Lots of great new (and new-ish) music to share, and I don’t have loads of leisure time to wax poetic, so let’s get on with this.
Jared Caraway (Jared & The Jewelers, shown above) was kind enough to let me debut a new track, “Fabric of My Soul”. There are some really strong guitar riffs in this song. There are points in the song where Caraway’s voice could stand to be brought more to the forefront, but the vocal mix is spot on towards the end of the track. “Fabric of My Soul” is the perfect song for those who like their rock songs straight forward and without excessive gimmickry.
The Ghost made a major mistake months ago. Cameron Matthew Ray pointed me in the direction of a young, talented group by the name of Saint Marie. I was impressed by the band, with their beautiful vocal harmonies and gorgeous melodies. Alas, The Ghost got busy and distracted, and so months have past without me letting y’all know about this hidden gem. Well, the group released a new track, “Voices” on their Soundcloud page last week. I think it’s time we all take proper notice.
I was slow to report on Saint Marie, but I’m trying to stay ahead of the curve by sharing this Misdeamenor track just released yesterday. This track practically exudes the feel of a perfect summertime jam. If for some freakish reason the piano groove and Misdemeanor’s lyrical skills don’t win you over hard, then the sultry vocal accompaniment of Becky Middleton is bound to the trick.
John Earle Mainord had the rather unique distinction of kicking off my 2016 year end countdown with “The Dam Gon’ Break” at #101. Hey, an artist has to start somewhere. Truth is, Mainord seems to specialize in the kind of tracks that while not flashy, do strike a chord inside one’s self through the sincerity delivered in both his vocals and lyrics. “Waitin’ on a Sound”, Mainord’s latest track, shows the power that a song can have on a person, as if the song was a religious experience. Again, Mainord’s earnest vocals bring his perspective to life, and provide the song a sense of spirituality to it. I wouldn’t be surprised if Mainord winds up on the year end countdown again, this time likely higher on the chart.
I know very little about PIECES, other than the fact that the act is from Dallas and their self-titled effort is available on Bandcamp on a “name your price” basis. PIECES classifies itself as “experimental”, but that’s a strong oversimplification. The experimental label conjures images of wildly meandering noises devoid of melodic structure. Yes, the band pushes some boundaries in terms of sonics, but never at the expense of the core of the melody. Tracks like “A KID NAMED REVERB” demonstrate how experimentation can bring new life to pop tunes instead of weighing them down.
Some of you might have taken note of “Can’t Talk Back”, a song by Emily Bell I featured on my Catching Up with The Ghost playlist. Ms. Bell is back with another killer track, “Girls That Never Die.” There’s something about the style of Austinite Bell that reminds me of Jessie Frye. Oh, did I get your attention with that comparison? Good. And Jessie, if you’re reading this, I think the two of you should hit the road together. I could see it being a fierce pairing.
It feels as if I keep mentioning the Paisley Maze Fest over and over, whether it be with friends or on the blog. Well, here’s another excuse to talk about it: Acid Carousel, who are part of the bill, have a new single out. I was tempted to share the B-side, “Scooby Snacks”, because, well, the title. In the end, I opted for the A-side, “Seven Roses”, because it’s the catchier track. Oh, and that organ rules.
So, was John Earle Mainord not enough to satisfy your Fort Worth singer-songwriter fix? How about some Brad Wiley to go with Mainord? Here’s a catchy ditty called “My Darlin'” from his new album Then and Now.
When an artist is described as a combination of bluegrass, funk, and hip-hop, it causes a feeling somewhere between curiosity and utter congusion. Upon further listening, the bluegrass influence is Tugaloo Blue is somewhat overstated, but “TwoSix” still proves to be a fun and funky little number.
I gave Pete Freedman his (very) fair share of criticism on his perspective on the Deep Ellum Arts Festival, particularly his condescending “only 21 acts he wouldn’t actively walk out on” comment. I also, however, must give credit where it is due. Pete and the rest of the Central Track crew has been full force behind Lizzie Boredom, and with good reason. CT debuted the group’s latest song, “Dead Man Can’t Cat Call”, a fierce riot grrrl style slam against males who disrespect women through acts such as the cat call. Only the douchiest of dudes will be able to deny the power of “Dead Man Can’t Cat Call.”