Monday, August 24, 2020

The Ocean - "Oligocene"


        The Ocean has dropped another track from their forthcoming album Phanerozoic II: Mesozoic | Cenozoic which is set to release September 25th, 2020. Mainly Tuning Out dug into the previous track earlier this year, and what a track it was! The album is still available for pre-order through Metal Blade records here

        "Oligocene" is an instrumental track with a run time of four minutes, likely acting as an interlude or transitional track on the larger album. This is potentially confirmed by a comment left in the YouTube comments "The instrumental track was written by drummer Paul Seidel, but recorded with synth player Peter Voigtmann on drums. It serves as a transitional track from the busy and heavy first half of the record (Mesozoic) into the more relaxed, spacious and cold ambient vibes prevailing on the second half of the record (Cenozoic)." Oligocene is a geological epoch, and the Berkeley University of California describes it as, "right smack in the middle of the Tertiary Period (and end of the Paleogene), lasted from about 33.9 to 23 million years ago ... These changes include the appearance of the first elephants with trunks, early horses, and the appearance of many grasses — plants that would produce extensive grasslands in the following epoch, the Miocene."


        Musically this track is elegant, to say the least. It begins with some somber instrumentals over some percussion which honestly feels like an 80's track reworked into a modern sound. It works well and is captivating. The volume slowly crescendos over the whole piece as more and more layers filter into the mix. My favorite part is the synths that are layered throughout this track and provide an ethereal flavor to the music that thoroughly grips my attention.  

        Do yourself a favor and check this track out ASAP. Running counter to the crushing flavors of the previous release "Jurassic | Cretaceous" it further demonstrates the wide musical skill this collective brings to the table. If it jives with your musical palate check out the pre-order! 

Wednesday, August 19, 2020

The Jazz Project - Album 91: The Music Improvisation Company - "The Music Improvisation Company"

         To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 91
The Music Improvisation Company - The Music Improvisation Company
Drinking: Yorkshire Gold Tea

  1. "Third Stream Boogaloo": I immediately realize I might be in some trouble as this whole track sounds like a group warming up though a volume pedal. It's atmospheric while also very weird, but it's cool to  hear a guitar utilized in a new way. The track comes crashing into a cacophonous ending, like a group of animals escaping a forest fire. 

  2. "Dragon Path": Coming in just shy of ten and a half minutes, this track was a slog. I have a hard time with free jazz as it doesn't really speak to me beyond using it as background noise to an art-house film. It does give me time to see what it says to my brain, and I get the feeling of an engineer's work desk while he's building a new effects pedal or an amp. Or perhaps it's the brain of a computer finally reaching self-awareness. I'm enjoying the use of feedback on this track. Surprisingly, ten minutes flew right by once I got in the zone of it. 

  3. "Packaged Eel": I got the distinct feeling that this group is attempting to rebuild found sounds from places like a subway station, or the sounds of kiosks setting up in the morning at a shopping mall. Perhaps a circus setting up as well? I almost would have preferred if this album was presented as one long track instead of broken up into small chunks. 

  4. "Untitled No. 1": I'm having a hard time digesting this music. I'm spending the time reading about the free jazz movement. I enjoy the idea of exploring what sound is and what it means to be on both a cosmic level (Coltrane) and a microscopic level (TMIC). Perhaps someday this style will speak to me more. I'm now wondering what kind of prep goes into this kind of music. 

  5. "Untitled No. 2": Like my thoughts on the album, I wonder why these two tracks were separated instead of being one long track. Perhaps it's the lack of narrative that makes it  so attractive, like an inside joke. For a brief moment, there was something similar to a standard jazz sound before it was blasted away. I do enjoy how this track is a bit more dynamic in volume than the previous tracks. I'm hearing what might be as described as mechanical birds in an electronic ice storm. As said storm rages the track peaks in a screaming outcry before quietly dissipating.

  6. "Tuck":  This is the shortest track on the album. Like some previous tracks, it sounds like the room is warming up and not a composition. But! Perhaps that is the experiment. 

