Adam Hilligardt - “Pieces of Time”(feat. Alex L. Price) (Song Review)

To preface this latest entry, for anyone that’s in a rush - I am reviewing “Pieces of Time” on a sunny Sunday afternoon, and it's been a refreshing and worthwhile way to spend it. Having heard music from Adam Hilligardt before, it’s nice to be able to return to their work - and as a few years have passed since then, I can say that it’s great to be back. This tune is well-rounded, and simply made me feel good. 

Part of the reason for this positivity is that the piano, from the moment it enters, is gorgeous. Reverb chains and held notes effectively dictate an opening for (and connection to) the following string section. The composition develops itself naturally, with the legato harmonies on the sides sounding incredibly smooth, and the major key and associated triads assisting toward a more vibrant atmosphere. With that said, this piece occasionally throws unexpected neo-classical chordal elements into the mix - though, to be fair, they pique curiosity, rather than discourage it. 

With some of the aforementioned (admittedly) subtle variances in mind, it’s just nice to hear a song that is effortlessly pretty, whilst not trying too hard to be that way. It’s great.

As it’s an instrumental, without any hand-holding, we are left to consider what its purpose is. Personally, it sounds like someone is sitting on a chair, in a park, watching the leaves fall in the Autumn. The glow of the combination of ingredients assists with this. There are soothing, tender inclusions that make you feel like you’re wrapped in a cozy blanket, watching the world glide by.

Furthermore, the minimalist layering allows a lot of nuance in regards to the interpretation of their experience, and is part of what makes it special. The complexity of some of the extensions adds sophistication, and the reserved arpeggios on the right hand of the keys add a shimmer in the wondrous ether. Adding any other instruments almost appears superfluous, as both the frequency spectrum and stereo field are well filled in. Everything is accounted for.

The studio production is appropriately conservative - there’s no indication that we’re trying to overcomplicate the sound. We clearly understand how to layer instruments together, capture the tone and essence we need, and make it work in a commercial-grade single. No complaints at all.

“Pieces of Time” would work well as a standalone release, as part of a movie soundtrack, or in an indie game, or literally anywhere else where atmospheric beautiful (though occasionally bittersweet) piano-and-string tunes can (or should) be heard. I wish everyone involved the best of luck!

SOCIAL LINKS:
- YouTube: https://www.youtube.com/watch?v=5hXkk5Z7cwE

Romeo Saints - “Intimate Dance” (Song Review)

The latest track from Romeo Saints (feat. production by SFR Beats), due for release on Valentine’s Day, 2025, is what I would call “feature-complete”. From the first graceful riser, to the introduction of literally everything else within the arrangement (including the effervescent vocals), “Intimate Dance” has it all.

For a song about wanting someone, no, needing someone - sung and spun across a hot-and-heavy dance track, with house and trance elements included - it works. It’s an authentic experience, from a performer that knows when to be in the center (or on the sides) and who knows how to keep your attention the entire time. The fact that there’s plenty of room for the instrumental backing, within this 3:30 experience, shows as much confidence in themselves as the beat they’re balanced on. That confidence, in my opinion, has solid foundations.

To be clear - there’s no gaps, and no filler. The quarter-note kicks are defined, there’s a catchy synth lead that energetically calls-and-responds with the singer, and most importantly - there’s diversity within the arrangement. The structure isn’t predictable - it’s exciting. We never stay on a combination of ingredients for too long, and it’s really smart. I think that the tension shown in the story, of wanting to get closer to that special person, is well paired to those shifts in intensities; I see it as if they’re trying to figure out the best way forward, in a perilous situation where they need their medicine. It makes sense.

The drop sections, after the snare builds, are captivating, and it’s like they’re inviting you to groove alongside them. There’s an appreciable level of romanticism to it all - the lushness of the pads, the warmth of the ambient chord progressions, and the pull of the bass all remind me of my club days, about the feelings that’d occur when you felt a special connection toward whoever you’re vibing with. I get the impression that people will have different experiences while relating to “Intimate Dance”, and that’s only going to make this all the more accessible.

