Categories
Reviews and Suggestions

CD Review: White Collar Crime “30 Years in the NY Rain”

What do you do when you spend part of your life in a court of law and other parts of your life performing music? If you’re like members of New York City- based White Collar Crime, you create a band with like-minded individuals and play music when you’re not in front of a bench. Since forming, White Collar Crime has performed countless amounts of concerts that feature the band’s original songs.

In the time that has passed since the beginning of the band White Collar Crime some thirty years ago, many musicians have come and gone through the New York City-based group. In fact, only guitarist/vocalist Matt King and drummer Alan Sanders are original to the band. Today, King and Sanders are joined today by other musicians, the majority of which have a considerable amount of time in the band themselves. David Gelman joined on keys in 1995, bassist Kevin Mackall and vocalist Andrea Urban came aboard in 2011, and guitarist Jon Bendis joined the rest of the group in 2016.

As a band, White Collar Crime has put out several albums of original material. The band’s most recent album, entitled Floor Aisle Room, was released back in 2012. Time has passed since the release of that album, but White Collar Crime recently released their first album in seven years. The reason for the time between the previous album and the one currently being promoted is simple: With some of the band members of White Collar Crime being busy in and out of the courtroom, it’s difficult to find the time to create new music as a band. But the band is now currently celebrating a new album of material called 30 Years in the NY Rain.

White Collar Crime’s 30 Years in the NY Rain begins with the track entitled “To Be Real”. The first few seconds of this track is based around the sound of the piano. Pianist David Gelman lays down fifteen seconds of quiet piano with a laidback feel to it. But after those fifteen seconds, the rest of the band joins in and picks up the pace and the energy level of the music. The piano which had been so prominent at the beginning of the song ends up falling into the background and blends with the rest of the instrumentation. The music of the track feels as if it came from the eighties and it brings to mind the writing style of singer-songwriter Don Henley. The lead vocals of the track are handled by Matt King with vocalist Andrea Urban adding texture to the background of the track as those lyrics find King looking for something in the relationship to reinforce his feelings towards the one he loves. The track’s lyrical content as well as the musical approach would fit well alongside Henley’s music, as well as other songs from the eighties.

The band continues their latest release with the track “Reason”. Where the previous track features music that would fit well into the eighties, this track’s musical approach is a lot more timeless, basically fitting into any musical period from the last thirty years to today. The previous song of “To Be Real” featured lyrics about looking for the positive in the relationship. But with this song, the outlook looks a little bleaker as King sings of not having cause to stick around. While the lyrics may not be all that positive, this song is far from being depressing as the music is just as upbeat as the track before it.

Yet another track from White Collar Crime’s 30 Years in the NY Rain release is the song “Dream the Dream”. The guitar-driven song features a strong Rock and Roll vibe that could be described as timeless. The music of the track would fall somewhere within the late seventies and early eighties, creating what many would consider the very sound of Rock and Roll music. The track brings to mind music from the likes of Dire Straits and/or Bruce Springsteen. “Dream the Dream” features lyrics about a relationship that could be a lot more passionate in nature than it is. While containing a strong Rock and Roll vibe in the music, “Dream the Dream” is basically a duet as guitarist/vocalist Matt King and vocalist Andrea Urban take turns singing about their roles in the relationship. While the track contains a light, upbeat musical delivery, the lyrics contain some sadness as the two voices don’t quite see the relationship the same way.

With the next track called “Letter to You,” the band changes directions slightly as the track features not only Matt King on vocals, but also features Andrea Urban as the two vocalists share the spotlight on this track. The running theme of relationships returns once again on this track as both King and Urban sing about writing down how they feel about the other person. Much like each of the songs that have come before on this release, “Letter to You” contains a strong, driving Rock and Roll feel to the music instead of a more laidback, romantic feel that one would associate with the lyrical content found within this song. That being said, this song still finds the band in fine form.

The first four songs on the 30 Years in the NY Rain release from White Collar Crime find the band creating tracks that feature straight-out Rock and Roll approaches with fully electric sounds. But with the track “Just a Song,” the band changes things up. This sound features an acoustic guitar as the main musical focal point, creating a slightly softer feel to the band’s sound. What results is a track that contains a musical delivery that is somewhat reminiscent of The Eagles. That approach sets the track more into the seventies time frame rather than the eighties era like the earlier tracks.

While many of the songs contained within the 30 Years in the NY Rain album from White Collar Crime contain a throwback feel to their musical deliveries, the “title track” for the release puts the band’s music squarely into a much more modern timeframe. “New York Rain” contains a Pop-Rock feel to the music. The song contains guitars and keyboards that create a style in the music that would fit right in with bands like The Goo Goo Dolls, or The Gin Blossoms. What results is a track that would be right at home on any modern-day Top 40 radio format. “New York Rain” is easily one of the most commercial tracks of the entire 12-song album.

Another song on the newest release from White Collar Crime that is rather commercial in nature is the song “Just Like Me”. Where the previous song recalls bands such as The Goo Goo Dolls or The Gin Blossoms, this song finds the band drawing inspiration from the likes of Kid Rock. The reason for that comparison comes from the laidback feel of the guitars on the track and the Country-tinged Pop-Rock music that results.

While several the band members of this group have a very serious side that shows up in each of their court appearances, the 30 Years in the NY Rain album from White Collar Crime shows off the various other talents of each of the band members of the group. It also shows off the various musical elements that act as influences to the band’s music. When combined, the resulting music on this album indicates that there is always more to a person than the one side people usually see on a daily basis.

For a taste of the 30 Years in the NY Rain album from White Collar Crime, check out the “title track” from the release, “New York Rain”.

To check out the 30 Years in the NY Rain album from White Collar Crime, click on the album cover below: 

Categories
Reviews and Suggestions

CD Review: Hadley Kennary “Habits”

Chicago, Illinois native Hadley Kennary is a singer-songwriter who, like many trying to make it in the music industry, has moved to Nashville to be part of the vibrant music scene in that town. And being in Nashville, Kennary is starting to get noticed. That has to do with her strong vocals and her writing ability. Both of those qualities have led to many accolades such as winning second place in the Telluride Bluegrass Festival Troubadour Songwriting Competition, as well as being included in several other contests.  

