I love albums that you can put on and let them just take you on a ride. Then there is that feeling you get when that right chord, melody or rhythm strikes. Also, it’s really refreshing to hear a band make an actual “album” and not just a collection of songs! Let me introduce you to, The Owling! This two piece Los Angeles based band is fast becoming a favorite of mine. Their sound is the perfect mix of 90’s Rock, Doom and Sludge with a very cinematic/poetic approach. The Owling’s debut album, You Don’t Bow You Will Learn, is a of righteous slab of riffs, and driving rhythms with vocals that soar. Think about driving down an open desert highway at sunset or sunrise with the windows down and this album blasting. Are you there yet? That’s exactly how this album feels. With each listen you find a different song to be your favorite. One other aspect about You Don’t Bow You Will Learn that I really enjoy is the use of space/ambience. When you listen, at certain moments, it’s almost like the fog machine is on and you get lost in the epic nature of the song. I very much look forward to what 2026 will bring for The Owling! Check out this band and be sure to buy a copy of their debut album and see them live! Also, quick shout out to Dean Karr for his badassery of great photo’s of the band and album cover. Talk about nailing an essence in a photo!
In the world we live in today, it’s refreshing to hear music that takes you to a different time and place. That time and place could be at point that was more innocent or adventurous, or even a feeling that has stayed with you. All of these put together makes a great recipe for an album. The time it takes you to is around the mid/late 70’s when glam and punk are starting to become something substantial as well as transporting you to the mid 90’s when alternative music was taking off. With that in mind, I’d like to present the Album Of The Week, Witkin’s, Things I Might’ve Said.
Throughout the twelve songs found on the debut album, Veronica Witkin wears her heart on her glitzy sleeves. These songs pour out through the speakers in a way that is infectious and touching. Things I Might’ve Said is a poignant album that goes through the depths and despair of life be it depression, self loathing, losing the passion and then some. The music and lyrics that unfold throughout the album are uplifting in a very positive way that makes you want to start a new day. There is something about the way the hooks in the songs grab you. Each song has it’s own personality but, the uncanny passion and emotion delivered on these tracks is what keeps you engrossed. Musically I love the Bowie/T-Rex inspiration mixed with the best of 90’s alt rock. When you listen to the album there is a vibrant feeling mixed with the melancholy that shines quite bright. Of course there are rock songs found all throughout the Things I Might’ve Said but, the vulnerable more delicate songs really pull at the heartstrings.
I love debut albums like this. The kind of albums that you put it all out there and let yourself become who you are. Veronica Witkin and her band are definitely one to watch out for. Their live shows are chock full of fun and energy that spreads throughout the room. I personally can’t wait for Saturday October 18 at Bar10 At Corbin Bowl (in Tarzana) for Witkin’s Record Release Show! It’s going to be one hell of a fun and great night. Also playing are Vagabond, Seven 40 Seven, High Flight and Over Grip and it’s only $10! See you there and don’t forget to check out Witkin’s debut album, Things I Might’ve Said!!!
Overall Rating: 9/10
Stand Out Tracks: “Last Year’s Ashes,” “You’re So Cinematic,” “Don’t Call It A Cult,” “Drowning In The Gene Pool,” and “These Days”
I’m sure for a lot of you starting the week off can be a bit of a struggle. Dragging ass is never a fun way to start the day or week off. This morning I was having one hell of a time just getting out of bed and a song popped in my head and then I put said song on and I was awake. If you haven’t heard Soulfly’s “Eye For An Eye” off of their debut self titled album, this one will surely wake you up. And as a track one, yeah this is a banger out of the gate! The first album is chock full of great songs and the rhythms are really what takes the album to different heights. Drummer Roy Mayorga and bassist Marcello Rapp, have instant musical chemistry right away. “Eye For An Eye” is one of those classic songs. Crazy too that it’s over 25 years old now! This song also features Dino Cazares of Fear Factory as well as former Fear Factory vocalist, Burton C. Bell. So start your day/week off with this hellblazer of a track one!
A couple weeks back I heard a band that sounded very much 90’s with that bit of thrashiness making it quite a fun listen. With that in mind I’d like to introduce you to, Tonguecutter. Tonguecutter is a power trio hailing from the remote lakeshore town of Muskegon, Michigan. Their sound is reminicent of The Pixies, The Breeders, Hole and L7 meets Anthrax and early Suicidal Tendencies. Another fun thing about Tonguecutter is how they throw in odd time signatures in their songs making it more fun for the listener as things happen out of left and right field. Their debut album, Minnow, is 11 songs chock full of rumbling bass, uppercutting drums, and bouncing riffs and vocals that leave a lasting impact. Vocalist/guitarist Chantal Roeske has a great voice that resonates quite well with the angst and reflection in the lyrics. I’ve quite enjoyed this album as it’s brought back a sound that I grew up on and love and it’s done right. There’s a rawness to Tonguecutter that really leaves a mark while exploring melodic moments and hooks that will leave you wanting more! Cheers to Tonguecutter and what is to come for them. Hopefully a Los Angeles show is in the cards for them as I definitely need to see them live!
