Eli Tidmore - Chameleon review

Year : 2017
Genre : Soft Rock
Website: > - here - <
Origin : United States

Eli Tidmore 's Chameleon LP is a meticulously optimized effort, highlighting the key areas of musical influence the artist deems as the most relevant ones in his personal evolution as a creator.

A keen and relentless sense for strong melodies is observable throughout the spin, dressed in myriad sense of well-researched flavors, as expressed by the mere individual moods the songs themselves choose to submit to. The character of the music is mellow at heart, yet never depressively morose enough as to make the narration overly sorrowful or elegiac, as Tidmore has an excellent sense on how/when smuggle a tidbit of irony in the mix, - usually both lyrically and musically - thereby evading shoegaze territory. Read on to know more.


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Cole Hermer & The Ravens - EP review

Year : 2013
Genre : Hard Rock, Glam Rock
Origin : Canada
Official site : > -here - <

Cole Hermer & The Ravens bring both high octane and mid-tempo radio friendly hard rock heft all in the spirit of genre specifically timeless Aerosmith and "Lies!"-era Guns 'N Roses.
 Radio friendly at heart, yet uncompromisingly experimentive, while at that - not a contradiction, and those contradictions collapse with Meshuggah on the planet surface, anyway.

I especially like the way this EP sounds : it has a garage-setting charm to it, which makes it especially organic and likable. The guys themselves entertaining this type of music might indeed be teenagers, but they make YOU one in the process, too. If you can not be a teenager any time of the day, then I don't know what to tell you, daddy! Daddy. Why are you wearing that - AGAIN?? Read on to know more about this.

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Little Dove - debut EP review

Year : 2013
Genre : Rock with a dark, morose tint
Label : Independent
Origin : United States
Official site : > - here - <

The Little Dove duo is yet to produce a recording coming from a professional production environment, which fortunately did not prevent this unit of two from releasing live (!) recordings of their trade. When you go for the music "itself", the ensuing shape reminds me of the most wildest-, the wildestest - sorry about that - top form of Kidneythieves, - a fellow industrial cyberneticorganism act from Lost Angeles - consorted with an image of delirium-grade Nirvana. You can hear verbatim harmonic structures from certain Nirvana songs, but they are complimented by freshly fabricated and relevant ideas. The lead singer chick can sing like there is no tomorrow, while sticking to a guitar with both hands in the process. Her rhythm guitar playing is surprisingly ballsy and relevant, as is the rhythm section, that fuels and guarantees crude yet efficient beat-backrop environments for the crystal clear respective anatomies the songs convey. Read on to know more about this.

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She Saw the Butterflies

GyZ covers the song : She Saw the Butterflies by Brian Lee Stephenson and Matt Love. Listen in HD please.

Lyrics :

spent a lot of time
just trying to track you down
your manager don't care
he's just a greedy clown

you took them all on
warpaint-lipstick girl
when you were through with them
their dicks were purple

she she she she
she saw the butterflies
they crawl between her thighs
they really did not recognize
that she was mine all mine all mine

oh girl I will take you home
oh girl I will take you down
so neither of us will be alone

oh girl I take you home
and I take you down

sure makes me wonder
if you're even there
pleasure gets hostile
tactile everywhere

straight on to you
antithesis-girl
when I'll be through with you
we'll be out of the world

she she she she
she saw the butterflies
they crawl between her thighs
they really did not recognize
that she was mine all mine all mine

oh girl I will take you home
oh girl I will take you down
so neither of us will be alone

oh girl I take you home
and I take you down

hold on to me

I allow your menstruation
I swallow your menstruation

hold on to me

Buy this for $1 at :
http://gyzmusic.bandcamp.com/track/she-saw-the-butterflies

Here is the original version of the song this cover is based on :
http://www.soundclick.com/bands/page_songInfo.cfm?bandID=634732&songID=4737304&showPlayer=true


GyZ at Bandcamp.

If you want, check out my music

and / or

Buy me beer. Read more!

JANG - Jungle Duets review

Year : 2012
Genre : Experimental Progressive Jungle Rock
Label : Independent
Origin : various, see text
Official site : > - here - <

As the artist JANG informs the visitors, the Junge Duets track collection - think of an EP length - reveals sketches of the Jungle in collusion with old friends, and new ones. This particular release will be the second installment of a trilogy of contributions thematized on experimental tiger-romantics.

The music is immensely free spirited and capricious in its character, never too much preoccupying itself with the prolongation of any given idea that it momentarily chooses to submit to. The one quality that I have just been informed you about, is the sole defining factor of how you will like this stimuli. I, personally think - because I have no legitimate capacity to inform you of other impressions - that the flow of things look like a sightseeing amidst a nice collection of diligently realized plastic-animals in a safari museum, waiting to be built into full scale models. Oops : full scale songs. Read on to find out more about the disc.

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Cunt - Monday Cunt

GyZ gives you the song : Cunt - Monday Cunt. Listen in HD please.

This is a song about a woman, who, for whatever mysterious reason, loves to be called a cunt.