To date, Hadley Kennary released a self-titled release in 2011, the In Fall album in 2013 and the Momentum EP in 2016. Just recently, Kennary released her newest EP of music. The 2019 release from the singer-songwriter is titled Habits. And to help Hadley bring her music to life on that release, she’s joined by Collin Pastore on pedal steel, Austin Webb on guitar, Andrew Brown on Bass, and Jake Finch on drums and background vocals. While Hadley Kennary won that Second Place finish in the aforementioned Bluegrass Songwriting contest, together, Kennary and company create a release that blends together a generous amount of Pop and Rock influences.

Habits from Hadley Kennary begins with the track “First Love”. The track begins with the sound of the guitar and some light percussion as Kennary adds soft vocals to the provided music. Before long, the song changes from the light musical approach to a track with a full-on Pop-Rock musical feel. In fact, the track feels like something from Shania Twain except with a much stronger Rock and Roll influence to the music as Hadley and band create a track that would feel right at home alongside Twain’s “I’m Gonna Getcha Good,” especially since both tracks contain an upbeat delivery on the music as well as containing lyrics about pursing your love interest. The commercial feel of the track ensures a strong showing on the charts if the song gets a chance.

With the next track, Hadley Kennary takes her music in a much different direction. The track “Right by You” is a track that contains a sound that will remind the listener of something from the mid-eighties. In fact, the musical Pop-Rock approach of “Right by You” contains a sound that places the track next to songs from artists like Kim Wilde, Sheena Easton and/or Kim Carnes. The musical vibe of the track comes courtesy of the bassline from Andrew Brown as well as the guitar playing from Austin Webb. As the track continues, the addition of the drums just helps to reinforce that approach. Together, the musicians help create that musical vibe that places the song musically into the eighties. For those who enjoy the sound of that era, “Right by You” will satisfy the craving for music from that decade.

Hadley Kennary and band slow things down on the next track of the EP. The song “Accountability” once again features a Pop-Rock feel to the music as the song begins with the sound of the acoustic guitar and Kennary’s vocals. The simplicity of that combination creates the basis of the track and that simplicity lasts throughout the three minutes of the song, creating a track with a gentle feeling to the music. The inclusion of electric guitar, slide guitar and other instrumentation in the background adds depth to the track. However, that added instrumentation stays rather low-key throughout, allowing the vocals of Kennery to shine as harmonies add even more to the track. Altogether, the soft gentle music of the song brings to mind the musical stylings of someone like Sarah McLaughlin, Tori Amos or other singer-songwriters who stay on the softer side of Pop-Rock.

The harder side of Hadley Kennary and her music returns on the track called “Casual”. The beginning of the track starts with the light sound of the bass before the electric guitar joins in to create a Rock and Roll feel to the music. In fact, it is the electric guitar that stands out on this song, adding power to the music while creating a sound that would fit squarely on the today’s radio airwaves. The full sound of the guitar and the strength of the music creates an Alternative Rock feel to the track. At the beginning of the song, the electric guitar and Alternative Rock feel of the music brings to mind someone like Alanis Morrissett. However, the track changes slightly as some Pop influence is added to the music. The track ultimately feels like a blend of Alanis Morrissett and the more Rock and Roll side of No Doubt. “Casual” ends up being one of the strongest tracks on the release, as well as one of the most commercial. And with that in mind, it’s easy to see why the track is one of the singles on the EP.

It is with the track “Potential” that Hadley Kennary brings her new Habits EP to a close. Much like with the previous track of “Casual,” Kennary creates a track with a strong Rock and Roll backbone to it. But the song also contains a Pop feel to the music at the same time. The track is one of the more energetic of the songs on the release as it contains a driving feel to the music. As far as style is concerned, the music falls somewhere between the nineties and today, creating a very modern feel to the song. You can imagine the track fitting on any Alternative Rock, Modern Rock or even Top 40/Hot A/C radio formats. The energetic feel to the music as well as its commercial vibe makes “Potential” a very listener-friendly track. It also makes the inclusion of the track at the very end of the release a good move as it brings Habits from Hadley Kennary to a close on a strong note.

Habits from Hadley Kennary is a strong five–song release. And with the Pop-Rock, Alternative Rock, even Top 40 influences in the songs, the album gives the listener a short, but accurate indication of the talents of Kennary. Whether you are a fan of Pop-Rock, Alternative Rock, even Top 40 music, there’s something here for any lover of Rock and Roll music.  

For a taste of the music from Hadley Kennary, check out the single “Casual”.

To check out the Habits release from Hadley Kennary, click on the album cover below: 

Categories
Album Preview

CD Review: The Persian Leaps “Electrical Living”

Drew Forsberg is the driving force behind the St. Paul, Minnesota-based band called The Persian Leaps. Having been created by Forsberg back in the early days of this decade, the band was mainly a musical outlet for Forsberg who used the moniker of The Persian Leaps to release his solo music. Eventually, however, it became necessary to create a real band to perform the music. And through the lifetime of The Persian Leaps, the musical outfit has gone through several stages, from the solo project to a full band, changing sizes depending on how many people were in the band at the time.

Throughout the time that The Persian Leaps have existed, the musical outfit has released a generous amount of 5-song EPs. Then the band released its first full-length album, Pop That Goes Crunch, last year. And having already released one album of music, The Persian Leaps returns in 2019 with yet another one. This time, the new release from the band is entitled Electrical Living. The line-up that helped create the music on this album consists of Forsberg on guitar, keyboards and drum programming, with Jon Hunt on bass, background vocals and some piano.   

Electrical Living from The Persian Leaps begins with the track called “The Art Form”. Together, Drew Forsberg and Jon Hunt create a song with a strong Rock and Roll approach in the music. With the strong guitar presence in the track, the song feels as if it could have been created right around the time that the eighties were turning into the nineties, the type of Rock and Roll that was in existence before the advent of Alternative Rock radio formats. With the strength of the music in the track, the minute-long song of “The Art Form” kicks off the release with a lot of energy.

The new release from The Persian Leaps continues with the song “Catnip for Cupid”. With this song, Forsberg and Hunt create music with a Power Pop feel. The combination of the guitars and a rather bouncy feel to the music is what makes the track fall into the Power Pop genre. And much like the previous track, “Catnip for Cupid” comes with a rather short playtime. But at two minutes, it’s twice the length of the lead-off song of “The Art Form”.