The dynamic range that’s evident within this piece, especially in low-intensity sections such as @ 2:20 offer a moment to ponder the lyrics, and prepare for the final hook and key change at the end. The quality of studio production throughout this piece is stellar, with solid side-chaining and tight glueing&EQing, and it’s a really great first impression of Romeo's work.

Nowadays, with how competitive the industry is, there’s no room for filler, or safe choices - it’s a case of standing out, or steering clear - and I feel that we made the right decision. It’s not Romeo’s first song, mind you - but I have enjoyed my time with this initial round of hearing their tunes, and I look forward to what they do next. Cheers!

Orkle - “7 mile step” + 5 More Songs! (Song Review)

As a musician, composer and producer, Orkle is (at least to me) a bit of an enigma. Granted, I’m familiar with some of their music, having previously reviewed works such as “Stellar Express” and “Iron Grave” - but the truth is, I never know what to expect. Those prior tracks were long-form compositions, practically musical adventures, full of twists and turns.

With that said, and in all honesty, it’s some of the most unique electronic music that I’ve reviewed - I dig it - and after listening through each of the six tracks below, I can say that there’s a lot of positives to appreciate. It’s worth noting that they’re all instrumentals and (in my humble opinion) thoroughly worth your time.

Track 1: “7 mile step”

This first outing begins with distorted, glitchy drum textures that move toward an increasingly intense-sounding digital aesthetic. There’s both 4/4 and 7/8 time-signatures present here, making this synth-heavy romp a bit more spicy than my usual - but I appreciate the creativity, as it makes things a bit more intriguing and unpredictable. The main motif is alluring, and there’s modulations of the core arpeggios that eventually feel comfortable and niche well alongside the supportive pads. I also appreciate the half-time shift in the 3rd quarter, retaining the 7/4 signature alongside a grinding bassline, intoxicating acid sequencers and a melodic/harmonic minor lead motif that leaves you wondering “what step are we going to take next?”

Track 2: “Release the Chrome Hound”

There’s an inherent urgency to the hardstyle percussive grooves, the squeaky lead synth and the unrelenting back-and-forth within the bassline. It’s a stellar track, not least because of the slick snare transitions and the ability to both make catchy (instrumental) hook lines and then manipulate them through different root notes, in whatever direction we please. To be fair, it isn’t a gentle piece - there’s a similar grittiness to “7 mile step” - and if you’re wanting cleaner timbres, this might not be the playlist for you. However, if you’re okay with a bit of edginess and live for the quarter note accents and the beeping-awesome ambience, this’ll be for you!

Track 3: “Witness in the Clouds”

Having the rain foley in the intro for this piece was a smart move - it creates an instant connection with the title. The rest of the first section sounds like a funeral march (with organs(?) included!). It’s far more gentle than the previous two songs, but retains a tonal consistency, and it’s great to know that we can connect these pieces together, regardless of the changes in style or intent. The minor focus within the keys, the interlacing and call-and-responses between layers, and the occasional harsh chromatic within this song infer a sense of loss, and do so without uttering a single word. It’s a really well-developed tune.

Track 4: “Comet Crawler”

This song, in particular, I feel, is really well structured and phrased. A significant part of it is in 9/8, which is a unique way of approaching this style of music - and at this stage in this review, the gradual developments of the instrumental layers and the thumping bass lines are starting to feel like home. There’s occasional saw-ish, brittle murmurs that come in from the side, but they oscillate and seem deliberate. This kind of soundtrack suits video games and the like - you could imagine it in some 90’s PS1 classics. The fade-out at the end is a classy way to end things, especially as the main theme resolves itself neatly in many places throughout.

Track 5: “Akithra, the Extraterrestrial Construct”

There’s an ominous aura to this one - it’s got an almost vintage tone to it, but the double-kicks come in and it also seems like “electro-metal”, the midi-metallic kinda tones in the same old-school games that I mentioned in the previous section. The fact that it sounds so good is gratifying - its full commitment to that direction almost makes it cooler than if they tried to record the drums with an acoustic kit to make it seem more “real”. There's a lot of range with the various melodies, and we never sit on an idea for too long or allow it to lose its sheen. The alien, otherworldly additions near to the breakdown at the end create yet another angle of mystery, in a track that really just owns its identity and is ultimately heavy as hell.

