Giant Space Ocean - Spike The Media (Album Review)

As an artist nowadays, standing out can be a difficult task. The right combination of playing talent, personality, and flexibility as craftsmen are all needed to incubate unique artistic experiences. With increased art consumption on various forms of media over the past few decades, audiences and musicians alike are made aware of styles from all around the world. This has led to bands more confidently wearing their influences on their sleeves in genre-fluid, inventive projects. One such band based out of Muskegon, "Spike The Media," crafts a unique listening experience that stands out from the typical West Michigan rock offerings in their latest album, Giant Space Ocean. You can hear just about every decade of rock influence from the last 50 years on this record, from their choice of guitar riffage and tones to the presentation of each track with the full band. It's equal parts a display of unrestricted talent and homage to bands that inspired them to pick up their instruments, with each track packing so much into mainly radio-friendly song lengths. 

“Dorsia'' is such a great way to open a record, with solid dynamic contrast emphasized by the soft acoustic guitars on the verses and the more powerful chorus sections that lead into funkier sections. “Fill The Space,” between the layered arrangement and the full sound from the overall mix, lives up to its namesake. The track centers on a meter in 6 and highlights some tasty synths and a stellar guitar solo. “For What It’s Worth” gives off strong Devin Townsend vibes with the playful nature of the instrumentation and vocals. “Maze” slows things down with a lilting, acoustic-guitar-driven track that features some beautiful strings from collaborator Rimma Agbo and an ambient slide guitar riff that spreads over the mix like butter. “Balloons Are Forever (But It's Now Or Never)” feels like a Van Halen classic with the lead guitar work in the opening before building into a disco jam with infectious lyrics. The hits that the band does 3/4ths of the way through on this number are a standout moment on this track as well.

“Walk Away” starts with a throwback acoustic guitar riff reminiscent of “Hey There Delilah” and transforms into a goofy Americana carnival complete with twangy guitar tones and what sounds like a jaw harp. “Cabbage Patch” builds instrumentally and harmonically in a wonderful arch, letting sections develop as more players are introduced into the arrangement (including some upright bass work from Nuri Tett and melodica in the mix). “But What Am I” plays like early 2000’s angst-fueled rock with a dash of danceable, modern pop sensibilities later in the tune. “Wooze” has a chorus and groove throwing it back to the 90’s while also adding a splash of atmosphere to this pop-punk tune. “Female Counterpart” includes a catchy guitar hook nestled in some ska-adjacent riffs that grow into an energetic ending that elevates the tune. “The Color Green” flexes the band’s arranging muscles in a meter of 7 while still delivering an earworm in the chorus, backing vocal hits that add a nice touch, and a sax solo from guest artist Hugo Lee. “Underground” is warm and earthy with great lead guitar/synth layers, and it concludes the new selection of tunes from Spike The Media. However, before the album stops, two new versions of previously recorded tracks are present with “Punk’d,” a tune that sounds like Alice in Chains with its darker tones and off-kilter harmonies, and “Trigger Warning,” a bluesy, in-your-face jam that caps off the full record in style.

Spike the Media has crafted a truly unique sound for West Michigan. With an eclectic display of rock and metal that draws from so many influences, this polished band is primed for all sorts of memorable live moments around these songs. From the plethora of touring acts that come through venues like The Intersection and Pyramid Scheme, it's not out of the question for them to support regional rock acts or be frequent asks for the variety of rock and metal shows in the future. The band is still so new that they have room to grow and solidify their sound, but they're all proficient at their instruments and can actively deliver on the expectations of their recordings. If you're looking to deviate from your usual rock playlist or explore the wider ranges of the Michigan music community, Spike the Media will leave you banging your head, soaked in swirling synths and guitars, and dancing to a disco flare all in one listen. 

Album Credits:
Produced by Spike The Media
Drums, Percussion, and Upright Bass recorded and engineered by Ryan Jamgotch at Electric Moon Studios
Guitars, Bass, Vocals, and Synths recorded and engineered by Brendan Martin at Modern Wax Productions

Saxophone on “The Color Green” performed, recorded, and engineered by Hugo Lee
Strings on “Maze” and “Underground” performed, recorded, and engineered by Rimma Agbo 
Upright Bass on “Cabbage Patch” performed by Nuri Tett

Mixed by Brendan Martin
Mastered by Philip Shaw Bova
Album Artwork by Larisa Murariu|

Support Spike The Media!
Website: www.spikethemedia.com
Facebook: https://www.facebook.com/SpikeTheMedia
Instagram: https://instagram.com/spikethemedia
Bandcamp: https://spikethemedia.bandcamp.com/
Apple Music: https://music.apple.com/us/artist/spike-the-media/1258363897
Spotify: https://open.spotify.com/artist/150kB6A3MiIWUohi1p7I7K?si=9fEeAKkWT0eTHdUSE0wOWw&utm_source=copy-link
YouTube: https://youtube.com/channel/UCwKo2Bz4zZVI5BmB2VRiU9Q

Click the album art to listen/buy the record!

That's A Vibe - Sabbatical Bob (Album Review)

If you’ve gone to enough shows, you’ve definitely felt the “vibe” - the crowd, setting, and artists all merging together to create something special in that present moment. It carries the music along with the memories, recapturing those nights dancing in clubs or grooving with a band alongside your friends and fellow fans. In Sabbatical Bob, these talented young players are stewards of cultivating a vibe through dynamic, wide ranging funk that highlights both the individuals and the group. Every inch of their live sound encourages audience members to lock in and “shake that vibe.” Their latest full-length album, That’s a Vibe, steeps listeners in deep pocket grooves, stellar arrangements from an 8-piece ensemble, and a standout presence that begs to be experienced live.