Electrical Living continues with the song “Expert Witness”. Much like with “Catnip for Cupid,” the duo of Drew Forsberg and Jon Hunt put together another track with a bouncy feel to the music. This time, however, the bass in the song is a little more prominent than it had been with the earlier tracks. The song also contains a slightly stronger Alternative Rock feel to the music, which would place the song squarely in the mid-nineties. But with the bouncy feel to the music and the stronger bassline, you could easily imagine this track on either today’s Pop-Rock radio formats or Alternative Rock stations. And with the track being almost three minutes in length, it’s the perfect length for commercial airplay.

Drew Forsberg and Jon Hunt take their sound back into the nineties with the track “Sweet Nothings”. As a matter of fact, the duo seems to have drawn upon the sound of the band Weezer for the feel of this track. And for the first time, the duo adds the sound of Jon Hunt’s keyboards into the background of the track, giving the track a Pop-Rock/Alternative feel. With that combination, the track would fall within the music of bands from the nineties.

For the next track called “About Your Record,” Drew Forsberg and Jon Hunt create a song that features the influence of Brit-Pop music. In fact, the track brings to mind the little-known British band The Family Cat, as the track would have fit in rather nicely in that band’s final album entitled Magic Happens. The vocals from Drew Forsberg even recall The Family Cat frontman Paul Frederick while the Power Pop on this track recalls that band’s musical style, placing the song from The Persian Leaps alongside tracks such as “Amazing Hangover”.

With the song “The Problem Is…,” The Persian Leaps take their music solidly into the direction of Pop-Rock. The track begins with the solo sound of the electric guitar of Drew Forsberg. The gentle feel of the guitar transitions into a full-band sound that takes the gentle feel of that guitar and creates a Pop-Rock track with an easy pace. On this track, the duo draws inspiration from the British band The Smiths. Containing the same musical feel as music from The Smiths, “The Problem Is…,” from The Persian Leaps would fit right in with any of the tracks from The Smiths’ discography.

The Persian Leaps bring their musical style back to the Rock and Roll sound of the late eighties/early nineties on the song “Take Me to The Mountain”. On this track, Drew Forsberg sings about the need to get away from it all. With this track, Forsberg, together with Jon Hunt, creates a track that brings to mind the Scottish band Teenage Fanclub and the band’s songs like “Star Sign” from their album Bandwagonesque from 1991. The track has a strong commercial feel that would be right at home among Alternative Rock songs from the nineties.  

“Chalk Line Behemoth,” the next track on Electrical Living, keeps the sound of The Persian Leaps’ music within the feel of the late nineties/early 2000s. This track brings to mind some of the sound of the band Smash Mouth. “Chalk Line Behemoth” recalls Smash Mouth’s Reggae-influenced track of “Road Man;” especially since the two songs share a few bars of music as well as overall feel of the music, even if Smash Mouth’s song is Reggae-influenced while “Chalk Line Behemoth” from The Persian Leaps contains a straight-out Rock and Roll feel to the music.  

The Persian Leaps bring their latest release to a close with the song called “Dominoes”. The song contains a strong Alternative Rock feel to the music, recalling bands like Weezer or Better than Ezra. In fact, “Dominoes” from The Persian Leaps even feels similar to Better Than Ezra’s 1993 song entitled “Good” from that band’s 1993 release entitled Deluxe.

Throughout the release entitled Electrical Living, The Persian Leaps create an album that alternates between Power Pop and Alternative Rock. When combined together, the eleven songs on the release create one solid album that features many radio-friendly tracks for those who like the music of the late eighties/early nineties. And while this particular album is a break from the norm for The Persian Leaps founder Drew Forsberg, the choice to go in a different direction resulted in a strong release that is absolutely worth checking out.

 

For more information, check out The Persian Leap’s PR firm of Whiplash PR & Management by clicking on the logo for the company.

 

 

 

 

For a taste of the music from The Persian Leaps, check out their song “Catnip for Cupid”.

To check out the release entitled Electrical Living from The Persian Leaps, click on the album cover below: 

Categories
Reviews and Suggestions

CD Review: Jeff McMullen “Pain Management”

Having performed in several bands over the years, Texas-based singer-songwriter Jeff McMullen is now writing his own music. In fact, a new EP has just been completed by the singer-songwriter that makes use of all of Jeff McMullen’s various influences. The release also finds him switching from his two main instruments- the keyboards and the guitar. The new EP from Jeff McMullen is entitled Pain Management.

Jeff McMullen begins his Pain Management EP with the track “Shyne On”. The first few seconds of the track feature harmonic a’cappella vocals created by McMullen. Those vocals feature a feel that reminds the listener of R&B music. And while those initial vocals have a strong R&B vibe to them, that’s somewhat of a fooler as what follows is nothing like what one would expect. The R&B flavored vocals segue into guitar-driven Hard Rock. That approach comes with Hip-Hop influenced drumbeats as well as some Funk flavor. The entire combination creates a beginning to the track that encapsulates the entire music industry at one time, and all within forty seconds or so.  As the track finally starts, what goes forward is a track that includes a strong reference to Michael Jackson as you can almost definitely hear elements of “Thriller” in the music of “Shyne On”. Combined together, all of the various elements create a song that would have fit solidly in radio formats back in the eighties.

Pain Management continues with “The Unmailed Letter”. Where “Shyne On” was guitar-driven, this track features McMullen on the keyboards. Those keyboards create a soft, gentle feel to the music. Add some strings to those keys and the track contains an emotional feel even before McMullen starts to sing.  As McMullen’s vocals join the keyboards, there is a slight indication of Bruce Springsteen in his voice. The lyrics of the song find McMullen singing a ballad about a relationship that came to an end a long time ago. The song’s lyrics also hint at the regrets that have been left behind as he questions what could have been. As McMullen sings, it becomes clear this letter will never be sent as he knows not where to even start looking in order to reach his love interest from so long ago. The simple piano and occasional strings mixed with the lyrics of lost love create a track with a strong emotional pull to it.

The track “Evidence” continues the Pain Management EP from Jeff McMullen. Once again, McMullen calls upon the guitar to help create the music for the song. This time, however, it is the acoustic guitar that is the focus. With the acoustic guitar, Jeff McMullen creates a Folk-Rock track that combines elements of Soft Rock, Folk and some Jazz flavor together. This musical mix and McMullen’s vocals create a track that fits somewhere within the mid-to-late eighties and the early nineties. Altogether, the track brings to mind the Pop-Rock stylings of someone like Bruce Hornsby & the Range and/or Steve Winwood. This comparison is evident because of the relaxed nature of the track. Like the previous songs, “Evidence” is a song that contains a very commercial feel to the music. This song could easily find its way onto Adult Contemporary radio formats because of its somewhat timeless musical approach.