  7. "Wolfgang Van Gangbang": An immaturely funny title. Each voice is more prominent than the previous tracks. One reviewer from ECM Reviews really nailed the sound of this track and the album as a whole, "A radio being tortured to give up its innermost secrets."
Overall Thoughts: To be honest, I had a hard time sitting through this album, but I did it. I can appreciate it for being experimental as experiments can discover new ways of doing things. But, beyond being used as the soundtrack to a weird movie, or a foundation for frantic free-writing I don't see revisiting this album though I do thank the artists for the experience. 

Info: This album was released in 1970 through the ECM label. It was produced by Manfred Eicher and features Derek Bailey on guitar, High Davies on electronics, Jamie Muir on percussion, Evan Parker on soprano saxophone, and Christine Jeffrey performing vocals on tracks one and five. 

If free jazz is your jam, pick up the album here

Monday, August 17, 2020

Spirit Adrift - "Harmony Of The Spheres"

Photo credit: https://www.20buckspin.com/collections/spirit-adrift

         Phoenix, AZ. based Heavy Metal band Spirit Adrift dropped a new track on Friday, August 14th, 2020, and what a banger it is! It's titled "Harmony Of The Spheres" and it sounds like what I wished Ghost could sound like. With the new track comes the news of a new album dropping via 20 Buck Spin label on October 16th, 2020 titled Enlightened In Eternity. Spirit Adrift isn't new to Mainly Tuning out, we featured them in June when they dropped their EP Angel And Abyss Redux

        "Harmony Of The Spheres" kicks in the door with some great harmonized riffs over a chugging rhythm. The drums hold the rhythm down really well which keeps the guitars on the track. Were I to be picky, I'd like a little more from the bass but overall it sounds incredible. The vocal delivery over the verse is excellent, clean with just a little bit of grit over the last lines. Upon reflection the vocals are where I get the biggest Ghost vibe, but don't confuse, this isn't a Ghost copy, this stuff rips! The chorus offers up even more licks and a nice rhythmic change of pace. It's a pretty short chorus which I greatly enjoy as the main riff is gripping. Periodically group vocals back various lyrics, and it works well. 

        After the second chorus, there's a great dual guitar solo over some great guitar chords and a rhythm section that essentially has hunkered down in the pocket and will likely never come out.  At ~2:41 we return to the main riff, but the mini licks between each chord are mixed even better and interplay with the lyrics in a way that I wish I could show more musicians as it's excellent songwriting. The track follows this through the end to one final chorus before it closes out at just over four minutes. 

        If the rest of the album sounds like this then Spirit Adrift might have a killer album on their hands and I look forward to seeing what's coming down the pipeline as we get closer to this release. Currently Spirit Adrift is Nathan Garrett on guitars and vocals with Marcus Bryant on drums. You can already pre-order this album here at 20 Buck Spin. Check out their other work here as well. I doubt you'll be disappointed. 

Monday, August 3, 2020

Could it be? New Red Fang? Yes please!

        At the tail end of July, we were graced with another track from Red Fang, a favorite of mine and one that has been featured here on Mainly Tuning out before. "Stereo Nucleosis" comes to us from Relapse Records via the singles series on Adult Swim, a popular place for numerous bands to release new music. It's exciting to see considering we haven't seen much from the Red Fang camp since their single "Antidote" in 2019.


        If you're a fan of Red Fang this track will not disappoint you though it's definitely not the crème de la crème of their offerings. It starts with some Mastodon worthy chords and riffing before some washed-out vocals join in over this excellent intro. The chorus has a delightful hook though, "Bloodless, but breathing, no hope," which is sung over an equally catchy musical riff. It's 3 minutes of some excellent Heavy Metal. 

        The things about this album that take away from it are few, but I believe they are big enough to mention. Most of this track feels like a Mastodon b-side, which isn't a bad thing because most of Mastodon's catalog is full of amazing material, but it does make this track seem a bit like a cover track. Honestly, the reverb/delay that's on the vocals is my least favorite part of this offering, and it's too bad it was mixed the way that it was because I think a tighter vocal track would punch this bad boy into a higher weight class. 

