New Sincerity Works sounds like the name of a cult but fear not, they’re actually a pretty good rock band that counts Spoon and New Pornographers among their influences. Like both of those bands, NSW’s songs are driven by warm and punchy melodies. The debut album of this Ohio-based septet, “Wonder Lust,” is a decidedly easy listen, and that’s meant as praise. Songs flow into each other carrying an organic momentum. The buoyant phrasing on the opening track, “I’ve Got You,” welcomes the viewer in with a sonic hug while “Just Like Vapor” is set to a punk guitar strum but has a similarly bright melody. A guitar solo erupts out of the chorus midway through, ratcheting up the intensity before dropping into the moody ballad, “Midwest Reverie.” On it frontman Mike Tittel sings, “If you’re stuck in Cincinnati, you’re better off with me.” Judging by this impressive album, I’d have to agree.
Another Cincinnati-based group, Fracktura, lists prog bands like King Crimson as influences but the opening track, “You,” on their album “Oculus,” echoes Diamanda Galas. Subsequent tracks hew more to the expansive prog structure and don’t feature the kind of vocal experimentation that the great goddess of the classical avant-garde underworld is known for, but the group feels to be reaching for a sound outside the boundaries of their idols. Freewheeling sax lines on “Gold Spectrum” have more in common with free jazz than arena rock and the mood is decidedly dark throughout the EP. Picture riding a gondola through dark murky waters on the way to purgatory or worse: I could imagine Fracktura supplying the soundtrack for that journey.
Sometimes genre classifications fail to capture the breadth of a musician’s creative output. Hong Kong-born music producer Xenzienz is classified as Dance/Electronic on Spotify but the sonic landscapes he crafts are more akin in their scope to pieces by modern classical composers like Steve Reich. While rhythmic phrases appear throughout, they don’t persist in the kind of numbing way that encourages dancing. His aptly named album, “Cosmosis,” would be better enjoyed with earphones lying on your bed than in a crowded club. The grooves he crafts warrant an attentive listen. “Synesthesia” has a rhythmic flourish typically associated with EDM, but it’s coupled with a mysterious electronic flute and shifting polyrhythms.
I could picture Copenhagen artist Reimer’s music oozing from the speakers in a club, but it would be at the cool and understated kind where the lights are dim enough so only shadows are visible, and the crowd is raucous but respectful. The two tracks of the EP “Exodus” are imbued with a dark yet upbeat energy that reminds me of composer Clint Mansell, whose perhaps best known for his intensely evocative score of “Requiem for a Dream.” Reimer’s music has a more persistent house beat but exudes the same feeling of urgent searching. Both the title track and “Woodsmen” possess a nuanced complexity that welcome repeat listens. I’d be curious to hear what they do next.
Hailing from Portsmouth, UK, Ben Brookes recorded his impressive debut album, “The Motor Car & The Weather Balloon” in Minneapolis with musicians who’ve played with Prince, Bob Dylan and Badfinger. Brookes tucks his folk/rock sensibility into inquisitive lyrics delivered with a raspy croon. The metaphor in “Asleep in Galilee” feels reminiscent of a structure Dylan might have employed during his brief gospel period. Songs like “Before Sunlight” hit a soft rock vibe while “Look Through My Eyes” has a rootsy blues feel. If Duncan Sheik sang blues, he might sound like this. Light airy vocals provide counterpoint to dirty guitar licks. The album ends with an optimistic ballad, “Shackles,” that advocates for persistence in the face of adversity.