Steel Threads, "For Those Who Are Left"

Decades ago, there was a truth in music. If you wanted to hear music that was on the cutting edge, that would make you sit up and take notice, or just make you think, you would look to the United Kingdom. If you wanted music that was on the forefront of musical revolutions, you would look to England. Game-changers and innovators were part of the British Invasion, and many changes in the musical landscape since then have still been influenced by the land of The Queen. It can certainly be argued—probably rightly so—that the record companies hold all the power and influence today, but one truth remains: there’s still lots of good music in and coming out of England.

The Lost Chord, "Nostalgia"

After taking some time off from writing reviews to take care of some other business, I decided to get back into the flow with the help of Toronto’s The Lost Chord and their 2013 release “Nostalgia”. It’s solid rock & roll, with tight harmonies and occasional hints of psychedelia. It’s quite possibly the best album I’ve heard in my fledgling reviewing career.

That needs to be expanded upon? Guess I better shake off the rust quickly.

Rocket Club "Lucky"

NOTE: This was originally published on 3/20/14 at KOVL's Facebook page

DISCLAIMER: I am a huge fan of the band I’m reviewing today. I’ve been following them for five years or so, and it’s possible that I haven’t seen them 100 times, but it’s at least in the high double-digits. I’ve purchased all of their recorded music, and can sing along with nearly their entire catalogue. I’ve spent between three and fourteen months getting to know the songs that make up this particular release. I’ve seen them play in two states, with two different guitar players. One of those guitar players is a familiar face from a Minneapolis band I like even more than this one. I’ve boated down the St. Croix River with this band (once, not twice—I missed out on a second trip, and I’m still bitter about it six months after the fact). I’ve celebrated the Fourth of July, New Years’ Eve, and two CD releases with them. I’m not unbiased here. This may creep into my writing.

Jay Woodward "Letters We Told"

NOTE: This was originally published on 3/16/14 at KOVL's Facebook page

What’s the first thing you think of when you hear that an artist focuses on acoustic guitar? That the songs will be mid-tempo or slower? That you’re dealing with a singer-songwriter in one of the purest forms of that phrase? That the artist sings from the heart? If so, you’ve got Jay Woodward and his album “Letters We Told” pretty well pegged. From California, by way of New York and West Virginia, he adds a twist to the acoustic simplicity: lots of lessons learned as a Capitol Records sound engineer.

St.Aria "We Claim This Aria"

NOTE: This was originally published on 3/8/14 at KOVL's Facebook page

The very fact that St.Aria exists can be attributed to the old notion that good dreams never die. The man with said dream, Alexander Platon, saw an early version of the band fall apart. He took a spot as the keyboard player in The Borderline Saints, and talks with the Saints’ producer breathed new life into Platon’s vision. That dream, that vision, is to explore and create ballads. Two members of the Saints, their producer, and two other musicians helped make the dream a reality, with St.Aria’s debut EP, “We Claim This Aria”, dropping on February 28, 2014.

Depth Charge Ethel "The Arkhams"

NOTE: This review was originally published on 3/2/14 at KOVL's Facebook page

In trying to get a feel for what to say about Depth Charge Ethel’s “The Arkhams” EP, the number of times I listened to it was well into double digits. Not because it took so long to grasp the music, but because I liked what I heard, and really wanted to give it a proper analysis. The fact that it’s a five-song collection was another factor. When I took a look at their Bandcamp page and prepared to download the EP, I saw they were classified as both indie and punk. Combine that second adjective with “British”, and I had thoughts of comparing them to the Sex Pistols. But I can gladly say that there’s no “God Save The Queen” on the record, and I doubt their antics would approach those of Johnny Rotten or Sid Vicious.

The Broken Broadcast "How Not To Cut A Buffalo"

NOTE: This review was originally published on 2/23/14 at KOVL's Facebook page

Folk-rock has been making some waves the last few years, thanks in part to Mumford & Sons and The Lumineers. Artists with a similar musical style can quickly gain labels of “copycat”, “derivative”, and “following a fad.” That phenomenon has been going on for decades, in all genres. It’s played out, and unimaginative, ironically kept alive by unimaginative people who would rather just criticize than expand their musical horizons. Just because a band may sound similar to another group that’s gained more popularity, or paved the way within a genre, doesn’t mean they have nothing worthwhile to offer.