The Pain Management EP continues with yet another piano-based track from Jeff McMullen. And like with the song that comes before it, this track called “Someday” has a laidback feel to the music. This time, McMullen seems to be calling upon the influence from the one and only Phil Collins as the piano-based track of “Someday” contains another Pop-Rock/Lite Rock approach to the music. In fact, you can hear the same type of musical approach in McMullen’s track as you can hear in, say, “Take a Look at Me Now” from Collins. Much like the track of “The Unmailed Letter” which came earlier in the EP, McMullen writes a song about a chance to find love once again. With only the sound of the piano, it makes the track seem a little sparse. But that simplistic feel gives the listener a chance to experience McMullen up close.

Jeff McMullen brings his Pain Management EP to a close with the track “It’s Only Rain”. After the couple of songs that feature very minimalistic musical approaches, McMullen finishes off the release with a song with a full musical feel to the music. Along with his vocals, the track features a full band with guitar, drums, bass and keys. The result is a song with Lite Rock qualities to it. And like songs that came before it, influences from artists like Bruce Hornsby, Steve Winwood or others from the eighties and/or nineties come through in the music. Like with most of the other tracks, this song has a strong commercial feel to it and would fit rather well on Adult Contemporary radio formats. After the previous songs “Evidence” and “Someday,” the stronger, fuller “It’s Only Rain” feels almost perfect as the final track of the release.

The short Pain Management EP from Jeff McMullen finds the singer-songwriter creating music that falls squarely in the era of the seventies and eighties. With the numerous influences that appear on the release, this EP transitions between Soft Rock, Adult Contemporary and Pop-Rock. The music that the listener experiences comes with a strong timeless feel to it. While it doesn’t really push the boundaries of music, this release is solid.    

For more information, check out Jeff McMullen’s PR firm of Whiplash PR & Management by clicking on the logo for the company.

 

 

 

 

For a taste of the Pain Management EP from Jeff McMullen, check out the song “Shyne On”.

To check out the entire Pain Management EP from Jeff McMullen, click on the album cover below: 

Categories
Reviews and Suggestions

CD Review: Diana Chittester “Paradox”

Diana Chittester is a singer-songwriter that makes her home in Northeastern Ohio. It is in this location that she is free to be herself and express herself the way she wants. You can hear some of her struggles in the lyrics that are found in the music that she creates.  And while her personal struggles find a place in her music, it is the music itself that is created by Diana Chittester that sets her apart from the crowd.

One thing that is rather obvious about the singer-songwriter Diana Chittester is just how strong she is as a musician. To help flavor her playing, Chittester calls upon influences from artists such as Ani DeFranco, Joni Mitchell, Lindsay Buckingham, Jewel and plenty of others including Ann Wilson of the band Heart, whose playing on tracks like “Crazy On You” truly helped flavor Chittester’s own style of playing.

That being said, just listening to the music from Diana Chittester doesn’t really do her justice. You must see the musician in concert to truly appreciate just how talented she truly is. Very few musicians can fill up a room with just their voice and one guitar but Chittester is one musician who is able to do just that. The multi-layering effect that happens when she is in concert is a wonder to behold. And it’s done without the use of a looper, which just adds to the amazing playing ability of the singer-songwriter.  

The multi-layering from Diana Chittester can be found on the various releases that have been produced by the artist over the years, with the most obvious of that layering appearing on her previous album of Find My Way Home which features only the artist with her guitar. The sparse feel of the music on that album truly helps the layering effect to shine through.

Diana Chittester’s playing and the multi-layering feel to her music led to her being included in the Top 10 list of the publication Guitar Gods Magazine. Her video for the track “Paradox” was even included in the 43rd Cleveland International Film Festival to be included in an entire program of music videos. And just recently, Chittester was featured in the RiffJournal.com’s list of 50 Gifted Singer-Songwriters

As far as her music is concerned, Diana Chittester released a new six-song EP entitled Paradox not that long ago. Where the album Find My Way Home contained a sparse feel to the music on that release, Paradox comes complete with a much fuller feel to the music. The music contained within this EP is much different compared to the artist’s previous album because of that stronger production value. This six-song release shows off just what Chittester’s music can sound like when it comes with a completely full production value to it.

Paradox from Diana Chittester begins with the track “Freedom”. The track begins with the sound of the ukulele that she uses in much of her music. That ukulele is soon joined by the drums, guitar, bass and organ to create a Rock and Roll track with the ukulele in the forefront of the track. The track about needing to make one’s own choices in life feels both unusual because of the choice of the ukulele as the centerpiece of the track and familiar as the music contains a full amount of pop-rock flavor to it. You can even imagine yourself starting to sing along with the lyrics making the track a perfect anthem for those looking for inspiration.

Diana Chittester’s newest release continues with the track “In the Middle”. Where the track of “Freedom” ha a slightly unique flavor to it, “In the Middle” is much more mainstream in comparison. With the electric guitar and the rest of the instrumentation, the track of “In the Middle” brings to mind a style of Rock and Roll that was present in the mid-nineties. More specifically, the song contains a musical quality that brings to mind the song “All I Wanna Do” from Sheryl Crow. The Rock and Roll contained within the track creates one of the strongest moments on the release.

On the title track of the EP, Diana Chittester brings back a good deal of the simplicity that had been found on the artist’s album of Find My Way Home as the track begins with only the sound of the ukulele her vocals. The song of “Paradox” finds Chittester reflecting on years gone by as a relationship comes to an end. The singer-songwriter questions what happened and why it happened. She even wonders if it was all just a bad dream. As she follows her own thoughts, the music of the track gains momentum and becomes a lot fuller. To help fill out the music of the track, strings are added to the music. The strings add beauty as well as sadness to reinforce the meaning of the lyrics on the track. What results is a track where the lyrics are full of emotion and the music adds to that sorrow. The track of “Paradox” is easily the most personal song of the six tracks included on the EP.

The Paradox release from Diana Chittester continues with the track “On My Own”. With the lyrics of the track being what they are as they spell out a woman pushing herself to keep going after something bad has happened, the track feels much like a continuation of the EP’s title track. This is mostly likely just coincidence as the two tracks of “Paradox” and “On My Own” are right next to each other.  However, the two tracks with their similar lyrical approaches create a passage on the EP that is easily the most emotional.