Track 6: “John the Sentient Disco Ball”

This song, to be fair, does epitomize disco, to an extent where it is probably the most danceable of the tunes within this set. There’s trade-offs between key mid-range voices on either side of the stereo field, before joining together and replicating what I imagine to be two people dancing together. It’s a groovy track, and it shows that we’re more than capable of making more experimental tracks, while keeping other concepts more consistent and palatable for those wanting an extended alternative. It’s got an impressive late section that really commits to the quarter-note groove, the earlier layers return, and (not least) an impressively relentless bassline that grinds at you until you give into it. Nothing needs to be changed about this one - it’s invigorating!

OVERALL CONCLUSION

Orkle has successfully written 5 short-form tracks, in addition to “John the Sentient Disco Ball” which comes up to a more familiar 6 minutes in length. These instrumental tunes tick off all the boxes in terms of functional composition, interesting main motifs, groovy percussive elements, fascinating development in regards to instrument layering, wonderful amalgamations of foley and synthetic performances, and - last, but not least - incredibly competent studio production, which captures both the gritty distorted, glitchy tonality of a lot of darker-sound compositions, while retaining the capacity for leveling, EQing, filtering and effectively producing in a way that makes it accessible for those wanting a less challenging listening experience. 

TL;DR: They’ve got the best of both worlds.

A question I ask myself in these situations is “would there have been any gains from featuring singers, rappers, literally any kind of vocals in these tunes? - And to that, I say, no. No, these songs are totally fine without that extra bit of assistance. When there’s less hand-holding, it encourages people to try and imagine what it’s about, on their own, and to fill the gaps in an environment where it’s both low-stakes and (ultimately) enjoyable. 

Orkle’s development as a musician, composer and producer is tangible, and it makes me happy to know that we’ve managed to capture the magic of previous works, within shorter form-factors that are more bite-sized (and potentially more accessible to audiences who might be intimidated by a longer mix). It’ll be cool to hear what happens next.

SOCIAL LINKS:
- YouTube: https://www.youtube.com/@orkle4887

Azakaela - "Caught in the Static" (feat. ED Effects) (Song Review)

“Caught in the Static” from Azakaela (featuring ED Effects), is both a song and an unintentional culmination of many things that I adore, especially when it comes to electronic dance music, gaming soundtracks, and sci-fi movie scores. It’s a piece from their most recent album, Signal, which is their 32nd record thus far - and it seems as if all of the effort put into writing those releases, alongside output related to video games, podcasts and films is really paying off.

The intro to this tune consists of otherworldly synth pads, low-end oscillations, a general cinematic ambience, and an uncertain pulse around the stereo field that make you think “What have I gotten myself into? Am I in a machine?” - Suddenly, you hear the words “Now entering the cyberflow”, with textures moving around the headphones, coupled with a subtle build that inevitably enters into a wondrous lead sequencer pattern, which is then followed by quarter-note drum grooves and acid stabs that sit sweetly within the ether. It’s so smooth that you don’t realize it's sucking you in. It’s really clever, with slick transitions throughout.

Azakaela’s voice sits neatly in the glued mix, with clever note choices and lead melodies featured within several distinct sections. Part of what is so interesting about the vocals is the juxtaposition in regards to the lush reverb on the fx chains - they’re misty sounding, but still allow for an unexpected amount of presence and clarity within the arrangement.

In terms of the accompanying instruments, there’s a lot of color, note and chord-wise within the piece - the way that the different pads, sequencers, basslines and vocal leads interact with each other are wonderful. The drums keep pushing us forward, and everything seems purposeful.

Another noteworthy mention is the return to spoken narration in the middle 3rd, with lines like “you’re caught in the static - don’t drift away” being the icing on the EDM cake. It really feels like it’s trying to tell a story, and be more than just a well-produced dance track. Having distinct alternate leads (sung vs spoken parts) is also a plus.

Structurally, everything is niched neatly together, with plenty of time and space to savor all the individual elements; this shows a fundamental understanding of what’s required to make music within this genre and style (whilst making it their own).

The ending of the track, with “Please tell the ones I know that after all is said and done, I am not a hero”, at face value, sounds sad. However, one could argue that it shows a progression through getting lost in the static, one where we actually find out who we are. Ultimately, this means that we not only get a cool sounding tune to groove along to; we also have music that encourages us to also consider our own journeys through the digital landscape, whether literal or figurative, and ponder whether we’d feel the same. Well played!