Setting the vibe immediately with an endearing self-titled track, the band simply repeats the mantra, “That’s a Vibe!” “Electrolyte Solution/Broken Thumb” turns up the heat with a hydrating burst of funk complete with James Brown stylings, energy that’s no doubt fueled by electrolytes to reinforce their fast breakbeat sections and winding horn arrangements, and a wild guitar solo from Ian Elyanbekov. “Lil Bunny Foo Foo” pairs gritty riffs a la Rage Against the Machine (especially with how the guitar and bass sound together) with playful dynamics and rhythmic interaction. In addition to holding down trumpet, this track showcases Benjamin Green’s vocal chops. “Really Right” blends an almost Hendrix-style phasing guitar riff against a half-time groove that’s as deep and wide as the grand canyon. The guitar gets plenty of room for a solo along with an affected trumpet and sax solo trade between Green and saxophonist Alain Sullivan. The percussion included by bandleader and drummer David Ward was a nice touch as well, adding to the feel and flavor of the tune.

“At Least One” slows things down but keeps the bass/guitar combo front-and-center. The backbeat shifts partway through the song and adds clav, giving the perfect “stankface” moment. “Paradise” oozes with swirling phasers, dark tones, ambient reverb and delay, before it brightens up (tempo, instrument tones, and more active playing) and builds to the peak with some stellar solos from Alain Sullivan and keyboardist Jordan Anderson. “Interlude 1” provides a wonderful palette cleanser with some wonderful lo-fi stride piano that adds to the feeling of scrolling through radio stations. “Drive” lays the vibe back and begs for a slow drive through the city. The groove develops throughout and even includes some trashy, New Orleans-esque swampy funk under some tasty vocals. After some additional radio sounds on “Interlude 2,” the Gogo party is in full swing with “Shake That Vibe,” a tune that instantly gets the party going. “Interlude 3” channel surfs through more radio stations before a reprise of a previous track under “Paradise II,” this time with some added synth solos. This feels like when a DJ brings back a groove from earlier in the set while cutting it with something new. To keep the vibe rolling as the album winds down, a mellow, spacey track called “Springtime” counterbalances all of the upbeat grooves with a warm, cozy, flavorful sonic soup that is a comfort to the soul.

From their polished, exciting live shows to their recordings radiating funk personality, Sabbatical Bob has shown their abilities as performers, collaborators, and producers all over That’s a Vibe. Musicianship is on full display to celebrate the individual players while the collective shines throughout the album. Funk is explored to its furthest reaches while adjacent sounds add tasty moments in each arrangement. The mix on this record sounds great as well, building on their last self-produced record and adding so much color to their already eclectic style. Sabbatical Bob easily proves why they are a rising in-demand collective of some of Michigan’s finest young talent while raising the bar for everyone wanting to claim “funk music” on their band’s bio page. Well done all around!

Album Credits:
Saxophones - Alain Sullivan
Trumpet/Vocals - Benjamin Green
Trombone - Zekkereya El-magharbel
Bass - Benjamin Wood
Guitar - Ian Eylanbekov
Keyboard - Jordan Anderson
Drums/Percussion - David Ward

Recorded & Mixed by Geoffrey Brown
Mastered by Kate Derringer

Support Sabbatical Bob!
Website: https://sabbaticalbob.wixsite.com/funk
Facebook: https://www.facebook.com/SabbaticalBob
Instagram: https://www.instagram.com/sabbaticalbob/
Spotify: https://open.spotify.com/artist/4vFxdosJYUGMUbA3N7YmJ1?si=0r3L3TxjTFWSYkCxC0Hq0w
Bandcamp: https://sabbaticalbob.bandcamp.com/
YouTube: https://www.youtube.com/channel/UCXm0bvXVY7dX30kLtHuRElA/

Click to listen/buy the record!

A Public Thing - Jay Gavan (Album Review)

A music scene isn’t just the folks you see leaving and returning to the state for big concerts, it’s made up of individuals who have dedicated portions of their full lives to performing, recording, and educating around music. These people give more depth to a scene than what can be quickly summarized in an ad campaign, and it’s artists like Jay Gavan who combine their passions to create something unique among his local peers. Part social commentary, historical storytelling, and diverse prog/classic rock opera, A Public Thing shows how a focused passion around a concept can be colorful and compelling without being sonically claustrophobic. It is a rich piece of art that whimsically parallels current empires with past civilizations and builds theatrical set pieces with the nostalgic rock idioms in delightful ways, whether you’re a seasoned musician or just a history buff with a craving for a good story.

The first track, “Collapse,” is a commentary on how all empires eventually fall. The constant ups and downs of civilization, be it from progress or from warfare, are observed elements of culture, rather than merely isolated stories distilled purely into poetic songs that “dinner guests remembered.” However, in that same lyric, Jay summarizes how most people learn about history through entertainment, whether in catchy songs, staged plays, or well-crafted media experiences that lead to better retention, even if from a skewed perspective. There’s an Egyptian flavor to the beginning of the song that moves through different chord changes that are reminiscent of classic prog rock bands. The twangy electric guitar in the slower spots adds a touch of a “country ballad vibe” to this eccentric opening track. Next, “Owl Eyes” begins to tell the tale of Ancient Greek civilizations at war, the foundational story that the music and lyrical parallels will build on throughout the record. This folk rock tune begins the historical storytelling of Athens in 431 BCE, preceding the inevitable conflicts that the then ruler, Pericles, would have to endure against the Spartans from Peloponnesian League. The ending of each chorus states “Liberty Forever - Is it safe to assume?,” commenting on the messaging citizens often receive from their governing bodies of why a war is happening, drawing a parallel to current American perceptions of why the country involves itself overseas.

