Indie Rock Review: Shambertans - Wallflower

Score: 85/100 

Release Date: November 16, 2020

Genre: Indie Rock/Pop

Similar Artists: Housemartins, Libertines, The Jam

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The Shambertans' debut EP, Wallflower, is an achievement in sonic alchemy. Formed in Cambridge, England in 2019, the band's sound is an extraordinary diversity of melody and mood, a blend of post-punk pop and modern no-frills rock. These balances are difficult to strike, and most modern rock bands end up producing grocery store music – one of a hundred varieties of the same product.

While the band stands on their own solid ground, the influences are clear. On the title track, “Wallflower," one can hear the strains of "Happy Hour" by The Housemartins. The pop hooks and the mellifluous tone of lead singer James Malone's voice bears an uncanny resemblance to Housemartins frontman Paul Heaton. Further on, songs with harder edges, such as "Sun in Your Eyes," bring to mind The Libertines in their ability to cut searing guitar licks between subtle yet impactful lyrics.

The theme throughout these understated lyrics is one of alienation and the fear of fading into the woodwork. On "Wallflower," Malone sings, 

"No life lives forever, deadmen rise up never, I'm a sleeper without a dream, searching for something." 

"Standing on The Dancefloor" takes us into the mind of the lovelorn, astounded that in a crowded bar he somehow has the woman of his dreams alone to himself. 

"’Cuz I want to be you; I need to be. Letting all the liberties fly. I see you. I want to be near you. It's what everyone wants, and only you can make them cry."  

The band’s power is restrained only by the pop song structure, and one gets the sense that Malone, guitarist Simon Jupp, bassist Sam Hester, and drummer Adam Mansfield are just itching to let loose live. Post lockdown, I'm hopeful that the band will do just that.

All in all, Wallflower is an impressive debut by a band on the brink of a breakout. Like a perfectly mixed cocktail, Shambertans blend influences and stylings to produce a modern, stylish sound that goes down easy and packs a punch. This band is establishing its footing as a force to be reckoned with for years to come. 

- Tom Endyke | Guitar & Pen

8.6.1

Pop/Rock Review: Paul McCartney - McCartney III

Score: 80/100 

Release Date: December 18, 2020

Genre: Rock/Pop

Similar Artists: Jeff Lynne, John Lennon, Elton John

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Since his departure from The Beatles, the beloved songsmith has alternated between skillfully-written pop masterworks to complete pieces of shite.  Who would deny the excellence of Ram, Band on the Run, and Flaming Pie?  On the other hand, who in their right mind can stomach head-scratchers like Wildlife, Press to Play, and the coma-inducing pablum, Give my Regards to Broad Street. Let's face it; what you get out of a Sir Paul release is anybody's guess.

Interspersed among his bipolar discography is a triad of numbered albums that beg the question, what is so special about this triumvirate?  What they appear to represent are three experimental shifts in style and direction. "I" was a lo-fi introspective shift away from Beatlemania.  Ten years later, after the dissolution of Wings, "II" set an experimental tone for his next era of pop profundity.  Fast forward forty years. In the middle of a pandemic, which he dubbs "rock-down," McCartney finds himself at the final transformational point in the triad.  

This current incarnation harks back to the first. Let's face it; Paul was the polished Beatle, the produced and precise Beatle, while John was rougher around the edges. The combination of the two is what made the magic. On "III", John lets himself go.  He skips the razor and hairbrush, and as a result, we see more of his authentic self. He creates grooves and then jumps into them to explore space within. There's a little John Lennon in these tracks, and thus, a bit of magic is conjured. 

"Long Tailed Winter Bird" sets the pace with a vibrant blues riff greeted by scuffled rhythm and vocals a third of the way. "Find my Way' shines the light of hope into the dark space of our modern times with pop savvy. "Women and Wives" is a refreshing conjuring of a bare-bones blues ostinato. "Deep, Deep Feeling" evokes the modern soulfulness of James Blake or Mac Miller. 

