"Creatures" is a track, recently released via 72RPM Records, with Rachael Dunn (SirenSong) providing vocals. Beginning with a driving rock beat and crunchy guitar, Joy adds spacey layers to the composition as Dunn's bright vocals make their entrance. The song starts out sonically sweet, but the lyrics create a creepy gotta-get-outta-here vibe, becoming more and more haunting as the atmospherics expand and float into outer space.

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​Tomorrow we will see the full release of his new album, Abloom, on Shore Dive Records. For today, we'll enjoy the single, "Joab." The song begins with a twangy pop-rock guitar riff that instantly generates a nostalgic 90s atmosphere and sets an upbeat pace. A steady rock beat, playful bass line, and Phil's vocals arrive to propel the track forward. Additional acoustic and electronic elements come in and out of the track, pushing and pulling to accentuate lush sonic layers. "Joab" is a song to listen to on a rainy summer day, when rays of sunlight sparkle through parting clouds. The Raft will leave you with a feeling of nostalgia and the urge to take a road trip. 

The audio aesthetic, matching tones, timbre, the development of the groove throughout the song - all these variables play into what makes a groove legit. Tiger Mimic approaches grooves with a focus and swagger that only maturing musicians can achieve. It's about picking spots, biding time and knowing when to "open up." The guitarist's tone selections through out the lead lines show attitude without blowing the spot up. "I Took Off My Body" is dripping with sensuality without being transparent, giving the song depth. These are hallmarks of a song that will leave your ears happy as it plays on repeat. Bravo.

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Motel Satori defies expectations in the best way. They fool the listener into thinking they understand where the piece is heading, pull the rug out from under them, then give what they didn't realize they wanted. I especially love the bass work on the back end of this track; it reminds me of U.N.K.L.E. As I make my way through the song, I can feel some jazz influences, as the synths and guitars bloom into a wonderful rock-esque pounding groove marks the outro of the composition. This was a wonderfully painted picture. 

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The drummer does a wonderful job of adding to the intimacy of the track by not doing too much too soon, yielding a long, intimate build that's classy, sexy, and very psychedelic. I'm impressed by the additional guitar work as well; there are some really intriguing sounds that the guitarist generates that shouldn't be overlooked.

Another pleasant surprise from Kosher Green is the use of woodwinds about two-thirds into the track. The use of these instruments somehow creates an even more introspective and diverse sound without leaving the energy of the vibe established at the beginning of the track - it's a great step. This leads to the closing of the song, which is started by the band opening up a bit in terms of the groove, with the drummer showing his snap while still occupying a non-intrusive place in the ensemble. I'm left wondering how some of the tones of the strings were made.

​"BLU DRM" by Kosher Green is the type of song you listen to while staring in the eyes of your love in the afterglow of intimacy.  One of the most delicate moments two people can share together.

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No, everyone can't like everything - maybe we can appreciate everything through some high degree of maturity, but we can't like it all... or even understand it all. I sure can't understand it all, meaning the cesspool of artists poorly regurgitating music that was only average in the first place. Seriously, too many artists believe a little bit of talent, the right geographic location, and a sprinkle of money means anything in the scope of art. No matter how you look at it, spray painting a turd gold doesn't work. What I'm trying to get to is this: THANK YOU STATS!

Thank you for giving me what I demand from an artist anytime they put themselves out there: sincerity, vulnerability, energy and, for fuck's sake, a groove worth a damn. The syncopation of the drums combined with the synth arps make my heart swell. The chorus is catchy. I suppose if everyone were able to tap into the energy "Lose it" conjures, making music wouldn't be special now, would it? Before I played this song, I felt I needed a shower to wash the filth off of me from wading through a muck of new music. After listening, I am rejuvenated. Thanks again Stats. 

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​Rock music can be difficult to execute. The nature of the genre demands navigating a fine line between complexity and simplicity. Light and Heavy. Soft and Hard. The best master the balance of these opposing forces and Artificial Flavors, the debut EP from Philadelphia, Pennsylvania quartet screamcloud gives me the impression the band takes mastering this balance seriously.

My listening began with the EP's namesake, "Artificial Flavors." The band wasted no time falling into a somehow lazy, yet snappy groove that got my attention early. I believe this song was listed second on the track-list, but understand why It played first if it wasn't user error. There is an apathetic tone established with the groove that Vocalist Emily Daly perfectly harnesses the power of with both her voice and lyrics "is my heart still beating?" The culmination of all these elements set the stage for a refreshingly early, perfectly executed guitar solo. This is the type of song that gets you through a long day. I found myself listening multiple times before moving on. I tend to like material that's a little catchy; I feel like this EP satiated me in that regard.

I enjoy the feeling of remembering and experiencing songs that strike a chord in my mind. The band did a solid job executing their material in the studio. Their takes sound organic and heartfelt. I could care less about the production techniques used, I simply want to relate to the feelings an artist is communicating. "In Real Life" struck me as a road trip song, the kind you listen to in the middle of a 8-hour trek after being up (maybe a few days?) as you contemplate your place in life. The steady rhythm section establishes itself without fanfare and hums along much like a car on cruise control. Charles McQuiggan and Danielle Lovier play with control, giving Emily Daly and guitarist Joshua Curry (I assume) time to work respectively, before blooming into a short, but classy psychedelic jam. As I gave it a second and third listen, "In Real Life" struck me as a lullaby too. My 7-week old son passing out in my lap as we listened probably influenced my perception there.

"Routine" begins with gnarly guitar riffage before a slick drum beat drives things forward. The baritone was a great choice for any "grunge" or "garage" band. It has the versatility to either thicken the rhythm section or be a solo instrument. I wish it was a bit longer, which is a compliment, and I hope the band takes their time with it on stage.
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screamcloud did a great job on their first offering, at times reminding me of Sweethead, other times Garbage, and sometimes Warpaint, all for different reasons. If they keep this up, I may have a new band to follow. 

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