Diana Chittester finishes off her release of Paradox with the song “Cry”. Like “Paradox” and “On My Own” earlier in the EP, “Cry” explores personal parts of Chittester’s life as she explains how her own path in life led her to lose friends and family for simply being who she is. The soft quality of the music and the strings that are contained within it combine to create a track that will definite tug at your heart as you experience just a taste of the pain that Chittester has experienced throughout her life. Musically speaking, the quiet delivery of the music on the track makes “Cry” the perfect track to help bring Chittester’s Paradox to a close.  

Paradox from Diana Chittester is quite different from the singer-songwriter’s previous release of Find My Way Home. This album contains a stronger production value. It contains a much fuller feel to the music. And most importantly, it comes across as much more personal. In many ways, this release shows the listener just how much Diana Chittester has matured as far as her music is concerned from one release to the next. One can only imagine where she will take us with the next release.

 

To discover for yourself the music of Diana Chittester, check out “Paradox,” the very video that was included in this year’s Cleveland International Film Festival. 

To hear the entire Paradox release from Diana Chittester on spotify, click on the  album cover below: 


 
 

 

 

 

Categories
Reviews and Suggestions

CD Review: Falling Stars “Let it All Go”

Falling Stars is a Cleveland, Ohio-based Rock and Roll band. The main backbone of the band, Chris Allen and Tim Parnin have been creating music within the Greater Cleveland area for around fifty years of combined experience. That experience came from time that both musicians spent in other bands that had existed in the Cleveland area music scene.

While Chris Allen and Tim Parnin have been kicking around the area for years, it was only when the two artists decided to collaborate that they actually played together. And once Chris Allen and Tim Parnin decided to create music together, they called upon Dave Padrutt and Gary Porter for their new band. And in 2017, the band put out their initial release called Stranded in the Future, an album that found the band drawing from several different styles and time periods of Rock and Roll in order to bring their songs to life. What resulted was a release that was the perfect addition to any Rock and Roll lover’s music collection.

Two years have passed since Chris Allen, Tim Parnin and the rest released the band’s first album. In that time, they have written more music and have since created four new songs that are about to be released as the band’s second release, an EP called Let It All Go. And just like with the band’s previous release, Let It All Go features the talents of Christopher Allen and Tim Parnin on guitars, Dave Padrutt on bass, backing vocals, percussion & keys and Gerry Porter on percussion.

Let It All Go from Falling Stars begins with the track called “We Are the Future”. While much of the music that Falling Stars has created contains a sound or feel that draws from current musical trends, this track features a slight throwback feel to the music. The track contains a strong guitar-driven feel that takes the listener back to the solid Rock and Roll music that was around during the seventies and early eighties. The musical direction on “We Are the Future” brings to mind bands like T-Rex and others who were around during the New Wave/Glam Rock era.

Falling Stars continues their newest release with the track “Neptune Baby”. The track features a strong Power Pop sound. Taking that Power Pop base, the track’s sound seems to borrow a lot from the likes of the band The White Stripes. The track’s rather bouncy musical feel features a strong drumbeat and guitar sound that brings to mind the playing of Jack and Meg White’s musical approach. While there is a slight sparseness to the music at the beginning of the track, the sound fills out as the track proceeds. “Neptune Baby” is the type of track that would be very popular on Alternative Rock radio formats.

The newest release from Falling Stars continues with the title track of the EP. The song “Let It All Go”. While the track “Neptune Baby” features a sound that is reminiscent of The White Stripes, “Let It All Go” contains a musical approach that features a strong, driving pace that is helped along with some Pop-Rock influence on the music. This song is one track on the release that easily contains musical influences from previous bands that Chris Allen and Tim Parnin have been a part of over the years. “Let It All Go” contains a Pop-Rock sound that brings to mind the same type of music that had been produced by Parnin’s band from the early 2000’s called Uptown Sinclair. While this track has its own style, the influence from Uptown Sinclair seems to have snuck in somehow. “Let It All Go” is easily the strongest track on the release.

The first three tracks of the Let It All Go release from Falling Stars have a certain sound to them thanks to Gary Rhamy. However, that production quality is replaced with a much different feel on the final track of the Let It All Go EP. The reason for that is because this final song was produced with the help of Don Dixon, a musician and music producer who works and performs alongside Chris Allen in the Christmas-themed band called The Ohio City Singers. With Dixon at the helm for the song “Downstream,” the track contains a slightly acoustic feel to the music with the addition of some acoustic guitar. It’s that acoustic guitar feel that changes the musical direction. A slightly lighter approach on the music puts more of a Pop-Rock feel on the track. While it feels very different from the rest of the tracks, “Downstream” allows the listener to get a much different view of the talent of the band members in Falling Stars.

Let It All Go, the newest release from Falling Stars, is rather short with only four tracks. And those four tracks contain only about eleven minutes of music as each of the four songs lasts for just over two-and-a-half minutes a piece. But no matter how short the EP happens to be, each track shows off the various musical influences that help to shape the sound of the band. Whether it is the genres of music that the band draws from, or the person behind the production board who helps to shape the sound of the tracks, the four songs contained within Let It All Go from Falling Stars combine to create an EP that shows off the progression of the four band mates of Chris Allen, Tim Parnin, Dave Padrutt and Gerry Porter as a group.

To check out the music of Falling Stars, check out the video to the song “Let It All Go”.

To check out the Let It All Go EP from Falling Stars, click on the album cover below:

 

 

 

 

 

 

Categories
Reviews and Suggestions

CD Review: Bird Streets S/T

Bird Streets is the latest project for John Brodeur. John Brodeur of the band Bird Streets is a New York-based singer-songwriter who has spent the last twenty years as basically a one-man band, creating several albums of Indie Rock. However, it’s been quite a while since Brodeur released an album of music. The last release to come from Brodeur came out in 2013 and that album was called Little Hopes. That album of music showed off Brodeur’s ability to write different styles of music and ended up being one of his strongest solo albums.

Cut to five years later and a new album from Brodeur was created. But this particular release was slightly different from what had come before.

Right around the time he was wrapping up production on the Little Hopes album, John Brodeur found himself looking to create something new. This time, however, he decided not to go it alone. Brodeur got in contact with multi-faceted artist Jason Faulkner and talked Faulkner into helping him produce the music for a new venture. The result is a musical project known as Bird Streets, a moniker that came from a section of the area known as the Hollywood Hills. Brodeur spent time in both 2014 and 2016 working alongside Faulkner during which time they created the debut album for Bird Streets. The self-titled debut release from Bird Streets was released in 2018.