The titular ruler “Pericles” is examined in this grooving prog rock tune that is reminiscent of British Invasion styles of classic rock, alternating between straight rock jams with odd metered turnarounds and stylized verses that dip into cartoonish backdrops with acoustic guitar solos reminiscent of jazz manouche. There are also parallels to everyone’s favorite recently ousted and fake-currently-installed real estate mogul President, whose name escapes me, that parallel some of the leadership tactics of Pericles’ ancient political opponents. “The Flutes” centers on a surf rock sound that would probably draw from the same inspirations as Grand Rapids-based surf rock band, The Concussions. However, building the song around the Spartans’ advance places the mood closer to a B-52s track while listening. The lyrics and tone of the tune shift to reflect the perspective of the ruling class under Pericles, sitting comfortably behind the walls of an empire built with colonizing blood that seeks to ignore problems rather than have to directly confront them. “Meet the Press” is a sinister sounding bluesy tune that outlines the press as a diligent “thorn in your side,” seeking out the truth and preserving the integrity of their source material. It speaks as a warning to the powerful entities in this story with lines like “If there’s a smoking gun, we’re gonna find it.” There’s also an electric guitar solo that shows some of Jay’s jazz vocabulary while remaining tasteful to the character of the track. With “Echo Chamber,” listeners are back on the beach with this even more nostalgic surf rock, this time commenting on social media being the modern day “soothsayer,” with an additional  observation on the categories society falls into on the internet when arguments start “taking sides: “Only half believes reality, the other half wants to secede/ A third half is tickled by the first two halves' stupidity.” 

Earlier, the Spartans are merely described as the righteous army combatting a colonizing empire, but in “Spartan Education,” this doo-wop song serves to use the same fighting force to examine the messaging that often goes into military recruitment. There are so many things to “forget” in the pursuit of transforming into the “perfect soldier” (math, science, history, literature, philosophy), but all of the ignorance can be replaced by orders, allegiance, and the overwhelming power that comes from a holy war. The references to other songs in American music history that directly counteract the real world pain from wars, atrocities, and economic depressions are abundant in this tune. “Earth Angels Beyond the Sea Sleepwalking” refers to more popular American tunes by Harry Waters Jr./Marvin Barry/The Starlighters, Bobby Darin, and Johnny and Santo, all invoking imagery of other worldly experiences but tied to the doo-wop and crooner aesthetic. “Chain Gang In an Aeroplane Over the Sea/ You gotta Let It Be!” referring to tunes by Sam Cooke, Neutral Milk Hotel, and The Beatles, centering around themes of oppression with the reassurance that comes from past wisdom that things will improve. Still another verse references The Marcels and Ben E. King, possibly Cold War Kids. Chatting briefly with Jay, he mentioned that on a basic level he wanted to reference “four-chord songs” that he references in the lyricism, but these choices definitely add to the depth of the music regardless. Every single reference plays to the decade of such disparate emotions with WWII and post-war civil rights issues being juxtaposed with some of the happiest music, skewing the lens of history for some looking back.

As previously mentioned, a lot of characters and opinions have their own thematic material, and Symposium changes thematically whenever Socrates speaks. The responses point to more modern commentary on the current American political landscape. The latter portion of the song returns to the character of “Owl Eyes,” paralleling the concept of history repeating itself. “Strange Arrow” is a mellow jazz number detailing a grumpy, lonely man at the bar finding love in an old saloon, realizing that he was “the only one getting his cover charge’s worth.” As Jay described, he used this track to detail a personal love story while also serving as a transition into the next tune. There is a reference to Eros, which fits thematically with the Ancient Greek storytelling and to the theme of this song, since Eros is like cupid in mythology, but with the added power to make someone repulsed by another.

Lysistrata” refers to an old comedic play telling the story of a woman who tried to end the conflict between the various Greek states by organizing a sex strike against all of the men involved as a way to force more peaceful negotiations, since war time often involves “sexual conquest” (from the romanticized love to the more violent). The lyricism also advocates for more women being heard in areas of male authority, with the reference to Athena, Zeus’ wife in mythology, as being the type of female-focused guidance a polytheistic nation should center around (paralleling the generations of women’s rights movements). There is a reference to “Meet the Press” in parts of this tune, showing a more biased, nuanced portrayal of how major news sources can function. The lyrics switch from “We’re the press” to “Tell Us What You Want,” favoring the more gossip and sensational story over the genuine grievances of those reporting information. The tonal shift of the press from a formal, stalwart bastion of information to a soothsayer of sorts is expressed in lines like “(We’re the press) we don’t discriminate/ Unbiased in our coverage of love and hate/ (Tell us what you want), we’ll consider our arrears/ For at least twenty-five hundred years…” Jay could have also been using “arrears” as a double meaning, since it sounds like “errors” upon first listen, showing how history/news is full of errors based on who is telling the story. “Arrears,” or money that hasn’t been paid yet for debts, speaks to the trend of “we’ll correct the record when the time is right,” serving as a way to comment on America’s misrepresentation of its own history in part from historical press records serving a propaganda campaign. The line “When men are driving, no one asks the way” is a succinct way of summarizing the lyrical themes in this track. 

“Wine Dark Sea” is a calming samba that drives home the point made in previous tracks of an idyllic picture of life versus the reality that is observed. “You” has access to entertaining and sculpted representations of society while “We” has access to the more accurate measurements and depictions of history. The “Wine Dark Sea” also calls back to the depictions of bloodied seas in battle. “The Demos” is one last tune commenting on how history is often the first draft, and we all need to “listen back to the demos,” referring to the revision process that goes into the music writing and production. The musicians in the studio are the ones creating the “history” and the executives at the top of the music companies retell and repackage the art for whatever grabs the most listeners and yields the best results, much like selective re-telling of history serves different purposes rather than learning from the people that directly lived through these moments. “Demos” also translates to “the people,” which in ancient Greece refers to the “voting public.” The chorus leaves one final message for the listener: “Let’s listen back, we’ll listen back to the demos/ You won’t hear no hate, no gender, class or race in the demos/ Then tell that older generation/ When they try to throw that boomer-ang right at you/ Fear of change only curses fools/ You gotta listen back, just listen back to the demos.” 

