Author: Captain Capm (Page 9 of 118)

Knugu: Quadrilogy

If one thing’s for sure, the production of this four-song EP by Knugu is damned impressive. Not one note or beat is out of place, and the vocals are well balanced with the instrumentation. However, if feels like there’s something missing here. The opening song “Getting Over You” has a nice melody and memorable chorus, but it seems to end far too soon. “Dark Angels” is delicate and crystalline in its guitar work, but lyrically it feels as if it’s running in place (beautiful background vocals, though). The vocals by Knugu on “Ad in Personals” sound a little too dramatic at times, and when he twists some of the notes at the ends of the words at times, it’s a little cringe-inducing. And “Running Back to You” sounds like a nice little flashback to the mid-‘80s. It’s pleasant enough, and the whole thing is supposed to depict “the life of a young American couple in the first decade of the 21st century,” but overall there’s not a lot to hang your hat on here. Perhaps a full-length release could fix this problem next time around. (Self-released)

Knugu MySpace page

John Paul: Belmont Boulevard

John Paul has the sort of musical dynamic that runs through a lot of Paul Westerberg’s best solo stuff. The guitars have a nice twang to their tone, and the rhythms and attitude are very much like the former ‘Mats frontman. Vocally, Paul sounds like a really young Don McLean mixed with Ryan Adams’ rough edges. Very impressive, no matter how you cut it. “21” is a killer song, showcasing all of these elements. “Set Me Up” certainly swings more to the twangy side of the Ryan Adams pasture, and “Chameleon” sounds like a great, long lost song from early ‘90s college radio. Sometimes things get a little CMTV sounding, as on “.45,” which has great potential but almost becomes undone by its arrangement and lyrics. But a song like “Sleepless” quickly remedies that, where Paul’s formula works perfectly. It’s also on this song that he sounds like his own man, and it’s definitely a standout tune. The production is lush and with any luck, John Paul will soon be a recognized name with this nice collection of songs. (Self-released)

John Paul MySpace page

Hills Rolling : Something Delicious

Trey McGriff is Hills Rolling, and on his second album under the moniker he has not only made one of the most compact releases of the year (nine tracks at 27 minutes), but also one of the most enjoyable. Opening track “I Wake Up” instantly reminds one of a great old Lou Reed tune, with its two-chord verse structure before melting down into a tasty, beautiful bridge. “Need It” is all retro and fuzzed-out with its garage band riffage – a new dose of Nuggets for the new generation. “Nothing Like Good Times” treads into Teenage Fanclub territory with its pretty acoustic guitars and lyrical pursuits. “Aditude” is electric, danceable, and just plain good rocking fun. McGriff is never flashy or tries anything he can’t. This is fun, smart pop that anyone can enjoy. Certainly one of the best DIY indie releases to come around in a while. Snap it up now, please. (Whiskey Child Records)

Hills Rolling MySpace page

Wilkins: No Expiry Date

Family group Wilkins has created a pleasnt pop album on No Expiry Date. The trio mixes a bit of everything from smooth pop (“Easy”) to classical (“.79”) to torch songs (“Just a Memory”). Throughout the playing is tasteful and the performances are tight, which can only come from years of playing together (indeed, the inside of the disc’s booklet features pictures of the husband/wife/son unit through the years). It’s just hard to tell if this kind of work will appeal to a wider audience. What’s here is good, with “Love Is Gone” featuring a folksy/country vibe with its mandolin and “P.E.I.” treading into Carole King and Carpenters territory. And those are the same things that might limit larger appeal overall. As great as King and the Carpenters were, sometimes some of these tracks come off as a little sappy. And with so many of the 13 tracks here slower numbers, sometimes the whole thing begins to sound the same. Still, you have to give Wilkins credit for doing what they want to do and doing it well. (self-released)

Wilkins’ official web page.

Brandie Frampton: What U See

I’m not the world’s biggest pop country music fan by a long shot, but even I have to admit that 16-year-old Brandie Frampton has a lot going for her on her album What U See. The young artist shows an uncanny command of working a song into a tasty froth without getting into cornball or cliched territory. The gal’s already won some awards for her work, and one listen to this disc will prove why. “Ain’t That Life” is one of the best pop country tunes to come along in years by anyone, period. “I Want You 2” sounds like something that could easily climb the charts with Frampton’s throaty vocals at the fore and her down-home attitude shining through. “Colours” shows off Brandie’s softer side and once again it comes off impeccably, with beautiful production. What Frampton really has here is a true pop and country album, straddling the line easily between both. What’s more, she isn’t doing kiddie fluff or tackling subjects that might be too “adult” for someone her age. This is simply just good stuff through and through. Look out, Miley Cyrus. (DLF Records)

Brandie Frampton MySpace page.

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