Touring version of Bird Streets

The self-titled debut release from Bird Streets begins with the track “Carry Me”. The lead-off track finds John Brodeur in more of a Rock and Roll frame of mind than the usual Pop-Rock one would usually find on his solo albums.  With this track, the musical ensemble creates a moment that feels as if it would have been right at home on Alternative Rock radio back in the nineties. “Carry Me” contains strong guitar riffs and a strong bassline to create a sound that creates a sound that takes the listener back in time. You could easily imagine this track playing alongside tracks from Weezer or even Better Than Ezra.

The track called “Betting on the Sun” continues the new release. This track brings back some of the Pop-Rock feel that usually accompany Brodeur’s music. The slightly lighter approach of the track feels like a mix of nineties Alternative Rock and the Lite Rock from the seventies. The combination on the track creates one of the most commercial songs on the self-titled debut release from Bird Streets.

The self-titled release from Bird Streets continues with the track off the release that is the current single. The song “Direction” combines elements of Nineties’ Alternative Rock and today’s musical feel. “Direction” feels like something that could have actually come from the band Weezer with some of John Brodeur’s influence thrown into the mix. The track easily ends up being one of the most commercial tracks on the new release from Bird Streets.

The first thirty seconds of the song “Spaceship” features only the sound of John Brodeur and his acoustic guitar creating a quiet moment that brings to mind the feel of sixties Folk music. But after that initial thirty seconds the song, other instruments are incorporated to create a slow-paced track with a rather mellow musical direction. As Bird Streets IS a band that takes Brodeur’s music and gives it a slightly different feel than if Brodeur had created the music on his own, it should come as no surprise that some of the tracks on the self-titled album from Bird Streets would feel as if they Brodeur’s songs. In fact, you could almost imagine “Spaceship” having been created for Brodeur’s last release called Little Hopes.   

Speaking of creating a track with John Brodeur’s style to it, “Stop to Breathe” is yet another track from Bird Streets that feels as if it had been a solo piece. Like the piece before it, “Stop to Breathe” feels as if you could have encountered it on an earlier album from Brodeur.  In fact, the track would have felt right at home among the songs that had made up Brodeur’s 2009 release called Get Through. The slow pace to the Alternative Rock track gives the song an overly relaxed feel, but the electric guitars on the six-minute track keep it from feeling boring.

John Brodeur once again calls upon the influence of the music of the nineties for the track “Thanks for Calling”. The Alternative feel of the track would place the track firmly alongside Weezer, Better Than Ezra and other bands like them.  “Thanks for Calling” brings so much Alternative Rock feel of the nineties that you can hear the influence from a song like “Buddy Holly” from Weezer in the music of the track. For those who miss the nineties, this track does a good job of recalling the music of that time period.

For fans of the music of John Brodeur, there are several spots on the self-titled debut release from Bird Streets where Brodeur’s style shines through loud and clear, much like on earlier tracks like “Stop to Breathe”. Another moment on this album where the unmistakable feel of John Brodeur’s writing comes through clearly is on the song “Heal”. The main reason for that is because of the lyrical content of the track. Lines like “How Am I Supposed to Heal when this Medication isn’t Real?” make it absolutely clear that this is a John Brodeur song.

Currently, Bird Streets is promoting their latest single entitled “Pretty Bones”.  The track features a light touch to the music as the track begins with an acoustic guitar and John Brodeur’s vocals. While continuing to contains a rather laidback feel to the music, the track builds over the length of the track and eventually, the track’s musical approach brings to mind a combination of Folk-Rock influences and Indie Rock influences. The track’s low-key feel still contains a very listener-friendly sound.

As you make your way through the various tracks that make up the self-titled debut release from Bird Streets, there is plenty on the album to keep fans of John Brodeur happy. Plus, the inclusion of Jason Faulkner helps add new dimensions to his music that weren’t there before. Together, John Brodeur and Jason Faulkner create an album that fans of the eighties, nineties and today will truly enjoy as influences from all of those decades help to shape the music of this release. 

 

For more information, check out Bird Streets’ label, Omnivore Recordings

For a taste of the self-titled debut release from Bird Streets, check out the single “Pretty Bones”. 

For the self-titled album from Bird Streets, click on the album cover below: 

 

 

Categories
Reviews and Suggestions

CD Jerry Maniscalco “Bold Enough To Try”

Jerry Maniscalco is a singer-songwriter who lives in Jacksonville, Florida. His musical background comes from his time in musical theater in high school and then, later on, in the military where he a member of the United States Naval Academy Men’s Glee Club from 2003-2007. He also was a founding member of the group The Anchormen that came out of that larger outfit.   

After his time in the military, Jerry Maniscalaco would go on to pursue his musical dreams with the help of the organization known as Operation: Encore, an organization that helps former military personnel realize their full potential through training. Operation: Encore then helps those individuals (such as Maniscalco) with opportunities and networking to truly begin living their dreams as real musicians.

As a live performer, Jerry Maniscalaco covers a wide array of artists in the cover songs that he plays. Among the artists he plays are: Led Zeppelin, Matchbox 20, Dave Matthews, John Mayer, Oasis, Tom Petty, John Prine , Ed Sheeran, just to name a few. With this kind of musical blend, it should come as no surprise that Maniscalco’s music contains a lot of variety in the styles that are incorporated within it.

Through his time as a musician, Jerry Maniscalaco has created two releases. They include 2011’s Take What’s Left and Make it Right, 2014’s One (a four-song EP) and the newest four-song release from Maniscalaco called Bold Enough to Try.

2018’s Bold Enough to Try from Jerry Maniscalco begins with the singer-songwriter revisiting an older tune. The track “Gypsy Blood” came off of the artist’s 2011 release of Take What’s Left and Make it Right. With that album, Maniscalco created an entire album of acoustic tracks which included “Gypsy Blood”. So when the new release of Bold Enough to Try came around, it was the perfect opportunity to give the song the treatment it deserved. The new version of the track features a strong Rock and Roll feel to the track. The track finds Maniscalco creating a track that would easily have fit on any 1980s Rock and Roll station. This gives the new release from Maniscalco a strong track to begin the EP.