This record was equal parts challenging and rewarding to listen to and examine as a musician and critic. Musically, there are wonderful callbacks to earlier themes and musical motifs that help reinforce the storytelling and hone in on the idea of “history repeating itself.” The exploration of different genres within the overarching rock style helps to strengthen the diversity of the various characters and subjects presented lyrically, whether they be Ancient Greek conflicts or modern day socio-political commentary. There are plenty of moments where songwriting shines through, with choruses that hook you back into the narrative and ground you in the materials presented. The astute history student can spend hours connecting the lines of historical references to the present. The seasoned music enthusiast or career musician can dissect how certain styles enhance the storytelling or various references create moments of meta-commentary. The classic rock super fan can delight in the various ways Jay showcases his love for artists of all decades while drawing broader parallels to artists like Pink Floyd, Yes, or Emerson, Lake & Palmer. It’s a record that immediately changes from “hobbyist, quirky album” to “well-realized concept piece by a huge fan of history, storytelling, and education.”

Bandcamp: https://jaygavan.bandcamp.com/
Soundcloud: https://soundcloud.com/jay-gavan

Written, Recorded and Produced by Jay Gavan at the Kalamazoo Academy of Rock in Kalamazoo, Michigan in 2021: www.kzoorock.com

Mastered by Mike Roche at Broadside Productions: www.broadsideproductions.com

Welcome to Neotroit Vol 1 - Say Less (Album Review)

If last year taught us anything, we are not used to listening as a country. Sure, we may consume hours of media, jump from podcast to YouTube video to album, but there are often things lost in translation. As Cory Henry put it in one of his tunes with The Funk Apostles, people are “talking loud, and saying nothing!” What if you could feel the change coming, stirring in the sonic spaces of a passion project in Detroit? What if there was a direct response to all of the noise, commanding your attention rather than your opinion? That’s what Welcome to Neotroit Vol 1 is bringing to the table.

This project is a collaborative effort under the band name “Say Less,” and it features Louis Jones and Jordan Anderson crafting a super imaginative collection of tunes geared towards having you think as you listen. Textures swirl around pocket grooves, synths pulse with warm bass lines, and samples and scratches cut through the mix and support featured soloists and emcees. The album unfolds with “The Shadow,” a track that is bookended by some cinematic synthesizer as you are introduced to the meat and potatoes of this album: black excellence in artistic expression! Keys and DJ sounds flow around dark, groovy beats to give this opening track some weight. It then moves to “Meritocracy,” a word often used to dismiss black citizen concerns about unequal opportunities in education, the job market, housing market, etc. However, in this tune you can tell every part was selected for its excellence and performing/creative ability, adding another layer of interpretation. The overdriven synth sounded like a guitar, and it reflects the anger that comes from hearing that “work hard and you can achieve anything” thrown at black citizens needing their basic needs met. “Teargas in the Savannah,” the second single released from the record, centers on an Afro-Cuban percussion groove, a bass clarinet driving the bass line, and saxophones improvising around in a fashion reminiscent of Rahsaan Roland Kirk.

“Derek Chauvin” was the first single released from the record, capturing the moods and black energy around calls for justice in response to the murder of George Floyd. It’s a spacey, heavy vibe punctuated by cool, “out” soloing and chordal interjections that lets you sink into the headspace needed to reflect on systemic racism and the police relations with the black community. “Karen Crowe” creates the perfect imagery in your head of the archetypal racist, entitled white woman who responds to anything black with outbursts and calls to management or cops. The tempo shifts and added video game-sounding synth textures almost sounds like a Street Fighter game where you’re placed in conflict with this Karen as a listener. The flute solo with the delay trail was a wonderful touch of color and tone. “The Big Bang” is as explosive as the real thing, with all of the tension and the frenzied drumming and keys and sounds being born into the universe this album has created. “Lilith & Eve” features some Herbie Hancock fusion vibes that also delve into the large ensemble, futuristic fusion freedom that is reminiscent of Kamasi Washington’s shared love for large sounds and multiple black genres interacting. “Intergalactic Gentrification” can be summed up like this: it takes a second to build, but you can’t ignore it once it drops, just like real gentrification! The raw percussion sounds peppered in the smoother synth layers feel great around the involved jazz head. Finally, to celebrate the contributions and collaborations on this record and tie up every concept into one send-off, listeners are treated to “ANTIFA Block Party.” It’s got the Afrofuturism and unapologetic funk of artists like Parliament Funkadelic paired with the energy you’d hear in a Detroit block party that tosses in some Go-Go music vibes. It’s a track that feels like a celebration of black artistry!

This album is one of the strongest first releases I’ve heard from a Michigan band, full stop. It’s a level of maturity in artistry that far exceeds their young age, and it’s a great indicator of how Detroit musicians work and collaborate. Strong musicianship, interesting production and arrangement, speaking to so many things through mainly sounds rather than lyricism (“say less”), and a level of care and passion that is palpable throughout. Listen to this record, absorb the messages baked into the artistry, and celebrate black culture with “Welcome to Neotroit, Vol 1!”