        Check the track out and let me know what you think! Are you a fan of Red Fang and did this song live up to your internal image of them, or is it meh? If you want to purchase or stream this track elsewhere, you can do so here. Thank you for sticking around while I took a week off as a summer break, and I look forward to curating some more goodness for you in the coming weeks! 

Friday, July 24, 2020

Today on the Fresh Tracks circuit: Darling - "Baptists"


        This has been big in the media circles and I wanted to help share the love for this group. Helmed by Dorthia Cottrell of Windhand, Gina Gleason of Baroness fame, and long time Gleason collaborator Leanne Martz, Darling has released a track titled "Baptists". Any proceeds made from this track will be going to a charitable group through a name-your-price format on Bandcamp    

        The song starts with Cottrell's haunting vocals singing "I blame the Baptists, our fathers and the law for what's become of you." With the utterance of "our fathers," a pulsing note starts playing on either a highly treated guitar or a synth. Eerie guitar licks start playing over this pulsing series of notes creating a psychedelic experience that is solemn and concerned. At ~1:15 the tone shifts to a lighter and brighter, yet still very psych, tone with the lyrics "But oh, the sun was shining." It's a refreshing change from the darkness of the previous minute and adds some excellent dynamic shading to the song. 

        At ~1:47 we shift again with a raw guitar sound, like someone's ax fell over while it was still plugged into a powered-up amp. The pulsing notes return and the listener is once again washed out to sea in this dark trip, "And now they're scared of me, but who could blame them anyway. It's only natural to distinguish between predator and prey." The narrative this song dances around is cold and gripping, yet full of desire and awareness. Musically the song shifts back to that bright section again at ~3:03, this section seems to be functioning as a chorus. Again, it's a welcome break from the bleakness of the verses. We return to that darkness at 3:38, only it's even more sinister now because the synth-like pulsing has been paired with palm-muted guitar chords that add this heaviness to it. This moment rides out for about a minute to the song's end. 

    

        I hope this track is tied to a larger release because it's a wonderful piece. The evil sounds shaded in with the moments of light and airy brightness creates this intangible feeling of cryptic awareness and despair while never giving you the reason why. Some moments seem to be talking about a tragic passing of someone, but the narrator seems to be/feel responsible, but also is pinning that responsibility to the community at large. I'm hooked and you should check it out today! 

Check out Windhand here.
Check out Baroness here.
Check out Misstallica here, Gleason and Martz most well-known project. 

Wednesday, July 22, 2020

The Jazz Project - Album 92: Sarah Vaughan - "Sarah Vaughan"

        To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 92
Sarah Vaughan - Sarah Vaughan
Drinking: Stone Ripper IPA

  1. "Lullaby Of Birdland": This is arguably my favorite song performed by Sarah Vaughan. I first heard it on a mix CD offered through my college History Of Jazz course and was pleasantly surprised to see it on this tracklist. Honestly, this song fires on all cylinders with lovely melodies, catchy lyrics and hooks, and some great instrumentation and performances. It's a 10/10 track for me. It's a touch of sweet nostalgia mixed with technical prowess and it really sings (pun not intended). I love the drum solo and even more so I love Sarah's scat solo which is perfectly delivered. You get to experience Sarah's full range of voice on this track. 

  2. "April In Paris": Elegant opening on the piano paired with Sarah singing in her lower register. It's a magical moment. I wish I could have had an opportunity to see her live. The piano playing is delicate and beautiful. Oddly, I'm drawn in by the stirred snare, which is not something I normally hone in on. It holds the atmosphere together in a nearly invisible way. Vaughan's visual description puts me onto the streets of Paris. This song captures a feeling of sad but sweet nostalgia. 

  3. "He's My Guy": The intro is light and airy, like the sound of fresh new love. The lyrics confirm it as it starts with "He's my guy, I don't care what he does, 'cause he's my guy. I guess he always was." It's a swinging love song, and sure, it's not the best song on the LP, but I wouldn't skip it either. I love the first sax solo on this track. Honestly, I'd love to hear Paul Quinichette and Clifford Brown perform a solo together a la Bird and Miles Davis performances. I don't love the piano solo here, but it works in the mix and the atmosphere. What I'm missing here is a solo from Vaughan. 