SOCIAL LINKS:
- Bandcamp: https://azakaela.bandcamp.com/album/signal

BRIAN F KELLY - "Long Way Down" (Song Review)

The third single from BRIAN F KELLY, titled "Long Way Down" is a subject of wonderment for several reasons. The first was that he performed the piano, bass, drums, and all of the vocals (an impressive feat within itself), with additional musicians hired to fill the remaining roles. I always have respect for multi-instrumentalists, especially when they do well.

The second cause for praise is that it's a lovely song that nails the first impression. Genuinely, I enjoyed my time with it.

From the moment that the cascading fingerpicked guitar parts enter, you enter this warm, cozy room, enhanced by the storytelling of the vocalist that follows. It's a welcoming performance with a soothing timbre, and hearing the story about his mother and their childhood is a truly intimate, endearing experience.

When the father enters the fray, you have a drum groove with additional lead parts on the six strings, slides, and pretty riffs that build into a meaningful amalgamation. It immediately seems as if it's a classic within the genre, with no off-notes distracting from the occasionally raw phrasings from the singer, working through the story of their attempts at avoiding their long way down. 

The fiddle solo in the later third is fragrant and oddly wistful, embodying a grace held while dancing through the triads and scales within the surrounding chord progressions. The keys also enter around the endpoint, gently sparkling on the right hand without being too overzealous. There are so many intriguing ingredients, and I love that the level of instrumental diversity is niched so well. 

Ultimately, it's an authentically told tale that means the world to Brian. It's a well-written song that showcases his fundamental understanding of music theory and composition while tying in their own family - from their parents to their wife and kids - in a way that lets you into their world. Themes of forgiveness, their purpose for existing, self-love, and acceptance shine through and are all the more palatable due to how gorgeous the overall tone of the track is.

The studio production is stellar, and the ending of "JUST LOVE YOURSELF" with varying phrasings is poetic. Brian's a singer who can handle his chest and head voices; their vocal technique is at the level it needs to be to keep a 4-minute track interesting and shine through these Country-Blues stylings.

In conclusion, it's a commercial-grade piece that I feel will find success due to its authenticity, instrumental performance, and messaging. It'll have an audience, and it'll deserve it.

SOCIAL LINKS:
- Spotify: https://open.spotify.com/artist/3FQow6uEr2qWIO6BnU0k7f
- YouTube: https://www.youtube.com/watch?v=nXqHWjnEHZg

Happy Curmudgeons - 2nd Chances (Album Review)

As a music reviewer, it pleases me to discover musicians succeeding in their careers. For many artists and bands, this often includes record releases and/or label signings - and verily, The Happy Curmudgeons have passed both facets with flying colors. After having recently struck a deal with Spectra Music Group, they are on the cusp of delivering their 2nd album into the world (the first being 2017’s Meant 2 Be), with the due date for this latest creation, 2nd Chances, being the 26th of July, 2024  - just over a month from when I’m writing this!

As someone unfamiliar with their work, I am genuinely excited to hear three of their latest singles. To be honest, this is not least due to the millions of streams that they appear to have received across their current discography, via digital streaming platforms like Spotify, Apple Music, etc. When you’re racking those sorts of numbers, something special must be going on!

Before we get into the tracks themselves - I’d like to mention a few things about the people involved in the creation of this record. Apparently, it features some amazing special guests, such as Billy Cox (Band Of Gypsys, Jimi Hendrix), Dave McMurray (Was Not Was, Rolling Stones & Bobby Weir), Jim Moose Brown (Bob Seger Band, Trisha Yearwood), Pepe' Espinosa (B.B.King, Santana) and Bobby Balderrama (Question Mark & The Mysterians). 

It should also be noted that the album was produced by Mark Byerly, and mastered by Bill Skibbe at Third Man Records - Detroit. 