Support Say Less!
Facebook: https://www.facebook.com/saylessproject/
Instagram: https://www.instagram.com/saylessproject/
Spotify: https://open.spotify.com/artist/0kGuyiRGOHRv3TyZwRKhEZ?si=Rbwu73K6RlK0NzWhLeWB_g&dl_branch=1

Album credits:
SPECIAL THANKS TO David Ward, Geoff Brown, Kasan Belgrave, Ben Green, Chris Tabaczynski, Alain Sullivan, Desean Jones, MC Kadence & Mr. Demented for their musical contributions.
Mixed by Geoff Brown

A Light Within The Dark - Chris Cranick (Album Review)

Chris Cranick has proven himself to be a capable and entertaining performer and songwriter in the Michigan music scene. Along with his band Overdrive Orchestra, he has been recognized in multiple “Best of the West” Revue Magazine award years, showing that in addition to support from the music community he has made an impression on West Michigan audiences. His soulful rock voice soars high and mellows low, and his guitar skills are equally as diverse and injected with passion. For 2021, he has crafted a new record to showcase his skills as a performer and songwriter with A Light Within The Dark, and these skills are definitely showcased in spades when you consider that aside from myself on various keyboard instruments and Scott Pellegrom on the drums, the album is fully written and performed by Chris.

“Take A Load Off” is a great way to kick off the record and give listeners an idea of what they can expect throughout the record: layered accompaniments that don’t take away from the vocals, psychedelic/spacey textures added among the rock/Americana aesthetic, and solid performances by Chris and the supporting artists on the record. It  grooves over a guitar riff that has a bouncy, rhythmic hook (think “Wake Me Up Before You Go-Go” by Wham!) and expands to a lightly Americana-seasoned rock tune, complete with guitar and mandolin melodies overtop. “Black Tea” relaxes things a little with a dreamy rock aesthetic that has an instrumental section that mirrors the melodies on the verses. “Sleep Talking” progresses that much closer to the fully relaxed, adding more soundscapes for the listener to sink into as his vocals continue to remain present. “Light In Your Eyes” drops the psychedelic rock vibe and sinks into a mellow, Americana styling to the overall flavor of the song. There are some great vocal harmonies, an added melodica for a different, bright texture, and some lead lines on acoustic guitar. “Chasing The Sunset” feels like when you’re in the car on the highway trying to get to the Michigan shoreline to watch a sunset: fast-paced, light and enjoyable, with all of your stresses melting away as you take in the scenery. The way it’s written and the various ambient tones surrounding the song structure reminds me of My Morning Jacket almost, with a wonderful vocal hook to tie everything together. Then, after the sunset, folks gather around the campfire to hear a story in “Firebug,” a wonderful, acoustic-guitar driven number that shines in its ability to be patient in its shaping of dynamics. With the Americana “train” backbeat comfortably driving the tune and Chris’ vocals shining through, it’s no wonder this was the first single released off of the record. Finally, in a fitting end to this record, “West Coast Blues” creates a sonic summary of what makes this album a wonderful listen: solid songwriting, careful attention to how the electronic and acoustic textures play together, and great guitar and vocal work from Chris, complete with a slide guitar solo that glides effortless overtop the spacey textures.

In 7 tracks that sit a few minutes shy of a 30 minute release, Chris Cranick has successfully demonstrated why he has garnered so much support over the years in Michigan. Each tune sits in the rock genre while taking steps to explore other styles that result in enhanced song structures rather than straying too far from the overall aesthetic. Every guitar line or vocal hook is comfortably placed, showing an artist with experience that knows how to craft a record. It’s a record that lets Chris shine his brightest in a variety of ways, a celebration of humble approaches to well-rounded talent. Pop this CD in the car and let that long commute stress just melt away, this is the perfect compliment to a summer evening!

Support Chris Cranick!
Facebook: https://www.facebook.com/chriscranickmusic/
Instagram: https://www.instagram.com/chriscranick/
Spotify: https://open.spotify.com/artist/1rpZY0x4nsqnYKqVYKSR8p?si=ICov73DSTuOJiY2qfRAP8w
YouTube: https://www.youtube.com/c/ChrisCranickMusic
Bandcamp:: https://chriscranickmusic.bandcamp.com/

Album Credits:
Chris Cranick: Acoustic and Electric Guitars, Vocals, Bass, Mandolin, E-Bow, Percussion

Additional Musicians:
Dutcher Snedeker: Piano, Rhodes, Wurlitzer, Melodica
Scott Pellegrom: Drums

All songs written by Chris Cranick
Published by Phunky Phetus Music (ASCAP)
Produced by Chris Cranick
Engineered by Kevin Kozel
Recorded at Third Coast Recording Company in Grand Haven, MI
Mixed by Kevin Kozel
Mastered by Ian Gorman at La Luna Recording & Sound in Kalamazoo, MI
Photography by Paige Stevens and Chris Cranick
Album Design by Chris Cranick
Thank You: Paige, John + Therese, Taylor + Adam, Adam + Jackie, Cameron, Shaun, James, Chris + Carlie, Matt + Debbie, Brian, Jordan, Pat, Tay, Mike, Nikki, Jesse + Danielle, Bobby + Denys, Darline + Mike, Jeremiah + Alicia, Zach, Kevin, Scott, Dutcher, Bill, Ian, John, all my friends and family as well as the beautiful state of Michigan

As Am I. So Are You. - As Am I (Album Review)

In West Michigan, you may have heard of Jorge Sanchez Quizena in the rock and DIY music scene. From his organizing charity concerts to supporting artists in Be Conscious Studios with live performance recording and streaming, he is a die-hard fan of the Michigan music scene and does everything in his power to see folks having a good time and having their needs met. They also facilitate podcast-style interviews with performances, an experience I had firsthand as a performer back in March. As a musician, he performs with As Am I, a band that released their first, self-produced record in the last few months to put their brand of hard rock out into the community in an EP called As Am I. So Are You.