  4. "Jim": I listened to this album on a reissued LP, and it also has a different order for the tracks, and "Jim" came up before "He's My Guy". This feels like a better order considering narrative, but it's still an odd choice to pair these on the list because their tone and story are so jarringly different. "Jim" is a melancholy love song about being in love with someone who doesn't do much in return. Perhaps unrequited love? Not likely, but it's just specific enough to leave you wondering. They do a great job of capturing the bittersweet feeling that Sarah sings about. The trumpet solo really shines on this track. It's strong yet delicate, crisp in tone, and wonderfully melodic. It captures the troubles of a troubling romance, sung perfectly in the line "Staying even though she wants to leave." 

  5. "You're Not The Kind": This song has a classy swing to it. I feel like this is an honest peek at Sarah's inner being (even if she didn't write it). Paul's solo is excellent as well. This has that classic Jazz feel to it without seeming stale. The flute solo is a bit weak for my liking, but it still sounds pleasant. Clifford's solo is a breath of fresh air after the previous solo, mainly because I love his sense of rhythm as he plays. This song features one of my favorite lines on the album, "I'm just a song and a dance, you're a symphony." What a line. 

  6. "Embraceable You": Sarah Vaughan's vibrato on this song is quite amazing. This song reminds me of my first dance as a child. I love the piano playing on this track, especially that delicate solo. This song captures this fragile feeling, much like young love. I loved it. 

  7. "I'm Glad There Is You": This song features a sweet intro with lyrics we've all felt at some time or another. Sarah's technique on this track is quite enjoyable. Her vibrato continues to be awe-inspiring. It's not my favorite track, but I wouldn't go out of my way to skip it. The mix on this track is masterfully done. Clifford's playing weaves in and out of the free moments on this track without stealing the light. Well done all around. 

  8. "September Song": On my copy, this song was the first track. Honestly, I think it works better as an opening, but it holds its own on the back end of this release as well. This is a lovely standard Jazz track, soft and slow. There's some more excellent soloing from Clifford Brown. Sarah's voice captures the blues of oncoming autumn and winter while Brown's solo holds tightly onto the feeling of summer. I could listen to this song any day at any time.

  9. "It's Crazy": This song picks up the pace which is a nice change from "I'm Glad There's You" and "September Song". "I act like a fool, what do I care, I'll be a fool as long as you're there, it's crazy, but I'm in love," is such a great line. It's the essence of new love. Clifford captures that fresh new romance magic with his solo like a pro. This track has a snappy quality to it that I greatly enjoy. I wonder if Paul Q. took lessons from Paul Desmond, or visa versa because there's a similarity to it that I enjoy. Sarah's voice pulls all the pieces of this song together in a captivating way. You can feel the electricity in the room over the speakers. The last moment on this track is, in my humble opinion, quite hilarious. 
Overall Thoughts: "Lullaby Of Birdland" is still my favorite song on this album, but I've spent the most time with it as well. I do wish more of the album has that magical sound, but this album still holds its own and deserves a place in anyone's collection. It's a classic, and you should listen to it as soon as possible. The drink pairing for this album wasn't right, it needed a more appropriate beverage like a good cocktail, or a loose leaf tea. Something you can contemplate while taking in this delightful recording. 

Info: This album was released in 1954 through the EmArcy record label. It was produced by Bob Shad and features Sarah Vaughn on vocals, Clifford Brown on trumpet, Paul Quinichette on tenor saxophone, Herbie Mann on flute, Jimmy Jones on piano, Joe Benjamin on bass, Roy Haynes on drums, and Ernie Wilkins as a conductor. 

You can buy the album here, and you can listen to the album here

Thanks for tuning in folks! Let me know what you thought about this release down below! 

