Peer Review: Bob and Martha, On Our Planet

Bob and Martha sound like some forward-thinking hip hop crew from 1987, fronted by The Magnetic Fields' Claudia Gonson. Their no-money-more-problems hook, "I have zero dollars in the bank," is catchy enough to excuse references to Instagram and Facebook (faux pas that usually set my teeth on edge). File "On Our Planet" alongside Luscious Jackson and Cibo Matto, bob your head, repeat. An early spring classic.

By Brook Pridemore
(read his review)

Peer Review: Mothers, Modern Life

Cowbells.  Bass.  “Low Rider”?  No.  Thank god.  “Modern Life”.  That’s right.  Verses of talk-singing sketches of everyday life.   Wordless choruses of chaotic guitar.  No hooks.  No bridge.  Only one thing that could be described as a melody.  Really just the droning narration of an average modern life, periodically broken up by crashes of chorus.  A fitting musical canvas on which to paint a depressing lyrical story.  At first, our narrator’s life seems exceedingly modern as he searches for a wife on Facebook alone at night. From there, he continues to do things that aren’t particularly modern: goes to work, goes to the store, visits his wrinkly-elbowed, macadamia-nut-enjoying father.  Silly and fun, but not particularly modern.  It is not until the song’s final lines that the title truly sinks in: “I don’t get paid to think / You don’t get paid to think / Don’t touch that phone / My whole life’s on that phone”.  The first thing that actually enthuses our narrator is his phone.  That is modern life.  At least, that is the depressing aspect of modern life that Mothers are getting at.  We are drones that go through our daily mundane routines.  Constantly connected.  Go to work.  Get our chores done.  Watch TV shows.  Whatever.  We care about nothing but our phones.  Don’t touch our phones!  It is this idea that drives this song and makes it equally entertaining and depressing.  Ok, I’m going outside now.

By New England Axe Factory
(read their review)

Peer Review: Oxen Free, Make Out

I dig this song right off the bat. I like that pick-y click-y rhythmic riff, and the whole “quiet-loud-quiet” thing. The track really shines when the bigger distorted guitars come in (they really set up the moment well). Make Out does come across as slightly over-composed though; there’s more going on than there needs to be, and for all the stops, starts, dynamic changes and awesome sounding guitar, there really isn’t a strong chorus hook. That being said this would be a strong late album track, y’know, something that adds a lot to the work as a whole. It’s not single material, but it could be that emo track that ends up on mixtapes because someone had a moment with their crush that summer, surrounded by fireflies, down by the lake.

By Anonymous

Peer Review: Video Beast, Shim Shants

Video Beast is an aggressive, post-hardcore/post-grunge band from Brooklyn, NY. The duo can produce a monster sound live, due to shear volume level, but I was happy to hear that they can also bring it on a record, thanks to a full guitar tone, active drums, and the occasional backing vocals. There’s a lot of “teenage boy” in them, for better or worse. I do think that the lead vocals are too high in the mix, which lessens the impact of the thunderous band. Perhaps this is just a demo, and the vocals could be mixed to sit better with the guitar/drums. Overall though, it’s a fun track if you’re into quick riff driven heavy rock, and not put off by quasi-gross out lyrics.

By Anonymous

Peer Review: Matt Basso, Like That Sugar

“Like That Sugar” is a country fried romp, led by banjo pickin’ and backed by a full on southern tilt boogie. Matt Basso aka Thunder Harp is not into false advertising, as some blues harmonica squeals bookend the Kid Rock-esque verses. In fact, the whole affair resembled “Cowboy” by Kid Rock to a tremendous degree, which is good news if you like to get down that way. This song seems like the soundtrack to a hot summer BBQ, with beer and chicken and maybe some trucks. Basso wants you to “give him the life that’s like that sugar, smooth like silk and just like butter” which is a totally enticing proposition. A vaguely psychadelic chorus not unlike mid period Stone Temple Pilots breaks the monotony of what is basically pop country. Recommended highly for fans of the song “Cowboy” by Kid Rock, blues harmonica, pop country and boogie party jams.