"Deep Down" contains the lyric 'Yankee toes and Eskimos can turn to frozen ice' which McCartney wrote upon impulse and later determined that "it's best not to question too deeply a lyric" and left it alone. The closing track, "When Winter Comes," revisits the album's opening blues riff, building and accentuating dramatically.  Much like 2020, we begin in the winter and end in the winter with a whole lot of struggle in between.  

In the long and winding road that is Paul McCartney's career, "III" is a rest along a scenic vista after a rough stretch of terrain. Fingers are crossed that "III" marks a pivot from the polished and predictable toward a deeper and more introspective McCartney in his remaining days.  

- Tom Endyke | Guitar & Pen

8.5.5

Pop/Punk Review: The Cribs - Night Network

Score: 77/100 

Release Date: November 20, 2020

Genre: Pop/Punk

Similar Artists: Strokes, The Jam

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After years of the label litigation, the crafty British indie-rockers have returned with a solid blend of soaring hooks and captivating harmonies. At Dave Grohl's behest, the Jarman brothers, Gary, Ryan, and Ross retreated to Grohl's Los Angeles studio to record Night Network. What feels like a new chapter for The Cribs, this release harks back to their signature 'Beach Boys meets The Strokes' sound with a bit of Motown thrown in for good measure. 

The tone is a unique blend of pop, punk, and harmony. Night Network starts with the alluring "Goodbye," which entraps the listener into a false sense of pop security before shifting into a consciousness-altering garage band fuzz solo at the 1:45 mark, which is both mesmerizing and enthralling. In a way, the album raises the bar with this gem and tries hard to reach its heights in the remainder of the tracks.  

"Running into You" feels like a throwback to the band's early 2000's origins with the constant and hooky chorus; it is apparently targeted as the hit song. More original and quintessential are songs like "Weather Speaks your Name" and "Siren Sing-Along." The latter's Motown stylings are mainly lifted from Dusty Springfield's "I Only Want to be with you." Sonic Youth's Lee Renaldo joins the fray on the adventurous "You Don't Know Who I Am," with backing vocals distorted guitar overdubs. 

Lyrically, the Cribs don't dive as deeply into the poetic realm as they have done in the past. One exception comes from the clever aforementioned "Weather Speaks your Name."

Sometimes yeah, the weather speaks your name/Like a childhood moment that felt the same/Keep wishing for an ever shorter day/I'd leave you alone, but you'd be lost in another age.

All in all, This is a tight and targeted release by an underrated band. The Cribs pull influences from many genres and stylings to produce a uniquely modern, elegant sound. They appear to have reestablished their footing as a force to be reckoned with.  

- Tom Endyke | Guitar & Pen

8.5.5

Indie-Rock Review: Hinds - The Prettiest Curse

Score: 82/100

Released: June 5, 2020

Genre: Indie Rock, Indie Pop

Similar: Alvvays, Strokes, Best Coast

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Madrid-based indie rock band, Hinds has released their third studio album, The Prettiest Curse, a collection of textured, guitar-driven power pop sure to please a broad range of music fans. Originally named "Deers," they changed their name in 2014 due to legal threats from a band name "The Dears." "Hinds" actually means female deers.  

Don't be fooled by the cover art. This ain't no pajama party. The sound is hard, hooky, and infectious without being syrupy. The music will march into your brain and take up residency. And while it ain't no pajama party, soul-bearing confessions and heartfelt admonitions overtake the conversation. The blistering guitar screaming out in the most desperate moments underscores a unique sense of both yearning and resolve in the lyrics. 

Hinds are benefactors of their geography. The sonic sensibilities and perspectives gained by creating music in Madrid and outside the influence of the U.S. pop machine are evident. This infusion is a jolt of adrenaline into the dying beast. The Prettiest Curse strengthens the band's restless abandon while adding more prominent drums, fuzzier guitars, and more passionate choruses. 