Monday, July 20, 2020

The album's out! Let's look at Massive Wagons - "House of Noise"



        As of July 17, 2020, Massive Wagons' album House Of Noise has been released out into the world for the people to take in an enjoy. Mainly Tuning Out checked out the title track earlier in June, and because we enjoyed it so much I wanted to do the deep dive on the album. Featuring a run time of 51 minutes and a healthy 12 tracks, it brings a solid amount of enjoyment. 

        We open with "In It Together" which is an excellent album start. Big sound with some fun chords peppered in and around the riffs. The drums are mixed well, hell all of it is. This has a fun Bar Rock feeling to it while holding onto the punchy punk attitude that holds this song up. The unity vibe to the chorus works well too. Solid track and it doesn't feel like 4 minutes have elapsed when it comes roaring to a close.

        Next up is "Bangin In Your Stereo", which I've been enjoying quite a bit over the last few weeks. It's the perfect blend of AC/DC and Reel Big Fish. Great riffs, bouncy feel, and an arena rock chorus that is easy to yell along to. If you like cruising along in your ride listening to something with your sunglasses on, this is the track for you. A solid follow up for a solid album starter. We're off to a good start. 

        Track three is the title track "House Of Noise," and you can read a deeper dive on that track from our June write up. Having some context gives this song a bit more of a backbone to lean on, and honestly, it's stronger for it. It's not as anthemic as "In It Together" or as "Bangin In Your Stereo", which helps break up the flow of the album. It also feels more honest to an artist's experience as a musician with the added context. It works well. 

        "Freak City" is track four, and the intro is fun! It has a bit of a Van Halen feel to it, and it's a welcomed sound. Great lyrics for the opening too, "Freakin' out, I'm freakin' out. There's a fire in my head and it won't go out. Got a pain in my chest that comes and goes, I've been punched in the face so much it shows." Another catchy sing-a-long chorus that would sit well in the rock chorus pantheon (seriously, it's hard not to sing along to it on my second pass through this album). However, even though there's a Classic Rock vibe to this song, it still very honest and fresh. I'm impressed with Massive Wagons' grasp on balancing homage to their inspirations and influences with their own identity as a band. I bet this song rips in a live setting with that chorus and I'm a big fan of the track as a whole.

        The fifth track is "Hero". I'm not in love with the title, it feels quite bland compared to its previous siblings. However, the track changes up the pace with a smooth and slippery blues riff backed by some crunchy single strummed chords. The verse is sung over a single note bass line that gives it this fat vibe to it. Dynamically, this song work so far. The chorus is a little dull compared to the verse, but it works. I would say I neither love it or hate it. The other unfortunate choice with this song is it's 6 minute run time. That slow and "emotional" solo could have been a tad shorter (unless it was the album closer, that would have been a sweet way to say goodbye). "Hero"'s saving grace is that excellent verse, and its placement in the tracklist works quite well as a change of pace for the album as a whole, though I believe it would have made a better closer along with "Hellescrewya". This track's chorus embraces that classic AC/DC vibe. 

        As we continue into the album we are brought to "Professional Creep" which hits the pedal to the floor as far as pace is concerned. It opens with this speedy tremolo-picked riff and it takes off down the road of rock. While overall the song doesn't wow me I enjoy listening to the music as it plugs along with a serious frenetic speed, quite enjoyable. Don't skip this track, but don't expect it to be your favorite either.

        Track seven is titled "Pressure" and it opens with some huge and spacious chords with a delightful arpeggio riff before it takes off into a slight Pop-Punk feel. It feels weird at first, but it really works for me. Imagine a Classic Rock veteran who decided to start lightly dabble into Punk Rock, but kept the riffs. The words that keep coming to mind as I listen to this album are nostalgic and fresh, which usually are terms that are at odds with each other, but this album has largely threaded that needle with professional precision. I enjoyed this track, especially the moments that employ that cocked-wah pedal sound, delightful stuff, and dutifully done. 