The newest release from Jerry Maniscalco continues with the track “Riverside”. This track features a Pop-Rock feel to the music as Maniscalco slows things down and lightens the mood. What results is a track that features a style very reminiscent of songs created by John Mayer. In fact, the vocals from Maniscalco on this track also seem to suggest Mayer. The doubling of Maniscalco’s vocals during the refrain of the song even suggests Mayer’s style. The Pop-Rock track contains a timeless feel to the music as it would have been right at home on Top 40 radio during the thirty-five to forty years.

Jerry Maniscalco has the perfect voice for doing Pop-Rock music as it has a rather commercial feel to it. And while his vocals on the previous track suggested Phil Collins, you can almost imagine Bruce Hornsby on the next track of “Don’t Kill the Messenger”.  While the previous track found  Maniscalco bringing the intensity of his music down quite a bit, this track brings the energy level back up if only just a bit. “Don’t Kill the Messenger” may very well be the most commercial track on the Bold Enough to Try release.

The final two tracks off of the Bold Enough to Try release are “Wake Up” and “We Are”. For those familiar with Operation: Encore, you should recognize those song titles. These two tracks were featured on the organization’s first release called Operation Encore: A Veteran Music Project. For this five-song EP, the tracks appear in their original recordings having just been remastered for the EP.

“Wake Up” is a track that features an Acoustic Rock feel to the music. While this is an original song, the track feels very much like something from the Live Stages era from the band Vertical Horizon. You can almost imagine this track playing alongside such Vertical Horizon’s songs such as “It’s Only Me” or “On the Sea”. “Wake Up” from Jerry Maniscalco has the same style and would be the perfect companion to the collection from a fan of Vertical Horizon.

Maniscalco once again takes some inspiration from Vertical Horizon on the music of the track “We Are”. Very much like “Wake Up,” the track features a laidback feel to the music. The track’s lyrics describe people going through their lives doing the same thing every day. As you listen, you can almost imagine yourself playing out one of the scenarios mentioned in the song. The song is so relatable, in fact that the organization Maniscalco belongs to, Operation: Encore has started using it as its theme song of sorts.

The Bold Enough to Try release from Jerry Maniscalco is short but sweet. And while the EP contains only five tracks, all five songs are strong.    

 

For a taste of the music from Jerry Maniscalco, check out the song “We Are,” which is also the theme song for Operation Encore.

To check out the music of Jerry Maniscalco, click on the album cover below:

 

 

 

 

 

 

 

 

For more reading about Operation Encore, check out the review for the first album, the second release of Monuments,the first review for Rachel Harvey Hill, the review for Andrew Wiscombe, the review of Steve D. Wilson, the review for The Real Doug Lane, the review for Stephen Covell, and the review for Unknown Rider by clicking on the links that are highlighted.  

Categories
Reviews and Suggestions

CD Review: Moe Green’s Eye “Fast Radio Bursts Live” (And “Who’ll Take Me Home” Single Review)

Moe Green’s Eye is a straight-out Rock and Roll band from New York City that is comprised of front man Anthony Galati, guitarist and chief songwriter Steve Siegel, bassist Jeff Mackey and drummer Bob Gallagher. The band used a reference to a character from The Godfather movie series and an unfortunate situation that happened to that character in the series as the name of their band. That seems to prove that the band has a strange sense of humor to go along with their ability to play Rock and Roll.

The band of Moe Green’s Eye is currently creating music consists of musical influences such as New Wave music, as well as a lot of Classic Rock. They include bands like R.E.M, The Smithereens, as well as Tom Petty as major influences on their style. The band just did something that many bands won’t try these days. They recorded their four-song live in the studio. With this recording style, they captured the pure feel of their sound. The four-song release that was put out in is called Fast Radio Bursts Live EP.

Fast Radio Bursts Live from Moe Green’s Eye begins with the track “Fixed,” the first single off of the release. With a sound that has just a little bit of a New Wave influence from the British band Modern English, and more specifically, their song “Melt with You,” “Fixed” definitely has a very clear New Wave influence to the music. “Fixed” features a driving feel to the music and a very strong delivery in the vocals of the track. As the first track of the album, “Fixed” is a strong lead-off track.

Fast Radio Bursts Live continues with the track “Stay”. Like the previous track, the band of Moe Green’s Eye keeps the music in an eighties’ frame of mind. However, with this track, the band also seems to include a little influence from the early Alternative bands. “Stay” keeps the energy level of the music up with a driving beat to the music. Like “Fixed” before it, “Stay” has the type of style that would be welcome on the radio. “Stay,” however, is a lot closer to straight-out Rock and Roll and could have easily been played on modern Rock stations back in the eighties.

The Fast Radio Bursts Live EP continues with the track “It’s Over Now”. With this track, Moe Green’s Eye takes their music into a slightly different direction than with the first two tracks. While the tracks that started the release were more in the realm of New Wave/Rock and Roll from the eighties, “It’s Over Now” seems to bring to mind the stylings of the J. Geils Band as the track contains that band’s style of Rock and Roll to it. That specific feel keeps the band’s style in the era of the eighties but also shows that Moe Green’s Eye seems to wear their influences on their sleeves.

New York City-based Moe Green’s Eye brings their Fast Radio Bursts Live EP to a close with the track “What about Time”. This is probably the most unique of the tracks on the release as the three musicians of guitarist Steve Siegel, bassist Jeff Mackey and drummer Bob Gallagher combine their talents in the track to create a style that recalls Progressive Rock bands, most specifically, Rush. “What About Time” is a song that contains a Commercial Rock sound and a Prog-Rock sound at the same time. The combination of the two musical styles together makes for a song that has plenty of depth to it and would be a welcome addition to any Modern Rock radio formats.

Moe Green’s Eye’s new EP called Fast Radio Bursts Live shows off the talents of the three musicians and the lead singer who come together to create a band that uses slightly older musical influences to help make a sound that sounds generally timeless. The four tracks on the band’s EP come together to create a solid release. And the fact that the band had put together the release with songs created live in the studio shows even more talent from this talented group of musicians.

Moe Green’s Eye is not slowing down. Having released their EP called Fast Radio Bursts Live not that long ago the band has just released the next track which is being released ahead of the band’s next album which is reportedly being titled After the Baptism. This new track from the group is entitled “Who’ll Take Me Home”.

The track of “Who’ll Take Me Home” features a strong, driving feel to the music. It also features an undeniably commercial quality to the music. The track feels like it would fit right in with songs that had been found on Modern Rock or even Alternative Rock radio formats. Instantly, you can imagine this track being played right alongside bands like Gin Blossoms or Goo Goo Dolls. You could even imagine the track feeling right at home being played with a stronger band like Candlebox.  

