Category: New Album Review

Favorite Songs: Catalog, Dialogue, A2, Xvanos

FCC Clean

As hilarious as it sounds, Froth was conceived from an ironic joke. An idea from two El Segundo, California friends Joo Joo Ashworth and Jeff Fribourg, who would release publicity photos and stories from the road into the ether without ever performing or recording anything tangible. An LP was in the works that would feature 20 minutes of nothing at all…silence, which would be pressed on vinyl with the help of a friend, curious to see how this mockery would pan out. Though there was the concept of a real band, in actuality there wasn’t one. At least not one that transcended into reality from the humorous minds of two buddies.

Fate seemed to intervene in 2012 when Fribourg, a music enthusiast, put together a small festival and one of the acts would have to cancel. Looking to fix the problem, Fribourg and Ashworth stepped in to give the newly dubbed Froth the chance to see some action. Assisted by bassist Jeremy Katz, who had only just bought a bass the previous week, and drummer Cameron Allen, Froth put on a disastrous performance but it was the start of something real and authentic.

Fribourg, who was the initial guitarist, had been replaced before Froth recorded its second record. Then that replacement was replaced by Nick Ventura in 2015 and the band then toured extensively across the US and the UK.

Now with their fourth release and second full-length, Froth’s Duress continues the quest of perfecting a sound that is not quite psychedelic and escapes just outside the realm of garage-rock. Though they have been said to be going more to the route of dream pop, I’m not really so sure. There is a lot to unpack with this band as there are many layers to comprehending the music, though it is still packaged in simplistic containment. 

The opening track Laurel is a great introduction to the sound and feel of the album. Two guitars work in unison to create a montage of the satisfying arrangement, with weird stompbox effects and bends that kill. 

Detail is abundant on the record, with every space and every second accounted for. There are some cool intros by varying electronic devices, whether that be by an omnichord or the keys, which are also used as cool segways into other parts of the songs. 

Dialogue is an intriguing one. It has a more traditional rock vibe, with its elegant cleans and sharp dirty riffs that cut through with single notes and more killer bends. The main melody is echoed by the keys which eventually paves the way to an imaginative bridge that just plain jams with two-guitar harmonies that bring the song to an abrupt stop. 

One thing that really got me into this band was checking out some of their performances on YouTube. Seeing them do their thing in a live setting makes you appreciate them so much more. Rather than having to soak in the music to get past the slight weirdness of it, seeing them play together instantly immerses you in a fascinating experience. These dudes just rock out. That’s it, nothing more and nothing less. Be sure to add this one to your library and give it a listen. 

– Justin Capoccia

Favorite Songs: I’m Not Your Victim

FCC Violations: It Was To Be You, I Am Goddess

UGHHHH! I’m sorry I just can’t…but I guess I have to. Disclaimer: I know not much of electronic and I feel that my position would not give you a fair and balanced review of this album. With that being said, I’m going to give you one anyway. 

LAL is a Toronto based electronic duo that has been said by cultural intermediaries to be artists that have been movers of the underground Toronto scene. The tandem has numerous releases under their belt with Dark Beings being their sixth full-length album. From what I gather, this album is one that features numerous other musicians within their community including musicians, producers, and even a design team. Pretty cool in its own right, it still isn’t enough for me to like it but I will always give credit to where credit is due. They’ve managed to stay relevant for almost two decades and that deserves praise no matter my opinion of the art itself.

Getting back to the album, I can dig the harmonizing vocals with Rosina Kazi taking the highs and Nicholas “Murr” Murray taking the lows. Other than that, I’m grasping at straws here. Have you ever seen that ‘99 teen movie She’s All That? There’s a part where Freddie Prinze Jr tries to get to know Rachel Leigh Cook’s character, aka the nerd and watches her partake in some kind of performance theater where there is a social lesson to be learned, no matter how obscure. Obviously, Prinze Jr. is cringing in his seat but gives it the benefit of the doubt. That’s kind of what this reminds me of. I get that there is a deeper meaning to the music but I can’t get on board. 

I Am Not Your Victim did strike my fancy somewhat. I dug the way the lyrics were put over the music. It has a cool bass line but it’s probably coming from some kind of electronic device that’s not an electric bass. 

I’m having conflicting ideas. LAL has managed to retain a following but I’d also label this music to be within a utilitarian market, meaning it’s in the background to the forefront of something else during a listener’s experience. You know, like if you go to a coffee shop for the purpose of gettin’ that caffeine fix but there’s also a band or solo artist playing that you had no idea would be there but you take it in nonetheless though it is not your focal point. 

So here I am with my scattered but shameless take. Don’t take my word for it though. Check it out if you’re into this type of music. LAL is doing something right. 

– Justin Capoccia

Best Songs: Ghostride, The Letter

FCC Clean

First off, I have to give credit where credit is due. Crumb has had an unbelievable stretch of success, especially since the band has remained unsigned since its inception. While attending Tufts University in Boston, the band came to fruition in 2016. The members were learning various programs of study including computer and cognitive science, psychology, and music. Coming from varying personal musical backgrounds, the group was comprised of musicians who were into jazz, soul, and rock. Soon after coming together, Crumb was formed and they worked on songs that lead singer and guitarist Lily Ramani had written. 