By Anonymous

Peer Review: Brook Pridemore, Brother Comfort

I don’t know if my opinion on this track is based on the fact that the lyrics are posted in paragraph form or what, but it kind of feels like the lyrics were written as a story, and then set to music; as if melody and refrain were secondary notions. It’s a weird feeling that’s unique, and I appreciate it for that, but I’m not sure it really holds up as more than a jumble of words without a super clear story line, OR, a singalong-able chorus. It’s worth taking a listen for sure, because the band is decent, if perhaps somewhat 80’s jazzy pop sounding. There’s a Paul Simon feel in here somewhere; I guess the backing track is somewhere between Graceland, and maybe Leonard Cohen’s I’m Your Man. I would like to hear more songy-ness from the vocals, but maybe that’s just me.

By Anonymous

Peer Review: What Model Citizens, Too Late

What Model Citizens describe themselves as a "simultaneous assault on your hips and ears," and I'm not so sure that this description achieves its intended effect. I definitely get the dance-hall vibes (it feels like DEVO meets nu-disco meets acid house or something), but generally I'm unconvinced by the actual sounds put into the production of this track. The breathy and under-produced vocal tracks feel like they come out of the 80s in a bad way, and most of the synth tones / drum sounds have a sort of paltry or lo-fi texture which seems counterintuitive to the idea of dance music in general. I also don't really get why the track is 5 minutes long.
Sorry to be a hater! <3

By Anonymous

Peer Review: The Meaning Of Life, Two Birds, One Stoned

“Two Birds, One Stoned” by The Meaning of Life is the kind of song that requires repeated listens in order to properly catch the full range of detail that seems to bubbling just beneath the surface. The band packs alot of ideas into the track’s 4 minute playing time, highlighting their ability to merge disparate influences into a cohesive and unique blend. The result comes across as something in the Rollerskate Skinny and Love and Rockets wheelhouse, but with a 2015 sheen. The obvious ear-perk of the song belongs to singer Marta and her vocals. Marta sounds like a bewitched Siouxie Sioux, the kind of voice that enchants as much as it haunts. Musically, the band serves as a formidable unit, a band with a great sense of dynamics, while displaying the proper restraint to let Marta’s vocals shine through. One gets the impression that the band is a different beast altogether in a live setting, as the chorus cruelly hints at the full force of the band when kicking things up a notch. I look forward to hearing what the band is capable of when able to fully let loose.

By Anonymous 

Peer Review: The Harmonica Lewinskies, Horizontal Yellow

The Harmonica Lewinskies' LP is called Dad Rock, and that's pretty much what the instrumental octet delivers: all the genres dads like mish-mashed into two songs (meant to be played together). Horizontal Yellow is a horn-laden funk, soul, jazz, I dunno, klezmer medley with a campy blues guitar solo and soaring horn flutters. Horizontal Blue is an escalating, repetitive tune that starts off with a bossa nova style beat and devolves into a mess of a ska-punk song before unexpectedly jumping into a short cover of the Beatles' "I Want You (She's So Heavy)." I guess if they were playing some last call bar on the Lower East Side or my cousin's bar mitzvah or something I wouldn't be pissed. Funny name though.

By Anonymous

Peer Review: Shit Show, Take Your Anger Out On Me

“Take Your Anger Out On Me” by Shit Show features uncomfortably dark lyrics, hauntingly delivered by vocals whose soothing tone is juxtaposed against its subject matter. In this sense it reminded me of “Wave a White Flag” by Elvis Costello, only with some extra instrumentation to carry the message forward. The integration of the cello grabs the ear, while the guitar and drums stagger along, eclipsed by the vocal performance  (and that’s ok! It fits this song!). The low, but not indecipherably lo-fi production value coupled with brutally sardonic female fronted vocals reminded me of late 90’s/early 2000’s acts like Mary Prankster or Val Yumm. The one thing I couldn’t get behind was that the song felt a bit long. Not obnoxiously so, but by the end the point had been made, and the anger of the singer starts wearing on the listener. As far as songs about dysfunctional relationships, this one certainly makes you feel the pain of the author, and if the listener doesn’t actively dislike the unknown antagonist by the end, they’ve got to have a serious lack of empathy. I would definitely be interested in hearing something else, maybe faster, from this group, but as far as introductory tracks go, it makes an impression…and isn’t that point?