There is a reason for “Who’ll Take Me Home” from Moe Green’s Eye fitting in with some diverse bands. Much like the band’s earlier material, “Who’ll Take Me Home” draws inspiration from different forms of Rock and Roll at the same time.

While you listen to the music, you can tell that there is a definite Alternative Rock flavor to the music. In fact, what the track may remind you of is the early days of Alternative Rock when the style was just starting to push itself away from the Rock and Roll that was being played on Mainstream Radio.

At the same time, however, the band has included a generous amount of Pop flavor to the song. Like the aforementioned bands Gin Blossoms or Goo Goo Dolls, Moe Green’s Eye creates a style that easily would have been right at home on radio during the late nineties/early 2000s. That Pop/Alternative blend creates a track that ensures that the band has a good chance to expand their current fanbase by tapping into two different musical followings.  

“Who’ll Take Me Home” from Moe Green’s Eye is only one track of music; however, when taken together with the band’s previously-released tracks on their Fast Radio Bursts Live EP, you get a good idea of just what the band can do. And the songs that are currently available from the band should make their fan-base shout for more. Luckily, there is more on its way.   

For the Fast Radio Bursts Live from Moe Green’s Eye, click on the album cover below: 

 

 

 

 

 

 

For the band’s newest single of “Who’ll Take Me Home,” click HERE

 

You can also find the band on spotify. Click HERE for the band’s profile. 

For more information, check out Moe Green’s Eye’s PR Firm, Whiplash PR. Click on the logo below to visit their site. 

Categories
Reviews and Suggestions

CD Review: Troy Baker & Window to the Abbey “Moving Around Bias”

Troy Baker is a multi-layered individual. Many people know Baker from his acting roles as he adds his voice to many different projects of both cartoons and Japanese Anime. Known best for his role as The Joker from various Batman projects as well as many other characters from other animated projects, Baker’s ability as a voice actor keeps him busy with plenty of work. Adding to that already busy schedule, Troy Baker also helps in the production of video games where his voice is used to bring those video game worlds to life.  

You can also find the ever-busy Troy Baker spending time with actor Nolan North as the two men create a video-based blog on YouTube called Retro Replay where the two actors and friends spend time discussing many different topics.  

When not adding his voice to the various projects that take up much of his time, Troy Baker can be found strapping on a guitar. In fact, it was back in 2014 that Baker produced his first album of Alternative Rock. That 2014 album was entitled Sitting in the Fire.

Along with Troy Baker, the rest of the musicians who took part in the project were: Wayne Miller, Jon Titterington, Christopher Wray, AJ Novak, and James Bowen. Consequently, these musicians also helped Baker bring his last release called Sitting in the Fire to life. Together this group of friends creates the project known as Window to the Abbey.  It is this project that helped to produce the newest album from Baker known as Moving Around Bias.

Moving Around Bias from Window to the Abbey begins with the track called “Heads Out”. The keyboard-based track is simply a keyboard intro into the rest of the release. The twenty-four seconds of music lead the listener from the beginning of the album into the second track called “Water Into Wine”.

The second track of “Water Into Wine” begins with the sound of the organ creating a steady pulsing rhythm, When the rest of the instrumentation joins in, the track takes on a musical feel that contains an Alternative/Pop-Rock hybrid feel. As Troy Baker’s vocals show up, the track feels like a blend of Bruno Mars and Prince. The music itself also contains a little Mars flavor because of the R&B influence to go along with the Pop-rock feel. The easy-going feel of the song helps to create a track that would feel right at home on Pop-Rock/Top 40 radio.

After a few tracks of rather laidback musical approaches, Troy Baker and the rest of the musicians pick up the pace and the energy level with the tune “Breakup Song”. The track finds Baker delivering lyrics about where to go after a relationship comes to an end with both energy and conviction. As he sings, the pace of the music picks up as does the energy of the track. To go along with a slightly energetic musical approach, the track also features a section near the end of the track where an entire group of voices form a solid vocals chorus. The resulting Pop-Rock track would easily fit right in on any Top 40 radio format.

The energy level of the music gets a large rise in intensity on the track “Common Ground”. This track seems like the next logical step after the previous track of “Breakup Song” as Baker sings of finding something to build on. With the serious nature of the lyrics on the track, the music also comes with a stronger musical foundation. “Common Ground” contains one of the strongest Rock and Roll approaches of the release. That approach comes from the infectious drumbeat that stretches from the beginning of the track to the end. The guitars in the song are also a lot stronger on this track. In short, “Common Ground” is a strong track that comes with a positive message about finding things you agree on.

Troy Baker and the rest Window to the Abbey keep the energy level up on the next track of “Part Time” while bringing a little Pop-Rock influences back into the music. The track features a musical feel that features a balance of guitar and organ while the lyrics continue the theme of “relationships” which has already appeared on several tracks before this song. With this song, Baker sings about trying to make a relationship work when the couple is only together some of the time. While the subject matter is somewhat of a downer, the track is still one of the best songs on the release.

Much like the lead-off track of “Heads Out” that began the Moving Around Bias release, the song “Unknown Caller” is a strictly instrumental track. The piano-based song contains a light, jazzy feel. Before you know it though, the track is over. The piano helps to separate the song from the previous songs on the release.  

With the song “Something New Under the Sun,” the music returns to a combination of both piano and guitar as the track takes on a sound that brings to mind a lighter version of something that singer-songwriter Bruce Hornsby might have created. “Something New Under the Sun” is a track featuring a slow, easy feel to the music. The lyrics find Troy Baker singing about a man who finds the perfect woman to fill the void in his life and then turns to many years down the road as he looks back at what had been as he remembers what they had before she passed away. The track is perhaps the most beautiful, and easily the most heartbreaking track of the album.

While Moving Around Bias from Window to the Abbey is not a concept album, it’s hard to ignore the theme of relationships that run through many of the songs that make up the fourteen tracks on the release. And through the tracks on the album, you get a wide array of emotions as the songs focus on different aspects of life. Moving Around Bias from Troy Baker and the rest of Window to the Abbey is a release that is solid from the first moment until the last note.

 

For a taste of the music of Troy Baker and the band of Window to the Abbey, check out their song “Breakup Song“. 

To hear the Moving Around Bias release, check out the SPOTIFY account for the album. 

Click on the album cover below to purchase a digital copy of the album: