveling Wilburies. The song carries tremendous harmonies and outstanding guitar work. Your Name is a sweet pop song that will popular for mix-tapes but is somewhat complacent, missing some of the energy encountered thus far on I Called I.

Simple Things, however, is probably the highlight of the album. Shaouy sounds inspired on this gem, which is as varied and complex as pop music gets. Simple Things has an almost Shakespearean quality about it; it's snappy with great hooks and a tremendous sense of movement. Leader finds Desmond Drive in the midst of 180-degree turn. It's an introspective and almost brutally honest self-assessment. It's a beautiful song with something of a John Lennon feel to it. My Will is the most straight forward pop/rock song on the album. It stands out the more so for seeming slightly out of place here. The song runs like a nervous child through the verse but finds purpose in the well-crafted and melodic chorus.

Happy Tollbooth Guy sounds like something that might show up in an Off-Broadway show. It's a bit campy and upbeat and showcases a vaguely theatrical style that runs just below the surface of much of Desmond Drive's music. Stylistically it sounds like Billy Joel and William Finn sat down at the same piano together. My Tribe is a great upbeat pop tune that could cross over as a dance hit, ala Fatboy Slim. My Tribe is the track with the greatest commercial potential, and honestly could be a dance hit with a remix by the right DJ. I Called I closes on a theatrical note, with the spiritually heavy One Night. Desmond Drive really gets down to their roots on these dramatic piano-driven tunes.

Desmond Drive is all over the musical map on I Called I. While this is not a key to commercial success in this day and age, it has always been a formula for classic, memorable, sometimes even iconic albums. I don't know if I'm willing to quite call I Called I iconic, but it's in the ballpark. The melodic sense here is stunning, and the composition style is unique and varied enough to make a distinct statement. Desmond Drive is lyrically competent and unafraid to take musical chances. Fans of folks like The Beatles, The Moody Blues and Dennis DeYoung-era Styx will love this. Fans of melodic pop rock and musicians in general will also find I Called I very gratifying. I Called I is a Wildy's World Certified Desert Island Disc, and definitely something you want on your to-do list.

Rating: 5 Stars (Out of 5)

You can learn more about Desmond Drive at http://www.desmonddrive.com/. You can purchase a copy of I Called I at www.cdbaby.com/cd/desmonddrive.