"Riding Solo," "Take Me Back," and "Burn" are a few of the standout tracks rife with hooks, clapbacks, and singalong choruses. There's a powerful punk-pop undercurrent and an unrelenting attitude which only serves to strengthen the offering and accelerate the rush of adrenaline to your brain. That said, there are moments on the album which drift into the more formulaic and predictable garage-pop sound, yet they are few and far between.  

All tolled, The Prettiest Curse has a quick absorption rate. It gets into your blood instantly and is one of 2020's biggest surprises.  

- Tom Endyke | Guitar & Pen

Indie-Rock Review: Best Coast - Always Tomorrow

Grade:  75

Release Date: February 21, 2020

Genre:  Alt-Rock, Pop-Rock, Indie-Rock

Similar Artists:  Bangles, Dum Dum Girls

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Following a five-year hiatus after their critically acclaimed 2015 release California Nights, the low-fi beach-goth California duo have returned with Always Tomorrow. A less ambitious, yet more cutting and intimate collection, Best Coast deliver their trademark plainspoken lyrics and 60’s flower power-pop musicianship to pleasing effect.  

Bethany Consentino’s vocals emit a Suzanna Hoffs soulful and sunburnt vibe while guitarist/multi-instrumentalist Bobb Bruno’s guitar work cleverly sets the scene, never outshining the vocals or breaking the shared bond.  

When the focus is on a simple groove and soulful melody, the sonic experience really escalates. Tracks like “Roller Coaster,” “Everything Has Changed,” and “True” exemplify this focus. “Master Of My Own Mind” is a standout track reminiscent of 2015’s hit “Feeling OK.” The lyrics are positive and inspiring, evoking the struggle and ultimate overcoming of one’s own demons and low self-esteem. It also includes some very clever tempo changes which, when combined with the different pop textures of the song, make it a compelling listen.  

There are also moments when Always Tomorrow seems a bit too ambitious. When you put too many different fruits in a smoothie, you end up unable to identify which individual fruits are in it. It ends up being a fruit smoothie. Songs such as “Graceless Kids,” “Different Light,” and “Make it Last” suffer from one too many ingredients. When Best Coast use fewer ingredients, the end result is the tastiest of treats.  

As a whole, Always Tomorrow is a terrific album. The music and lyrics accompany each other like best friends, and the infectious hooks sink deeper into your consciousness after every listen. This reviewer especially enjoys and respects bands who take a revisionist approach to modern music. At their best, Best Coast taps into the surf and pop sensibilities of the ’60s and ‘70’s and inject a female perspective, which was so rare during that time. What that means for their fans is that we get to realize what it would be like if female artists had more opportunity back in the day. It may have unearthed bands like Best Coast to give fans of the Beach Boys, The Four Seasons, and others a unique and visceral alternative.  

- Tom Endyke | Guitar & Pen

Pop Review: Halsey - Manic

Score: 80
Release Date: January 17, 2020

Genre: pop, pop-rock

Similar Artists:  similar

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After spending her last two albums in fictional worlds, Halsey’s latest effort, Manic, explores her own life. The LP is an enjoyable listen, containing lyrics that, although deeply personal, are also very relatable. The production on the record is also beautiful, featuring warm synths that create a dream-like atmosphere, allowing the listener to feel like they are really inside Halsey’s head. The songs are different in style, a good representation of the inconsistent mental state Halsey describes herself being in throughout Manic, but that being said, they all tie together very well. 

I went into this album with low expectations since I honestly found the lead single “Without Me” to be a little obnoxious, but I was pleasantly surprised by what I ended up hearing. The first track, “Ashley” (her real name) is about Halsey trying to understand how to be herself in a society that discourages individuality. She opens up about feeling alone on “clementine” and insecurity on “I HATE EVERYBODY.” Lyrics about claiming to not need anybody, but really just being afraid to approach a relationship out of fear of being heartbroken can probably resonate with a lot of listeners. So can the themes of the penultimate track “Still Learning,” one about trying to understand how to love yourself during a time when it seems nobody loves you. This is music you listen to when you’re alone at night, looking at the stars through your window. 