This topic about track one songs is quite fun and interesting. The first song on album more often than not sets the tone for what is to come and on this particular song, it does just that. On the debut album by Drive Like Jehu, they not only kicked open the door with “Caress” but they made damn sure that the impact from the track would sonically blow you away. This is one of those songs that is often copied but can never be truly duplicated. The intensity, subject matter, tonality, production and performances on “Caress” as well as the whole album is astounding. On a side note too, “Caress” was covered by Deftones and released as a b-side on their Diamond Eyes album.
It’s pretty crazy to look at all the albums that came out in 1994 and see how many of those have gone on to become true classics. 94 was a golden year for music and it will be regarded as such for generations to come. There’s one album that came out during this time that helped to change the landscape of things. That album is Weezer’s debut also known as The Blue Album. The 10 songs that make up this legendary album are substantial and highly influential. Along with the pop charm and sensibilities, the melodic melancholy that is the backdrop for this album, helped to spawn a new sub-genre.
The Blue Album has quite an interesting history in regards to the writing and recording of it. The album was produced by Ric Ocasek (R.I.P) of The Cars and recorded at Electric Lady Studios in New York. In case you didn’t know, Electric Lady Studios was Jimi Hendrix’s studio. Originally the band wanted to self produce the album but, the label insisted on a producer and they chose Ric. Original guitarist Jason Cropper was let go during the recording of the album and replaced by Brian Bell. Cropper had already performed all his parts on the album but, after he was let go, Rivers Cuomo redid all of his parts and according to Ric Ocasek, he did all those parts in one take. Cropper did receive writing credit though on the lead track “My Name Is Jonas.” Something else that I’ve always found funny was that for the album cover photo, original bassist Matt Sharp wasn’t happy with the way his head looked so photoshop was used to replace his head with another one from a different shot.
There are a hodgepodge of different influences and inspirations that can be found on the album, making it something quite spectacular. There’s pop elements to go along with garage rock, bits of post punk, punk rock, and even a tinge of metal at times. Right out of the gate “My Name Is Jonas,” sets the tone for how the dynamics of the album are. It’s also one of the coolest first tracks to an album. “No One Else” has this really fun playful bounce to it and an almost Beach Boys pop vibe to it. “The World Has Turned and Left Me Here” is one of those songs that the more you listen to, the more you relate. While it has a pop formula, it’s one of the more darker songs on the album. “Buddy Holly” was actually the second single off the album but, it was this song and fantastic video (directed by Spike Jonze) that really put Weezer on the map. Even Rivers Cuomo was hesitant about putting the song on the album as he felt it didn’t represent the sound he wanted. Ric Ocasek persuaded Rivers to put it on the album. “Undone- The Sweater Song” was the first single. Rivers has even said that this is an inadvertant rip-off of Metallica’s “Welcome Home (Sanitarium).” This song is super catchy but, it’s also quite poignant and deep. It’s also one of my favorite songs the band has ever written. Plus the guitar solo on the song is perfect. “Surf Wax America” is another super catchy song with a punk rock sensibility a la the Ramones. “Say It Ain’t So” is another of my all time favorite Weezer songs. It was the third and final single released. The heavy guitars on this song are exquisite and this tone has become often duplicated. The song itself is one hell of a track. It’s dark and hits all those right feels. This is also one of the bands most covered songs (Deftones, Finch and Dashboard Confessional and more have covered this song). “In The Garage” is quite an introspective song set against a poppy melody with cruchy guitars. This is one of those songs that many a suburban kid can relate to and still do. “Holiday” has some of the best guitar and bass tones on the album. It’s also a heartfelt song that has this layer of optimism to it. There is also this really fun barbershop quartet section in the middle of the song. Interestingly, while preparing for the studio sessions, Weezer focused on their vocal interplay by practicing barbershop quartest style songs to feel more comfortable collaborating vocally. Closing out the album is my absolute favorite Weezer song, “Only In Dreams.” The song’s lyrics tell the story of a young man who wants to be romantically involved with the girl of his dreams. But because he cannot do so in reality due to how nervous he is, he can only fantasize about being with her in his dreams. Though in an 2010 interview Rivers said of the song “I think most of our audience always thought it was a song about a girl when I’m really singing about my artistic process.” No matter what the song is about, one thing is for certain, this song is epic. The dynamics on this song are astounding. The precision of quiet to loud along with guitar, bass, and drum tones should be studied. The gradual increase in heaviness that leads to the guitar solo give me chills to this day. This song is sincere and absolutely immersive and as an album closer it’s perfect.
