Casey Chandler aka Galapaghost finds inspiration in the darker moments of humanity and even unspeakable tragedies. The title track from his new album, “Pulse,” was inspired by the mass shooting last year in a Florida nightclub. Working through a sense of disillusionment with America after living and touring in Europe for a couple years, the Austinite (by way of Hudson Valley hippie town Woodstock) crafts an eerie ballad washed with soft distortion and topped with his gentle croon. “We’ll feel it all again, the cycle never ends” is one of the best lines. The short track “Analog Wasteland” has a playful vibe expressed through bouncy electronic riffs though there’s still a sense of isolation as he sings about being alone and lost. One of the best songs on the album turns out to be the simplest. “Saudade” is a journey song set to a straight-ahead guitar chord progression. It’s crisp and satisfying in its economy. A whistling interlude adds to the playfulness while the subtitle “Interstate Death Song” suggests a nod to Stone Temple Pilots.
From “Good King Wenceslas” to “Little Drummer Boy,” some of the most dreadfully monotonous songs are Christmas songs. As a tumultuous year came to a close, Christmas Hearts Club Band decided they wanted to mark the occasion with an uplifting ditty for the season. The band is actually a one-off collaboration led by Diego Guzman who now goes by the moniker Lost Nomad. If all that is too much to keep track of, here’s what’s important: “Merry Christmas Everyone” is a mellow Brit-folk carol in the vein of John Lennon’s “Happy Xmas (War is Over).”
Originally a classically trained violinist, Italian singer/songwriter Luca Bash draws on a wide range of musical impulses. His new album, “Keys of Mine” begins with the guitar ballad “Backstage” which blends warm notes with a deep croon. The next track, “Beyond the Screen,” leads off with a funky rhythmic base that is soon layered with spirited sax lines that inch closer to the foreground as the song progresses. “Forever Like Asleep” leads off with one of the album’s strongest fuzzy guitar riffs. It drives the song into a deep groove, which is broken up by a softer chorus as Bash channels his inner John Mayer. If there’s a unifying theme to the music it’s the constant contrast between soft melodies and hard-hitting grooves.
Atlanta-based Nocturnal Animals have an easygoing sultry approach to alt-rock. Their newest EP, “Dark Lit Places,” is a quartet of moody and tuneful tracks. They move with a plodding momentum that’s a mix of restrain and passion. The title track, “Teeth,” is at its peak when the group sings together in the chorus and during Will Bennett’s quietly soaring solo. “4am” is a playful ode in the vein of “Closing Time” about that moment right before the end of the night. The piano-driven “Satellite” closes out the album with echoes of the glam hopefulness of David Bowie and “Hedwig and the Angry Inch.” I’d love to hear the group explore this dynamic more.
Montreal (by way of Bushwick) adrenaline-fueled trio Psychocide plays with a ferocity that’s pure ID. Their latest album, “Alcohol and Bad Decisions,” opens with the kind of rollicking fury that would make AC/DC or Guns N Roses happy. Goldwyn Thandrayen’s guitar licks trace a barrage of lyrics that get delivered with rapid fire. The first song written for the album, “Street Named Desire” actually appears towards the end and features a fast tempo chord progression layered with vocal phrasing that ooze levity reminiscent of Latin music – that is if it was put through a heavy metal filter. One thing that is evident throughout is these guys have given themselves the freedom to let go, have fun, and just simply jam.