So, with those notable mentions out of the way,

Track #1 for today is “Reluctant Prophets” (feat. Vaughn Mortimer).
- The combination of acoustic guitars, drums, bass, and a wholesome overall tone is wonderful. There’s room for call-and-responses with the fuzzy leads in the gaps, with the vocals keeping a conservative measure on the flow of the track. There are some interesting legato patterns, with an earnestness in the expression of the singer himself. It’s great to have some soloing from the steel strings in the instrumental sections, with some great pentatonic-blues phrasing niching alongside the indie-folk accompaniment. There’s a sense of chemistry within the performance itself, across both the singer and the instrumental sections, with the studio production helping to keep it together in a way that's both warm and balanced.

- What’s this song about?
I figure that it’s discussing someone not wanting to be able to predict the truth of what’s going on, not wanting to know the answer to some of the questions that they have about everything.

Track #2 is "2nd Chances” (feat. Amy Dixon-Lavery).
- There are more of the really pretty arpeggiated guitar layers. The drums are tight, in terms of the way that they’ve been performed and recorded - it doesn’t seem like there's a massive amount of dynamic range, but they’re well played. Amy’s vocals are fragrant and lend a homeliness to a chord progression that reminds me of a slower “Sweet Home Alabama” (at least in the verse). The buzz-rolls on the snare keep things grounded amongst the different sections, and the eventual organ is a great resonance in the mid-range. There’s an extra sung layer or two in the 2nd verse, alongside the bass, and it seems like a song that slowly wants to spread its wings. The guitar solo is noticeably gentler than the previous songs' efforts, matching the country textures immaculately. It makes great use of the real estate contained within a 5-minute piece and never overstays its welcome. It's probably my favorite of the two so far!

- What’s this song about?
I have gathered that it’s discussing the fact that nobody is perfect, and that it’s important to at least consider forgiving others, or to at least look at what we’re doing objectively and to try and either improve or make amends (along or in a relationship).

Track #3 is “Be Kind” (feat. Dave McMurray & Mark Byerly).
- Hey, there’s a saxophone this time! Awesome. Lovely extra flush texture in the mid-range, really charismatic too. The vocalists are so cheery and upbeat, with a gentle theme behind it keeping things both perky and welcoming. Again, more call-and-responses with the sax and sung parts keep it interesting. There are so many intricate guitar layers in there as well, it’s incredibly well-niched. The brass alongside the saxophone, with the cascading elements and guitar leads in the midst, introduce the final chorus and make for a thoroughly effervescent finale to this review. It genuinely feels like a song that is trying to encourage you to be kind - and yeah, the outro with the whole band saying goodbye, is gorgeous.

- What’s this song about?
I think that it’s telling the listener to try and be kinder to people, to be nicer to people, you know. It has this friendliness to the approach to the vocal parts that is both sincere and appealing. 

In Conclusion:

This album - 2nd Chances - showcases the artistic and creative endeavors of a group that 

• Clearly knows what it wants to accomplish - there’s a sense of thematic connection across these 3 songs,

• Tells stories that appeal to people, while remaining both friendly and sincere,

• Knows how to both write music at an advanced level and also back that up through solid instrumental performances

• And also have their post-production and collabs handled as well.

As far as I’m concerned, this album was a labor of love, but also incidentally a signal that this act has something really special going on. I haven’t really reviewed music in a while that has made me feel like they just want to be kind to their listeners. I feel like, in a world like today, kindness is something that can be sorely lacking - so it’s great to hear that they are attempting to fulfill that calling, in a way that seems comfortable and enjoyable for them.

I wish them the best of luck in their creative endeavors, and for the release of this album, due on the 26th of July, 2024! Oh - and if you’re one of the lucky individuals to purchase one of the 500 limited-edition red vinyl albums (pressed through Third Man Records) for 2nd Chances, I hope that you have a great time with it.

SOCIAL LINKS:
- Website: https://happycurmudgeonsband.com
- Facebook: https://www.facebook.com/HappyCurmudgeons
- Instagram: https://www.instagram.com/happycurmudgeons
- Spotify: https://open.spotify.com/artist/4s1pdjsv104am51rdbVIYV
- TikTok: https://www.tiktok.com/@happycurmudgeonsofficial
- Amazon Music: https://www.amazon.com/music/player/search/happy+curmudgeons
- Apple Music: https://music.apple.com/us/album/2nd-chances/1751378855