In 2016, their first release was a self-titled single which contained three tracks. Their second was an EP titled Locket, which had four songs and was released the next year. Now, almost two years later, the group has released a full-length, double-sided album titled Jinx. It is important for me to inform you that their most popular song has 11 million streams on Spotify and the band’s music has created somewhat of a cult following among listeners who like to partake in getting trippy with hallucinogens. It makes for a surreal and euphoric journey…according to them. I am in no way urging you to take part in that experience!

With all that being said, I was not a fan of this release. Yeah, there are some favorable qualities and segments to some of the songs, but they are few and far between and not enough to pique my interest.

I was first introduced to the group during my DJ days two semesters ago when I played a track from their EP. I wasn’t really into it then but I felt it was a good filler and it sounded like a song that some people would gravitate to. 

To me, Jinx sounds just plain lazy and unorganized. It’s almost as if not a lot of thought went into it but I’m pretty sure that’s the point of it. They try to arrange unconventionally and hats off to that, but the rhythm section sounds like joke riffing – as if the guitarist was fooling around with some funny lick and wanted to show his companions something amusing. 

It’s just an unmemorable piece of work in my not-so-important opinion. Crumb is dead set on taking the listener to a specific place in their consciousness but I’m not liking the destination I find myself in. 

I did like the guitars in Ghostride. The parts were unorthodox but seemed to flow better than the rest of the songs. The chorus was very rich with a multitude of tones containing high, yet subtle vocals. I also took to The Letter. It had a spooky sounding guitar tandem that frolicked about in minor. The bass traced the steps of the guitars eloquently and added a solid backbone to the track. 

Well folks, I hope you don’t find this review too offensive, though this was more of a look into the history of the band rather than a full-on review. After all, this is just MY opinion. I’m sure I would get tarred and feathered among the multitude of fans this band has worked hard to acquire. Though I’m shaming this release, I do urge you to take a listen to it. Objectively speaking, it has potential and could be considered a masterpiece to some since it seems to be out of the ordinary. Any band that self-releases something and has built success deserves a listen.

– Justin Capoccia

Best Tracks: Out To Dry, Addio, Yellow Sunshine, Crimson, Planet Caravan 

FCC Clean

Finally! Something that strives for something different outside the realm of “conventional” Indy. This smooth release from Mexico City Blondes will make you feel like you’re on the beach maxin’ and relaxin’ or in a James Bond film during the opening credits…I say that in a good way. 

Though I’m not quite sure when Mexico City Blondes was formed, it looks to be around 2014 when their first single dropped. The Santa Barbara, California band has been teasing listeners up to this point, releasing four singles and one EP until they dropped Blush this year. The genre is labeled dance/electronica but I’m just not buying that. Yes, there are a few tracks that feature keys primarily but their rhythm section is filled with actual instruments, especially for their live set in which three local Santa Barbara session players fill the void. The drums are amazing as well. It resembles a rock feel, sprinkled with drumline extravaganzas. I don’t know who handled the recordings but I’m sure Scott Pritchet does the tracks justice in a live setting.

Working on their own terms, the band formed when singer Allie Thompson responded to a Craigslist ad by guitarist Greg Doscher. With Thompson being constrained creatively in her last band and with Doscher coming from an old school rock background, the tandem set off to create something different. Apparently, both had similar influences and you can hear the cohesion on their releases.

Out To Dry, Blush’s opening track introduces itself with an intriguing opening that seems to resonate the feel of an early ‘90s hip hop beat. That energy stays consistent but with the emergence of smooth, clean palm-muted guitar lines, along with some fast and spontaneous rim taps from the drummer. 

Some songs feature sweet bass lines and a few funky guitar swells and chords that kind of hide in the background. When some of the instruments are used sparingly, it creates a wonderful dynamic in which everything serves its purpose. Be sure to check out Thick As Thieves and Yellow Sunshine to see these attributes in action. 

Crimson is a dope blend of acoustics, electrics, and keys which progress into a blissful state of ambi”a”nce. If you’re ever feeling melancholy during a rainstorm, be sure to blast this track! Or maybe you’ve got that dopamine kicking and you want to hear it. Well, that’s cool too! 

If you’re looking for something with good beats and flow that is packaged in experimental rock while also employing a euphoric listening experience, out this hitter in your library. Maybe you’ll get lucky and hear some singles during rock hours here at WKNC!

-Justin 

Earlier this week, NC State’s own dropped his EP; Forever in a Day. The album features 7 original songs with 3 local features and in all, proves to be definitely worth the listen. His lyrical style of rap guarantees a smooth listen and his R&B inspired beats give the entire album a soulful vibe.

Les features fellow young local artists like himself including; Jaheal from The Lost Gen, J Free, and Marko Luka, all of which compliment his laid back style and seem to have a fluid relationship with Les’s vocals. 