The Blue Album is one of those that you can listen to from start to finish without ever tiring of it or wanting to skip a song, even if you’ve heard “Buddy Holly” 500 times. The pop elements and brightness hook you in as they should but, it’s really the meticulously crafted songs and performances that make this album stand out. These songs don’t just fit in the era they were released making this album timeless. The Blue Album is a pre-cursor to the emo movement that bands like Sunny Day Real Estate and Jawbreaker helped to create. This album is truly one of the best albums of the 90’s and 1994. Take a few moments out of your day and (re)discover how great this album is.
I know I keep going back to the 90’s but, it truly was a magical time. Just like the 60’s and 70’s for our parents (well most of ours), the 90’s was a revolution musically for a generation and then some. The sheer amount of groundbreaking and legendary albums from this time is astounding. The legacies that those bands have to this day are beyond what many of them ever expected and the influence and inspiration that those bands and albums have had on countless other bands, well, that’s the gift. There was a band that came out during this time, made up of three teenagers that really left a mark. That band was Silverchair and their debut album Frogstomp, was quite the exceptional record and one that, to this day, still excites people.
Recorded in 9 days in December 1994, Frogstomp would go on to put Silverchair on the map. At the time of recording, Daniel Johns (vocals/guitar), Ben Gillies (drums) and Chris Joannou (bass) were all 15 years old. John’s would later comment on the recording “The songwriting might not be genius, but I think sonically, the performances are really good. It’s really honest; it’s just three Australian kids thrashing it out in the studio and that’s exactly how it sounds.” I couldn’t agree more. Some critics wrote the band off as Nirvana/Pearl Jam wannabes but, they were not some flash in the pan copycat band. These kids had depth and substance to what they were writing. The song “Tomorrow” is a great example of the power and intensity they had. I will admit, when I first heard this song, I thought it was Pearl Jam but, after it was done and they announced who it was, I knew I had to go buy the album. Rolling Stone magazine’s David Fricke had said about the album “Truly shameless wanna-be’s like Bush should be so lucky to have the hard smarts that Silverchair – particularly the band’s main writers, singer-guitarist Daniel Johns and drummer Ben Gillies – show on such Frogstomp-ers as “Pure Massacre” and “Israel’s Son.” When these guys turn 18, they’ll really be dangerous.” Which is quite interesting because by the time they were 18/19, they had released Neon Ballroom, and that album is an Unsung Masterpiece.
Frogstomp is to this day one hell of an album. Everything from the songs, tones, style, grit, and so much more have made this an everlasting album. Songs like “Israel’s Son,” “Pure Massacre,” “Tomorrow,” Shade,” “Suicidal Dream,” “Findaway,” and “Leave Me Out” have stood the test of time and continue to influence and inspire. One of the songs that always grabbed me besides the ones above was the instrumental track “Madman.” The energy of this track is exhilarating and I’ve always wondered what the lyrics and vocals would have been for this song.
This album laid the groundwork for what was to come for this three piece. The strong songwriting ability of Johns along with the powerful tenacity of Gillies and Joannou made this band what it was. If it were anyone else, this band wouldn’t sound the way they did. Throughout their career, they would constantly push themselves to get better and mature. And they did with Freak Show, Neon Ballroom and Diorama. Their album Young Modern, was a strong departure from what the band once was but, it still showed how great of a band they were. Now, if only they would get back together and celebrate what they created, that would be amazing.
Back in the year 2000, there was an album that was released that left a mark on heavy music at the time. We all know about the albums by Korn, Deftones, Slipknot and more. Those bands really left a lasting impression with their debuts and helped steer the course of the heavy music genre. The album and the band that I’d like to delve into is Mudvayne and the album I’m speaking about is their debut album L.D. 50.
After releasing their Kill, I Oughtta EP, Mudvyane signed to No-Name Records/Epic Records. Their debut for the label would be produced by Garth “GGGarth” Richardson (Rage Against The Machine, The Melvins). Recording took place up in Vancouver, Canada. The recording process for the album was excutively produced by Steve Richards (No-Name Records/Management) and Shawn Crahan aka Clown aka #6 of Slipknot. The sessions for L.D. 50 would prove to be very intensive. The band would be working around the clock as Garth Richardson ran a very tight ship. There were a couple songs that weren’t completed till the 11th hour like “Nothing To Gein” and “Pharmaecopia.” Stylistically, L.D. 50 was much more than just your run of the mill heavy record. Mudvayne incorporated a lot of different styles including death metal, hardcore punk, speed metal, prog rock and bits of jazz. Critics began referring to the bands as “Math Metal” due to their intricate time signatures.