Each track on the record showcases a different aspect of their sound, whether it’s driving rock choruses or quieter, simmering sections. The record feels like a live set from the band, with an ebb and flow that feels like you’re catching them opening a night at a rock club. Right away, the opening track “Compass” drives some energetic rock riffs complete with a guitar solo. “Come Down” keeps things riding high with some feel-good riffage that is reminiscent of Black Label Society mixed with some metalcore styles. “Four Letter Word” focuses on the fickle feelings of love with the catchy chorus hook of “Love is a four letter word.” The album takes a second to breath with “Goodbye,” dipping in and out of heavier sections with quieter moments. “Know Your Place” has a contrasting intro from the other songs on the record that catches your attention, with hits that slowly build to the climax, a moment that no doubt hits hard in a live setting. “Lakes” is a track centered around meaty blues riffs that don’t overstay their welcome, and the closing track “What Would You Say” leaves the listener on a different energy to how the album started, letting you exhale as it winds to a close.

What this album is for As Am I is a definitive starting point, and it points to a great foundation to have as a group. Being self-produced, they can continue to hone their skills as engineers and take their experiences with other artists into future studio projects with the band. Because they help young artists with streaming and online content, they’ll be able to creatively display the band online in music video and concert clips alongside quality, streamed concerts. And you know with Jorge Quizena’s positive, supportive vibes, you’re in for a fun concert experience whenever As Am I hits the stage to throw down on some riffs. All in all, this album speaks to the start of a great addition to the up-and-coming rock musicians in the Grand Rapids scene that can also be helpful and supportive in so many avenues of the music industry!

Facebook: https://www.facebook.com/asamitheband
Instagram: https://www.instagram.com/asamitheband
YouTube: https://www.youtube.com/channel/UCVok0ZtDmmHl2u5I0sDQH7g
Spotify: https://open.spotify.com/artist/38nlq6husNgAZPpEFYrw5I?si=R6Vr7ZJQS5usLt6ssezArQ

Everywhere I Roam - Sean Miller (Album Review)

Sean Miller has embodied music from an early age. He grew up taking piano lessons and has traveled as a percussionist at the Percussive Arts Society International Convention (PASIC) and the Society of Ethnomusicology (SEM) among his achievements in high school ensembles. This Petoskey-born artist then taught himself guitar, drawing from players like Gregory Alan Isakov and John Mayer alike. With his guitar skills, he then began performing around the state with this group, The Real Ingredients, while also exploring solo avenues with his first demo recordings in 2018. He has also recorded songs with Katie Larson (The Accidentals), opened for artists like Brotha James and Seth Bernard, and has even performed private showcases at the Folk Alliance Regional Midwest (FARM) convention in Grand Rapids. Now, for 2020, Sean Miller recently released his debut album, Everywhere I Roam, and it is a true testament to his upbringing in music and the many journeys he has already been on as an artist.

Right away, listeners are taken to his hometown with “Couldn’t Make This House A Home,” a tale of young love, big dreams, and the pain that comes from someone close moving away. The instrumentation is kept simple to let the lyrics shine, with guitar, bass and drums supporting. “Fly On” longs to find his lost love while trying to travel around, hoping that the stars or some hand drawn maps will guide him. With “Canned Peaches,” the instrumentation builds so beautifully to support his lyricism with strings and organ, giving some warmth to a nostalgic song about family memories. All in all, it is probably my personal favorite track on the album due to how naturally everything is put together. “Phone Call Smiles” reminds you that wherever you are, you are always a phone call and a pleasant conversation away, and the tune has a beautiful back and forth between Sean and guest vocalist Lara Fullford. The title track picks things up, with spirited tales traveling “these Midwestern roads” from “Madison to Kalamazoo.” The album then rounds out succinctly with “Man On A Roof,” an emotional tune that highlights Sean’s vocal range and guitar skills, and “Oh Red Star,” a song that almost begs for the audience to clap and sing along in celebration.

Everywhere I Roam may be Sean’s stories to tell, but the words ring true in many of our lives. We all seek love and community, we love to briefly travel back to fond memories, and we’re always searching on life’s journey. Each track puts you in a time and place, stirring up those feelings of when life had simpler meaning and times with your friends seemed like they were endless. There is a feeling of nostalgia that drives the narrative in this album, and it plays out like sonic comfort food. Whether you’ve put in as many miles driving around the Midwest or if you’re looking for some feel-good music, Sean Miller’s debut album centers around his honest delivery, heartwarming stories, and solid roots in the Michigan music community. 

Website: https://www.seanmillermusic.com/
Facebook: https://www.facebook.com/seanmillermusic
Instagram: https://www.instagram.com/seanmillermusic
YouTube: https://www.youtube.com/channel/UCLTt3cTRqMxBhWcTeXyBuWA
Spotify: https://open.spotify.com/album/1VdHBG84tTFLWVORPMIa2H?si=Ssa0rrWvSM-xnigxAsMUKA

Piece by Piece: Piano Patterns #1 (Pop Snacks), Winter, and Recital Highlights

On March 29th, I happily joined some of my fellow music school peers in a performance various works composed by Richie Arndorfer for his recital. Everything from solo piano to mixed-instrument chamber ensemble is included, and it served as a great display of Arndorfer’s growth at GVSU, especially since it followed his senior oboe recital (which I was also happy to participate in by accompanying him on Winter’s Passed by Wayne Barlow). In this article, we will focus on the story behind the works for solo piano I performed, because crafting a piece is much more work and thought than can be expressed in a program note. 