By Anonymous

Peer Review: Nova Luz, Streets

Nova Luz’s “Streets” is a simple and sparse ballad that feels incredibly intimate. Whispered poetic verses rest just above repetitive and increasingly discordant finger-picked guitar, intertwined with beautiful resolutions, opening and resolving landing with the line: “Speak the streets they to me.” The poetry itself is pointed and leaves you seeking resolve, which may have actually been achieved with the verse but not necessarily as desired. The line “Dreams I had to let go, they were violent, I become my machine” is ominous, even if in some form of resolution.

All told, the song conjures images of Elliott Smith or Cat Power – or in this case Nova Luz – sitting with their guitar on the bedroom floor with a spinning four-track adjacent. And I’m thankful to have shared in the experience.

By Oxen Free
(read their review)

Peer Review: Mike Body, Seeing Giants ft. King Medullah

  I've always been impressed with the production quality of hip hop music, Seeing Giants by Mike Body is no exception. The introduction to the song is intense and immediately draws the listener in. The beats are a little bit repetitive but the hook is extremely catchy and will likely stick in my head for days. The song tackles some difficult issues, the death of a friend as a product of the neighborhood was the part that really struck me although there are many poignant revelations within the song that presumably informed who Mike Body is today. Given his transformation he seems to have narrowly avoided a life of criminal activity in favor of sobriety and success. I might say the track is a little bit long for my taste.
  After a second listen I realized that this track had religious content and that the big "transformation" he was celebrating was that of becoming a Christian. While I don't believe religion will necessarily save someone from their circumstances, this song carries with it a positive message for listeners who can't decide between a gun or a bible.

By Anonymous 

Peer Review: Ludlow Ejacula, Bitter

Built on a simple, spacious acoustic foundation, the piece feels chantlike at first, or like a personal letter. The minimal instrumentation is a clue to pay attention to the lyrics-- bitter is an appropriate title given the content, though the delivery of the cutting phrases is anything but. The vocals are characteristic, presented with little processing. I am peeved by the epidemic habit of drowning a unique vocal in reverb to mask its edges; this was thankfully forgone in favor of a crisp and personal treatment of the performance. The delay/echo is a much more effective choice in this case, allowing a relatively breathless voice to expand and fill the spaces left by the simple guitar backing. The build is steady throughout, and while following a standard folk/pop structure, the development is patient without plodding. The electric guitar glides in exactly where I wanted it to, rounding out the high end and giving counterpoint to the vocal. The male backing vocals neither thrilled nor bothered me, but the doubling of the lead voice (a trick I usually love and often employ) really didn't seem necessary in this case. If I would change anything about this recording, I would leave it out-- I felt it muddied the provocative separateness, the personal delivery of the lyrics that drive the piece forward so successfully throughout.

By May Oskan
(read her review)

Peer Review: Lost Gloves, Chess Match

Lost Gloves track Chess Match starts out spastic and staccato as it elicits images of an expressionistic arcade. As the track continues it dips into a catchy bridge that transforms into cheerful synth- work with melodic sensibilities not far off from traditional Japanese music. In other words, the track briefly sounds like a game soundtrack (A very popular Japanese ps2 game).  The vocal delivery on the track goes from a laid back discontinuous talk-sing to continuously melodic choruses. The string work (from what I can tell is bass and guitar) on the track is simple enough to complement the melody and interesting enough to stand on its own. The drums hold the track together without being overpowering. Towards the end of the track the drums really begin to shine, as they take center stage ending the track with the very same spastic vitality that it began with. I am not usually a fan of synth music, but despite having Synths I would be hesitant to call this “Synth music” because it is not Synth-dependent. It utilizes textures only made available through synthesizers, but the other instruments hold their own. Overall, Chess Match is a colorful, enjoyable, and ephemeral track definitely worthy of a listen.

By Emily Brout, Ludlow Ejacula
(read their review)

Peer Review: Leo Liebeskind, Where Do I Go Now, Mama?