L.D. 50 is one of those albums that still holds up to this day and is still praised by fans of the band and genre. For example the song “Dig” is still one of those songs when you hear it today, you can’t help but get excited. Plus the scream of vocalist Chad Gray in the beginning has become a sort of legendary scream. The video for “Dig” also won the MTV2 Awards for best video. Other songs that have always stood out to me on this record include “Internal Primates Forever,” “-1” “Death Blooms,” (which is my favorite song on the album. And when I saw them live many moons ago, this song was so damn good live), “Cradle,” Nothing to Gein,” “Severed,” “Pharmaecopia,” and “(K)now F(orever).” The album itself feels like an album. The songs are separated by interludes that pull all the songs together. These interludes also provide an extra amount of atmosphere that is needed to break up the pummeling of riffs and rhythms.
L.D. 50 was more than just a “metal” record. It was also a showcase of how talented each individual in the band is and how well they worked together. Drummer Matt McDonough and bassist Ryan Martinie are an absolute force of a rhythm section. Guitarist Greg Tribbett had a knack for writing interesting riffs to compliment the off time of Matt and Ryan. The three of them working together created something that has stood the test of time. Then when you add vocalist Chad Gray into the mix it all comes together. Chad’s lyrics and vocal delivery on this album were superb. His ability to go all out guttural with his screams and then quickly deliver genuine melodic vocals was stunning, especially on “Death Blooms.”
This album is a classic among the albums released since the turn of the century. If you ever read the comments section on any music news site that Mudvayne is mentioned in, you’ll most definitely read a slew of comments of fans of L.D. 50. It’s one of those albums that people pine for due to the rawness and aggression. Just like fans of bands like Metallica pine for the sound of their first 4 albums. It’s a shame that Mudvayne isn’t around at the moment. They were always a top notch live band. Their follow up albums seem to be hit or miss with a lot of their fans but, there are still some very excellent songs among those. I personally really dig on the follow up to L.D. 50, The End Of All Things To Come as well as their “final” album which is technically untitled. I genuinely hope that the four of them can put away any ill will and get back to making great tunes again as Mudvayne. Until then, at least we still have the music and the great debut album in L.D. 50.
It always seems to go back to 1994. That year is like a fine aged wine or a wonderful scotch, there is just something magical about 1994. We all know how many legendary albums came out at this time but, there is one that is often overlooked. The album I’m talking about is Oasis’s, Definitely Maybe. When you have songs like “Supersonic,”Rock N Roll Star,” and “Live Forever,” on your debut album, not only are you going to hit it out of the park but also really leave a lasting mark. Definitely Maybe is often regarded as “the” album that started the “Brit-Pop” movement. The songs on the album were all written by Noel Gallagher, and he really cemented his legacy with these songs. The album is full of classic rock n roll, pop, glam, and a bit of psychedelia. There really isn’t a bad song on this record. “Shakermaker,” “Up In The Sky,” “Bring It On Down,” “Cigarettes And Alcohol,” and “Slide Away” have always been the deeper cuts that have stood out to me. Noel’s songs really came to life courtesy of the band as a whole. Liam Gallagher’s voice put the guts in to the songs. Paul “Bonehead” Arthurs and Noel’s guitar work really added a brightness and edge to the record. The rhythm section of Paul “Guigsy” McGuigan on bass and Tony McCarroll on drums gave the album the pulse and heartbeat.
Something else about Definitely Maybe that stands out is that this album was a beacon of light in the music world. Before this album, Nirvana, Alice In Chains, Pearl Jam and Soundgarden were dominating the airwaves. Those bands vibes and realism made a deep connection to those out there that were looking for something, lost or feeling helpless. Oasis addressed those elements but provided a sense of living and fun. The Gallagher brothers antics alone helped to usher in this new sense of life.
Definitely Maybe is and always will be one of the best debut albums. A lot of people think that this was the bands pinnacle but, that just isn’t the case. If you take the time to delve into the Oasis catalog you will find that this band is truly great. Noel Gallagher is one of the most underrated and prolific songwriters of all time. Do yourself a favor and take a few minutes out of your day and let Definitely Maybe start your day off right.
There are people out there that want to say rock is dead. Well it’s not and never will be. In this day and age you just have to search for it since the radio waves are pretty much all crappy pop and wannabe hip hop. Thankfully there are a few bands that are making an impact at radio and making people wake up to the fact that rock music is still alive and well. Bad Wolves are one of those bands and they have really taken the music world by storm. Back in 2017 they released their first song “Learn To Live” and that created a strong buzz about the band. Then in early 2018 they released their cover of The Cranberries classic “Zombie” and from that point they have been on fire.
AUDIOECLECTICA 