Overall, Halsey spends Manic exploring a large variety of genres with relative ease. 

Features from Alanis Morissette and Dominic Fike are welcome additions and, although it could be fleshed out a little bit more thematically, the album is definitely a well-constructed one.

- Molly Endyke | Guitar & Pen

Pop Review: Kesha - High Road

Score: 64
Release Date: January 31, 2020
Genre:  Pop, R&B
Similar Artists:  Miley Cyrus, Ariana Grande, Katy Perry

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Following her 2017 album Rainbow, in which Kesha traded her signature loud and unapologetic party bangers for a more mature country-rock sound, I entered High Road expecting something similar. However, as soon as the beat switch on the opening track “Tonight” hit, I was instantly transported back to the late 2000s, where neon colored electronic pop ran rampant. On “My Own Dance,” Kesha proudly declares that no one can tell her what kind of music to make, and indeed, she spends the LP bouncing across styles, from the empowered ballad “Shadow,” to the lighthearted “Potato Song.” In theory, the album is a brilliant culmination of all that Kesha has contributed to the pop music landscape over the past decade. In terms of execution, not so much.

The reason Animal, Cannibal, and Warrior were as beloved as they were during their time was not due to their lyricism, but how said lyrics were executed. Loud party anthems fall flat without the right instrumentation. And the beat in “BFF” sounds like the background music on the Mii Channel. Kesha’s attempts to return to her old style come off as confusing and incohesive. As for the other half of the songs, the Rainbow-like “let’s-sit-around-the-campfire-with-a-guitar” tunes, they are pretty forgettable, since, with a few exceptions, they lack the deep meaning behind the lyrics that the prior album had.

That being said, the album isn’t too bad. Its centerpiece is a reflective song called “Resentment,” featuring the legendary Brian Wilson. My only complaint about this song is that it isn’t longer. Some other enjoyable tracks are the nostalgic “Kinky,” the playful “Little Bit of Love,” and the introspective “Father Daughter Dance.” It is true that High Road is sonically messy, but the fun that Kesha had while making it can be felt through a listener’s speakers, which makes its shortcomings a bit more forgivable.

- Molly Endyke | Guitar & Pen

Rap Review: Eminem - Music To Be Murdered By

Score: 71
Genre: Rap
Release Date: January 17, 2020

Although it is unlikely that Eminem will ever match the insanely high quality of his first few albums, his latest release is still an interesting listen. Inspired by the Alfred Hitchcock album of the same name, Music to be Murdered By discusses a plethora of topics and takes a star-studded list of guests along for the ride, from the legendary Black Thought to the up-and-coming Don Toliver.

The opening track “Premonition” is a diary-entry-like reflection on Eminem’s status in the music industry. In it, he expresses his frustrations with being called too tame and then too angry on his past two releases and ponders what his role in hip-hop currently is, a theme that continues for the rest of the record. He spends the next two tracks clapping back against naysayers and does so pretty successfully. The infectious hook by the late Juice WRLD on “Godzilla” elevates the song immensely, and “Yah Yah” is a really fun posse cut.

Songs like “Darkness,” and to an extent, “Stepdad,” remind us just how good Slim Shady’s storytelling abilities are. Another high point is the song “No Regrets,” where Don Toliver’s smooth vocals contrast nicely with Eminem’s abrasive rapping style.

The album isn’t perfect. “In Too Deep” and “Never Love Again” are pretty bland, “Marsh” is annoying, and “Those Kinda Nights” is yet another Ed Sheeran collaboration. Also, I feel like ever since he showed the world he could rap fast on “Rap God”  Eminem has adopted the mentality that rapping fast is the same thing as rapping well and feels the need to do this super fast segment on almost every song. We get it. You can do that. But you can also do other things. That being said, I do like this album and I think most hip-hop fans would agree.

- Molly Endyke | Guitar & Pen