        In the 8th slot is "The Curry Song", which I had a little bit of apprehension about when I scanned through the track titles as I sat down to listen to this album. Historically, for this particular listener, songs that are titled "The ____ Song," have never done it for me. For example, "The Wanton Song" by Led Zeppelin is meh at best, "The Nile Song" by Pink Floyd is blase (even if it was punk rock Pink Floyd, which was still pretty cool), "The Death Song" by Marilyn Manson is a low point for Mason's career, and "The Yeah Yeah Yeah Song" by the Flaming Lips is a hard listening experience at best. 

        All that being said, I enjoyed this song more than I care to admit. A song about takeaway curry, while very UK, is strangely and oddly good. I yearn for a good takeaway curry place in my piece of the States. Sure, I will not tell you it's the best song on the album, but compared to the plethora of "The ___ Song"'s that exist in this world, I'd pick this one first and it's definitely not worth skipping. The riffs are solid, and the overall performance is well done. 

        Ringing in at the ninth slot is "Glorious". The intro doesn't gel as well as previous songs. It seems like a song honoring various friends and fans they've interacted with over the years. This is a cool concept, but it doesn't provide the listener with an investment in the "why should we care?" department. Perhaps this would better serve as something like a Patreon tier reward? I don't know, but this song doesn't do much for me. Regardless, good on them for shouting out some love to their fans and friends. 

        The 10th track comes back with some pumping rock. It's titled "Sad Sad Song," and I get an early Dropkick Murphy's/Street Dogs vibe, and it's working for me. Lyrically it seems to be a call back to the challenges that memory glosses over when looking back to the "good ol' days" and the struggle of coping with the now. After "Glorious" and "The Curry Song" this song is a welcomed return to the earlier vibe of the album. The ending of this song has a pretty epic vibe to it, with a classic vocals-over-a-musical-fadeout moment that is enjoyable. 

        Track 11 is titled "Hellescrewya" and it starts with a fade-in, bells, and prayer-like vocals before kicking in a guitar solo about 15 seconds in. Another verse is sung over a solo bass and percussion with palm-muted guitars joining in at the second half of the verse. This formula works for this band. The chorus is reaching for another anthemic chorus. While not un-enjoyable, this song feels like it's reaching for several different paths to take and not quite hitting them. Lyrically it feels like an FU to haters with "Hellescrewya" being a playoff of Hallelujah, even calling out at one point that they're "trying their best not to swear". At the end of the track, they do land the epic chorus outro which is welcomed.

        The last track, "Matter Of Time" starts with drumsticks counting off the beat and ushering in a slow jam over a solo. It works okay, although I'm initially worried by the 8 minute run time on this song. At about three minutes in I realize I have a lot to say about this song, and I'll simply leave it at I'm not enjoying it. The sluggish nature of the tempo doesn't sync up well with the overall pace of this album and it's quite jarring. The change to a quicker tempo at 6:13 really helped this song and I wish it had been here this whole time. Vocally this new section also feels much stronger. More of this, please! Honestly, I would have put this track earlier in the album and closed with "Hellescrewya" or "Hero", with a preference for "Hellescrewya". Long story short, this song could have been 3-4 minutes made up of the 2nd half and it would have been so much more enjoyable. 

        So, that's the album! Overall my thoughts and feelings about this album are hugely positive! I think if Massive Wagons took a lesson from the Death Metal scene and sought out an "All Killer - No Filler" approach they'd only get better. As a listener, I'd rather have 30 minutes of [expletive] amazing music than 50+ minutes of some killer music and some blah music. Most of this album isn't blah either, mostly just "Matter Of Time" and only the first half of that song too. Favorite tracks are definitely "Freak City", "Bangin' In Your Stereo", and "In It Together". I wish they had spaced out the killer tracks on the first half of the album through the whole product because they opened with such force that the back half couldn't sustain the energy. Tracks 1-4 are grade A top choice Rock! Track six on is a little hit or miss, but largely worth the time, at least in this listener's opinion.

        House Of Noise is worth a listen, and I predict it will propel this band into the mainstream even more. It has some flaws, but it has some bangers too. You can pick up your copy here. Let me know if you agree! And if you don't, let me know why! If you can make me an argument in defense of "Hero" and "Matter Of Time," I'd love to hear it.