Lyrics :

I want you to kill me first
then lock me into your festering heart
I want you to wake up next
and do the procedure right from the start

something that I've never seen on you
something that changes you too
revealing the better but hiding the worst
hiding the worst of you
your sudden burst of pride
sucking me inside
stumble around to keep stumble around
to keep stumble around on your mind

your glamour-heart of baby blue

your proper heart of baby blue
it wants all things I am not
'cause I'm shit out of luck

she loves to be called a cunt

rubber lover
she's a miracle
a spectacle
for whatever
mysterious
reason

she loves to be called a cunt

Buy this for $1 at :
http://gyzmusic.bandcamp.com/track/cunt-monday-cunt

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Rob Crawford - Cross Fingers

Year : 2012
Genre : Britpop / Rock with supermild punk affections
Label : Independent
Origin : United Kingdom
Official site : > - here - <

Rob Crawford is a one man band project led by and centered around - seek out an airmchair to succumb to - Rob Crawford's musical vision. The artist makes continuous and inventive efforts to cultivate and maintain an organic community-connection with the audience through his website, and now is the time to talk about the music, too.

Cross Fingers is a pleasant set of sonic patterns to relate to, as the key influences are very evident - tautology - and presented in tactile fashion throughout the record. The vibes that are eager and fervent to surface up on the delivery to fuel autonomous full value compositions all in the spirit of their respective modal aspirations, are numerous, yet honest to the core in their character. Read on to find out more about those.


The Cross Fingers LP conveys the hilarious morose/borderline-happy emotional disposition so ubiquitous and - paradoxically - unique to the archetype of British popular music. The album manages to corner me into the classical Britpop/rock mood of not being able to decide if I'm cheerful or down in the dumps, so, what the hell, let me grab something - anyone/anything from fat woman to broomstick - and let me dance with it whatever way I can, whatever the thing might be.

The album is quick to reveal a spiritual content-field super-reminiscent to the classical synthpop statements of the '80s, revealed by a production environment that has an eye for the tender, and, for the rabid, too. When you would have falsely thought that the LP has shown what it is all about and submit to the morose/marching britpop vibes, Rob Crawford puts The Beatles on steroids to reveal a superb extra-aspect of the album.

The tastily presented "Beatles-Punk" affection is pronounced on the delivery throughout, and let's be realistic and admit that you still need to be a very bitter person frequented romantically only by pissed off midgets to not enjoy the character of music the Beatles bring. Think of the same music at heart, yet, with more punchy production values and a more eager propensity to bring heft than the most comfy and risk-free "girlaneedja" Beatles register is prone to exhibit.

Warning : the album does not seek to bring "just" heft, it claims the right - thank God and Co. - to submit to various flavors and patterns of a seemingly conscious decision to bring tasteful britpop/rock variety, though I personally think that the majority of the album's peak moments tend to define extreme value via these intense Beatles-meets-Sex Pistols constructions. The music is never aggressive here, as all vile intentions are assuaged by The Beatles vibe, which is a primordial factorial. I dare say that sometimes even a Black Sabbath takes a glimpse at the fray, but there is no need to hide your daughter into the closet. (Sir, I feel obliged to inform you that your daughter is ugly like a sloth, only uglier, anyway.) These contributions bring a nice sense of emulated "digital dirt" and Rob employs JUST the right amount of effects on his voice and on the instruments to take you to a parallel universe where the only space-time is that of a loop encompassing a period of 1963-1972, and the meaning of sonic art is resonated by speakers made with top of the heat tube technology.

I don't have anything against the britpop deliveries on this disc, either, I especially like the ones that seek to reveal the charming cheese-factor of the '80s, as this affection is exhibited with style and charisma, while some of them invite me to the company of a channeled Martin Gore/Dave Gahan hive-entity who promised that JUST this ONCE, it WILL reveal disgustingly pink hope and I'm not yet decided if I believe it, but I tend to, and that frightens me. But this, of course, is entirely subjective matter and you are free to beat me to death in your mind with the peeled skin of a banana for thinking so.

Heavy duty commercial exploitation-attempts are few and far between on the spin, nevertheless present and eager to Affect All willing to give a damaged self-image to them. They emerge somewhat tolerable, - oops¿. - just pretend you are a chocoholic woman looking for a fix other than audio, and never forget that you are - as the track and its title tells you - Beautifully Wonderful. WHAT? You heard a similar concept before? "You're BEAUTY! fu. ull. Here is my life in my pocket, look, look, it's me, look!" Yes. A human artist needs to eat to live on, so he eats if he can, to keep on living. You Are Beautiful. (Of course I'm lying. Buy the single or I will stop lying.)

The disc comes to you via a well balanced structural flow, with the majority of the compositions weighing in around the four minutes mark, and the 8 eight minutes Epic also is included, which, also happens to be among the strongest segments of the fray. Sigmund Freud laps my back with a shovel and a violent rubber lady for pointing out the relevance of the intensified "Beatles-rock" influence of the LP, as the Epic in question is structured on that particular rhetorics, too. Rob Crawford's Cross Fingers LP is a ripe delivery with a coherent vision of what it wants to do, and manages to fulfill those aspirations with an intact shape revealed to the things it is after.

Check Rob Crawford and his debut LP at the artist's official site.

GyZ at Bandcamp.

If you want, check out my music

and / or

Buy me beer. Read more!