A straightforward, vintage-sounding folk ditty that doesn’t overstay its welcome – it feels like a traveling song. The vocals capture Bob Dylan’s nasal charm without sacrificing pitch control. A particularly nice touch is a doubled (acoustic!) guitar solo, with harmonies that play off of the vocal melody. The lyrics are repetitive in the style of old folk and there’s not much depth, but they don’t come off as derivative. The second vocal on the third verse is a little disorienting; it’s not a bad idea, but the execution feels awkward. Overall, the song feels like a fun introduction – I'd be curious where else the guitar and voice want to take me.

By Libel
(read their review)

Peer Review: Kerbivore, My Apartment's A Mess

Kerbivore brings a wild burst of energy to the table from the opening drum pickup to the final guitar riffs. "My Apartment's a Mess" is loud, angsty, and punky, but manages to incorporate some tender vocal harmonies and textures almost without the listener realizing that's happening. At times, the driving pulse of the song may feel a bit monotonous and overwhelming, but Kerbivore clearly came to rock on this track, and it's definitely worth a listen, or many.

By Leo Liebeskind
(read his review)

Peer Review: Hodera, Reset To Default

I like this song!  For the most part.  The harmonies are so pretty, I wish they were turned up in the mix or even had a 3rd part. Also the shouting at the end is something I could do with out - brevity is my jam.  But that's just me.  I really like the vocals and the song structure.  Overall its a rocker! Definitely gonna check out their other stuff when I have time!

By Anonymous

Peer Review: May Oskan, Straight Jacket

This is a really pretty lo-fi piano driven song. Depressing, but beautiful, especial when the double lead vocals enter about midway through. Seriously, it's a powerful moment. May's voice is incredible, and ultra emotive, especially during the line, "every jacket I wear is a straight one." Straight Jacket may be a little sleepy for those looking for rock songs, but it does a good job of rising in dynamics, and giving itself a sense of motion without any true percussion. This is a great sad end of the night going to sleep while it rains outside song.

By Anonymous

Peer Review: Fruit Juice, Some Big Stranger

Time travel is certainly a way to get there; I am and have always been a firm believer in bringing up time travel. And that is perhaps what makes this song so powerful, infectious even; the way “Some Big Stranger” by Fruit Juice lets you shrug off decades you probably never had. There is a timelessness that is a timeless mess at play here, a sense that peeling Velvet Underground posters, Mott the Hoople’s “All The Young Dudes” on a warped record player playing at the wrong speed can’t be too far away from wherever this was written. All of which is to say three out of three pizzas or doobies or whatever we are using to rate such things these days. What really captured me is that there seems to be a kind of embedded history to this song—it begins by killing itself, firing up an initial groove before letting it crash into distortion—so, in a sense, it is the ghost of itself. “The song is dead; long live the song!” you might add, jubilantly, nodding your head to it because what a chill, weird insurrection. Something wave-like in the way it slides between verse and chorus, riding its guitar lines, wavering with the keyboard, building and repeating. Sonically, it blends a sort of 70s maximalist approach to arrangements—especially the vocal ones—with some cool lo-fi trimmings, a touch of experiment. It’s beautifully broken in places, which is perhaps the best touch: the way that a crackling invades certain notes, adding to the cool artifice of it all. The combined effect of all this is seductive, and so we are as much a victim of Fruit Juice’s modulations, to this song’s ceaseless motion, as to its layers of sounds and its optimism even. We are caught in it; “I got lost inside the main artery/ I found the blood stream warm and buttery” a plaintive, gorgeous wail. This is beach music for the day California dries up, day-glo for the glam apocalypse: “we feel that that’s not all/ let’s get stranger tonight” they’re singing to us from across time and space.

By Galapagos Now!
(read their review)

Peer Review: From Below, Blood Money

From Below drives a hot poker straight through your expensive tie and into the black tar heart of capitalistic vice with Blood Money. It is quick, the work they make of their intended target. We don't see the long patient work of loading the cannon- only the fiery blast of thrashy rock and roll and the concussive force of Cartera's vocals, three howling chords in shrapnel guitars and explosive drumming.

This is not the music of the bourgeois.

This is the sound of four New Yorkers screaming 'WAKE UP' as hundreds of sweaty moshing bodies rise up from the night clubs and noisy dive bars to descend upon the reddened pavement of Wall Street, 'Wake up before they turn Shea Stadium into another fucking bank!'

By Fruit Juice
(read their review)