The Australian jazz metal fusion orchestra Valtozash is quite a newcomer, when it comes to their young age as a group, but they’ve already made their marks with their 2016 debut album, Iron Maiden Voyage. Barely more than a year later, they’re back with a sophomore release in Wizard-Bird. For those unaware, the ensemble is quite extensive: five saxophone players, three for trumpets, four trombones, and a vibraphonist all play alongside the traditional guitars-bass-drums trio. On top of that, the track from which the album title is taken features the Brisbane Symphony Orchestra! Through musical humour and a … Read more
I’ve written a line or two about Toronto’s Art the Band, last year, when I found out about their full-length, Boost Unavailable. I was impressed and awed by it, so it’s with great anticipation and matching expectations that I’ve approached their most recent release, the Snacks EP. I wasn’t aware that it was coming, so I was surprised, and, upon listening to it, was once again surprised. I have to say that I didn’t exactly recall what Art the Band was about, but Snacks quickly corrected this. The first and “Big Track” is a pretty standard jazz … Read more
Out in September but available for streaming now, Austrian Namby-Pamby Boy‘s self-titled third album aims at the no small task of transcending genres and categories. While not being outside of any pre-existing box, Namby-Pamby Boy is an album that breeds jazz, electronica, hip-hop, and rock together in a buffet of compositions. The ten-track, one-hour album goes from moody to energetic and offers plenty of interesting and powerful moments, thanks to the lush keyboards and meandering saxophone rocking the songs. The album will be out on September first through Babel Label.
Michael Avery‘s back, baby! Following his 2015 album, The Scientist, which we liked a lot, the eponymous full-length is even more impressive! Although I’m admittedly not a fan of the, uhh… Abstract 90s-inspired, tribal tattoo artwork, the music is on par with the contemporaries of instrumental progressive metal, and by that I mean that it’s better than most of what’s being done in the genre nowadays. The jazz-infused prog of Mr. Avery is intelligent and executed selon les règles de l’art. Some songs are very moody, while others are energetic and have lots of drive to them. … Read more
Once in a while, I get a personal email containing music that’s just above and beyond good. This time, that email came from Jackson Albert Mann, and the music is under the moniker Araqsana. Jackson is a post-graduate student at the Berklee College of Music, and his debut EP displays some very tasty jazz fusion. Jackson states he is influenced by hardcore punk, experimental electronic music, and jam bands. The latter I can feel in Araqsana, but the former two are much more subtle and it takes more than one listen to get a glimpse of them through … Read more
‘Mångata’ is one of those words that can’t be directly translated. Although one could argue that no word can be translated exactly, because the two words will carry different insinuations and complex networks with a plethora of emotions, meanings, and other words. However, Wiktionary describes this swedicism as ‘the roadlike reflection of moonlight on water’, which is better conveyed by the EP’s artwork than any description. From foreign languages to the musical one, the issue remains. It’s incredibly difficult to put music into words because each chord, each progression, each rhythm, timbre, pitch, length has an unfathomable amount of cultural … Read more
Hello all, Fulton here! Hope everyone is having a great start to 2015! I know it’s been a while since I have posted on the blog, but wanted to let everyone to know that I hope to be more active in 2015. For now, I will leave you with my Top 30 Albums of 2014 videos filmed right at the tail end of 2014. Thanks to all the bands who made it to this list for gracing us with such unbelievable tunes over the last year, and everyone who has made CTEBCM? everything that is today! Happy 2015! Cheers!
Part … Read more
Clément Belio is, quite simply, making the music of the future.
I don’t say this lightly. It’s a common (trite) trend, to call experimental music the “music of the future” (or, for extra pretense, the “Music of the Future”), acting as though some EP recorded in the bedroom of your favorite obscure indie band is going to herald in a new era of music.
I don’t know if Clément Belio’s music is going to herald anything in, per se, but I would still describe it as the music of the … Read more