  

The first piece I performed on the program was one previously premiered at Die Bibliomusik in the fall of 2014, with additional performances at GVSU’s Student Recital Hour and a recording made for Arndorfer’s graduate school portfolios. Piano Patterns #1 (Pop Snacks) was constructed during one summer night when he had drank “way too much coffee” and proceeded to play piano for the next 4 hours. With this extra burst of energy, he set to performing only on the black keys for the majority of the session. The work capitalizes on the piano’s half-pedaling technique and the fact that amidst a constant pattern of sixteenth notes the performer can naturally highlight the changes in the repetition. This short work sparks delight in the audience, taking a couple minutes to express a cheerful, simple pattern that changes over time in true minimalist fashion. 

The next piece I played on the program was titled Winter, a piece broken up into three distinct movements for solo piano, all detailing different aspects of this particular season. It was first arranged as a trio for oboe, vibraphone, and violin, with each movement based on the concept of light, focusing in on a particular spectrum, including infrared and ultraviolet.  Once the parts were work-shopped with the instrumentalists involved in that trio, Arndorfer decided to explore other possibilities in arranging the music. At his oboe recital during the same evening, these movements were premiered as an arrangement, titled Spectroscope, for vibraphone, two violins, clarinet, and oboe. However, when set to piano, it begins to take on a different appearance than the trio or quintet arrangements, prompting Arndorfer’s decision to shift the themes to those involving elements of winter. What also worked well was the inclusion of a projection related to the piece that was created by GVSU alumni and composer John Jansen. This visual element paired nicely with the music, changing to match the different themes of each movement.

The first movement, frigoric, is based off of the original trio arrangement of Spectrum, and it details the mood during a day blanketed lightly by snowfall. The steady, walking pace of the piece expresses the imagery surrounding a snowfall in nature or a quiet village. For performers and listeners alike, it is about indulging in the subtle changes found in the harmonic progression and delighting in imagery found in the piece. With the pedal held down for the majority of the piece, it serves to accent the natural acoustics of the piano and really create a wash effect with the different harmonies. 

The next movement is a fast flurry of notes detailing a violent snow storm. The work is titled Hyperborean, named after the mythological Greek race that lived “beyond the North Wind” in a perfect land modern historians observe to be somewhere around the Arctic Circle. One can imagine the storm as a sort of barrier to the lands the Hyperboreans occupy. Originally titled Infared for the trio arrangement, this movement pushes the harmonic “wash-effect” shown in the first movement by speeding up the tempo and the frequency of harmonic changes. This triple-meter, driving harmonic engine has piercing attacks on high and low ends of the piano that act as markers for moments of change in the piece. The notes in the piece were pulled out of a numeric system Arndorfer drafted to find a unique way to construct a piece. Each of the twelve pitches has a number, starting on number 4 with the note “C.” The number dictates how many repetitions of the note can occur in the rhythmic engine, offering a compositional device for focused, creative limitations. The work flies by, requiring great energy from the performer and not allowing the listener to grab onto anything musical for too long, keeping their interest in spite of the blatant dissonances that come up from constantly hammering different chords with the sustain pedal down. 

Unlike the previous movements, he first arranged Ultraviolet into a work for solo piano. Now entitled We Sat Around in a Torpid State, it is a piece I premiered at one of the Die Bibliomusik permutations last fall. This was also the first movement written to highlight different aspects of winter, prompting the other movements to be tailored to this idea. Following a fast, loud, dissonant piece, this movement is slow and lethargic, showing the hibernation that accompanies winter. The piece takes advantage of the piano’s ability to create distinct timbres through sustaining long chords in a higher register, capitalizing on the frigid sounds that liken to the icy landscape found during winter. For the performer and audience member alike, it is a piece that freezes you in time, relieving the tension of the previous movement. The natural reverb found in the body of a grand piano paired with focused changes in the harmonic progression, drawing out each change with the sustain pedal held throughout the piece. Paired with a fitting projection of a light snowfall by a park bench placed in the woods, one can easily place themselves in that landscape, seated on that bench indulging in the elements of nature. 

  

Overall, Richie Arndorfer’s compositional recital was a success! Aside from the piano works performed, there were a great display in compositional ideas presented. Taos, Waiting, a piece for oboe, clarinet, viola, and percussion, conducted by Arndorfer, kicked off the program. The combination of various unresolved harmonies with alternating sections of frantic runs and meditative moments of calm displayed a great range in his compositional style, making use of different instrument combinations to create some great musical moods and moments. “Basket Case,” a duet for marimba and vibraphone, focuses on reading music fixed to a literal basket that gets rotated over the duration of the performance, offering new musical combinations for the performers involved. Another unconventional ensemble piece presented was the Meijer Bag of Mystery, a piece that has expanded in variety, ensemble size, and has improved with each performance at Die Bibliomusik, Student Recital Hour, and the Hour of Mystery event dedicated to this work and other Aleatoric pieces. It features a mixed ensemble of flute, oboe, tenor saxophone, marimba, vibraphone, violin, viola, electric bass, and tuba, with Arndorfer conducting the group through a variety of compositional techniques. Using different player parts containing musical motifs set to a number, a literal Meijer bag filled with numbers to draw at random, cued transitional material, and recalled memory snapshots fixed also to numbers (using “Sound Painting” techniques), this piece displays a huge range of creativity. It’s very spontaneous and filled with variety, including cues to use extended techniques and to discuss different topics between ensemble members and to the audience. The final piece, Hydrogenated Oils for solo marimba, shows the great aspects of 12-tone writing that can flex one’s compositional muscles while being well-received by a general audience.

Richie Arndorfer owned March 29th, both on oboe and as a composer. The difficulty and variety in his performance recital shows his proficiency on the instrument, while his composition recital program shows his imagination in arranging and scoring works, his desire for collaboration, and his delight in the unconventional. When the video/audio becomes available, it will definitely be posted on this page for your viewing pleasure, and I highly encourage you to check it out! 