The track Onyae’s Song features young local female singer, Onyae Tybre, who provides an extremely melodic and harmonious quality not only to the track but to the album as a whole. Her voice illuminates the listener’s ears and partners with the cool flow of Les’s voice to create something like a Dreamville Effect. 

The Ep is even more significant because it features many shoutouts to Raleigh and the local culture, even including a song titled; Hometown. The track illustrates Les’s experience in dealing with a girl from his hometown (Raleigh) while being an upcoming artist and still trying to play a major role in the city. 

In all, Forever in a Day is definitely a local summertime bop. Whether taking a night drive in your car, or watching the sunset with your boo, or simply just vibing, the EP will serenade you until the very last track.

Les the Genius is a new member of the up and coming local hip-hop movement and he definitely has something to prove. So if you’re in the mood to vibe, definitely give it a listen!

 Lul Bulma

Best Songs: Isengard, Rollerblades, Hoop Dreams, Alexandria

FCC Clean

Euphoric, polished, and tight. That’s what you’ll get from this release by Olso, Norway’s FOAMMM. After all, the band’s genre is self-described as “dreamy” on their Facebook page. There is definitely some cool stuff going on in this album, the first full length from the band. 

Though there are many details and nuances going on, everything somehow fits cohesively together and builds momentum as each track progresses. The guitars sound thick and rich, filling spaces with pedals and synths that live harmoniously, giving the album an experimental feel. This is rather odd though as the album sounds as if all the songs were written with meticulous intent, creating a consistent, yet risk-taking dichotomy that you don’t often see in music anymore. Check out the songs Isengard and Alexandria to really get an understanding of how great the synths and rhythm section go back and forth with effortless drive while not taking away from each other.

A fine album indeed, the only thing lacking would be taking that creative sound and diversifying it a bit more. If it weren’t for the awesome overall sound and tone of the album, it would give off the impression of feeding the same meal over and over. But it’s pretty fun and for lack of a better word…”chill.” Serving as the backdrop to just about any activity, FOAMMM’s self titled should definitely make rounds in your playlist. 

There are a few transitional pieces where instrumentals and sustaining vocal melodies take over. This is where a lot of the experimentation takes place, which works to its advantage as not to cause too much of a distraction during full songs. It also serves as a spot for the meddling of guitar pedal settings to get those funky sounds that mesh so well with the synthesizer. Listen to Freedom Club Interlude give way to Freedom Club and see how well these tracks complement one another.

If you’re looking for both cleans and dirty riffs, Hoop Dreams is the one for you. The melancholy guitar chords mixed with the slightly distorted chime chord dance make for a unique blend. 

It’s crazy to think that FOAMMM has been around since 2013 and had only released one EP and a few singles up to this point. Maybe that’s how this record felt so complete in that they had the time to work out any discrepancies. Be sure to put this one in your library if you’re looking for an escape into some otherworldly bliss. The clever finesse is transfixing and will leave you in a hypnotic state if you let it.  

-Justin Capoccia

Best Songs: Chastity Jeans, Lake Michigan Dream, Tailspins, Delta

FCC Violations: Conversation With Pietro

This Seattle-based rock band is everything you’d find in an indie stereotype. From the flannel and the sound, this group seems to tally up the score pertaining to meeting the conventional image of indie rock. That’s not to say the band is bad. Actually, they are quite good.

The backing vocals and guitar tracks help deter me from leaving the Coach Phillips train due to the Pacific Northwest appeal and there’s definitely some stuff on Never Is Enough to hold my attention and keep me satisfied. The male/female vocals and instrumentation are well executed BUT side A is like listening to one dreary song for about 20 minutes. It kind of makes me think they are staying in one key because it seems like the vocal melodies stay in the same progression. But hey, who am I though? I don’t know the first thing about singing and even my shower voice makes my cat meow aggressively while throwing his paw through the curtain in an attempt to save me from whatever is attacking me. (This is not a joke)

Okay, let’s get on to some good stuff. Chastity Jeans is a fun one. I’m not quite sure if it’s an ode to a special girl or not, but the song sounds a lot happier than the rest of side A. It has some sliding riffs, a singalong pre-chorus, and chorus, along with a harmonica section which is tastefully done.

Lake Michigan Dream has an awesome bass track and some surprising guitar licks that sneak up on you. The lyrics “Let’s move back to Michigan/Stay by the lake and “I really want to jump back in/and try not to sink” has haunting appeal, especially with the melodies by Wade Phillips and Jessica Kim. There’s a lot to grasp in terms of cool sections in this one.

Summer In Seattle, the intro track to side B has some peculiar riffs and above the average rhythm section. It’s an instrumental lasting only 1:32 but transitions nicely into the next song Tailspins which has a beachy vibe to it while still incorporating the sound of the band. The guitar parts have a neoclassical feel to them, sliding up and down the neck. I can these two songs are my favorite section of Never Is Enough.

This is the first album that has come my way in a while that I’m happy to put in my library. Minus the contemporary Seattle stereotype, I can’t wait to give this another listen and let it sink in.

-Justin