To read a little more about Richie or some of the other events described, check out these links:

Composer Feature: https://dutchersnedeker.wordpress.com/2014/11/29/student-composer-richie-ardornfer-solo-piano-works/

Die Bibliomusik: https://dutchersnedeker.wordpress.com/2015/02/16/die-bibliomusik-series-at-mary-idema-pew-library/

Featured Composer: Matthew Finch

One thing that Grand Valley State University does not lack in is student collaborations. From student led side projects, chamber groups, and discussions on music, GVSU has a community that often isn't observed beyond the cluster of practice rooms and large ensemble concerts. One student who has invested a lot of time and energy into collaborating is this week's featured artist, Matthew Finch. Matthew Finch is a GVSU student that will instantly leave an impression upon first meeting him. His cheerful disposition is only matched by his passion for creating music. He wears a variety of hats as a musician, including working in electronic and acoustic mediums, on the electric bass, and as a composer and ensemble leader. Pulling from a variety of influences in New Music and ambient electronic music, the different avenues in which he operates serve to highlight his overall talents as a musician.

Currently, Finch is a graduating senior at GVSU, with a focus in composition. This focus has led him to work with other student composers and willing performers to premiere a variety of works, including pieces performed at the GVSU Student Composer Competition and at the recurring "Die Bibliomusik" series held at GVSU's Mary Idema Pew Library. Each work draws from a minimalist background, connecting ideas in layers that are slowly constructing the overall work during the course of the performance. I myself have played works by him for solo piano and electronics and with GVSU's New Music Ensemble at these types of events. While the ensemble now can guess which pieces he wrote for  the "mystery" minute-long pieces for this year's composer competition when reading through the scores, it is only because he has developed a strong compositional voice as a student. Currently, he is planning on performances of his acoustic and electronic works for his senior project recital, and part of the performance includes the "Fragile Thought Ensemble," a collective of students performing his latest and longest work "Fragile Thought."

The ensemble contains several players: myself on piano, Julia Gjebic (English horn), Kevin Flynn (cello), Richie Arndorfer (oboe), Bailey Groendyke (vibraphone), and Krista Visnovsky (violin). Many of these players are pulled from active participants in the GVSU New Music Ensemble, with Arndorfer being another active composer/performer and Groendyke providing additional percussion on certain NME performances. The piece is a great example of Finch's writing style, playing around with elements of minimalism and including cell-based motifs for the majority of the players. The piece revolves around the rhythmic interplay between the percussion and the piano, as they serve as a grounding of the pulse. This pairing also deals with a drawn out syncopation in a mixed-meter motif, acting as a strong rhtyhmic engine moving the piece towards the end. One could say he has drafted his own version of a "rhythmic crescendo," as the winds and strings move from out-of-time to grounded in the meter and back out, capsizing the foundation left in the piano and vibraphone to close the piece.

The idea for the music comes from focusing on fragility, specifically viewing how firm/solid items fracture and break over time. These concepts were then honed into textures that form a sonic shape, showing a clear movement from the more amorphous state, to solid, to the fracturing of that solid. The amorphous textures are created through the cell-based material heard in the winds and strings. These cells are small musical expressions meant to be played out of time and interpreted by the performer, outlining a more malleable sound moving with the piano, which serves as a sort of sonic anchor for the overall harmonic and rhythmic progression. The strings, winds, and marimba eventually arrive in rhythmic step with the piano, with a large poly-rhythmic figure played between the piano and marimba to the end, even as the other instruments gradually dissolve back into their "liquid" state.

When Finch isn't composing or facilitating performances his work, he can be seen working on M.O.T.H, a project steeped in ambient textures and generating sonic environments. Rooted in his layering and delaying of electric guitar and bass with effect/looping pedals, the project began around he end of his high school years and really coming to fruition during his studies at GVSU. His desire to collaborate through playing the electric bass expands beyond the bandstand to include the audience members in the show environment. Their recently debut on "slashsound" invites the listener on a journey rich with variety in the listening experience. "slashsound is proud to present our first worldwide release, 3 Vignettes, by Grand Rapids-based melodic noise project, M.O.T.H. specializing in longform pieces with organic, gradual development, M.O.T.H's gleaming timbral spectrums, poetic spoken-word discourses, and synesthetic sonic landscapes make for a truly surreal listen." Drawing from the improvisatory natures of jazz and New Music within the "atmosphere of the classical idiom," Finch creates a harmonious, glowing, constant texture that is geared towards being inclusive and inviting others to a discussion.

He is very deliberate in execution, carefully choosing each sound to place in the larger narrative found in the album. The focus of the album is commenting on the capitalist nature of the music industry, specifically geared towards how it forces most artists into a mold in order to achieve any success. While observers may first read this description as a brazen anthem spat forth from a punk band's front man, it is instead Finch's continued interest in being inclusive by inviting the listener into a discussion.  His music is subtle yet highly creative, and if you need firsthand proof you can find him at Grand Rapids Brewing Company for their  "Studio Night," where he creates a space for bar patrons and artists alike to inhabit with his music on Mondays.

I definitely encourage you to expand your musical palette and check out some of the projects that he is involved with. Below you will find links to his artist page, his debut album through SlashSound, and to dates where he will be performing or leading performances of his works. Matthew Finch is also an active participant at the UICA's  bi-monthly open projector nights by contributing his own personal films and providing the scoring to other films.

Check out his projects:

Facebook: https://www.facebook.com/pages/MOTH/1533430716933200?fref=ts

Soundcloud: https://soundcloud.com/m-o-t-h-project 

Debut Album: https://m-o-t-h.bandcamp.com/album/3-vignettes

Soundcloud

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