Slash (former guitarist for Guns n Roses) has released another album this year. It’s a live album called Made in Stoke. Personally I am not a fan a live albums. Many times live albums are recorded poorly and just sound awful. On the other hand, Slash is one of my favorite rock guitar players. I mean I would have done anything for a gibson sunburst when I was a kid. Thus, being a fan of Slash, I gave his live album a spin, and was quite surprised.
First off the production on Made in Stoke is quite good. It isn’t muddy like many live albums. I can hear all the instruments and the crowd cheering. The album covers songs from GnR, Slash’s Snakepit, Velvet Revolver, and Slash’s own self-titled release. All of which sound great in the “raw” live sense. Slash’s guitar tone, and his awesome guitar solo’s come thru loud and clear.
Myles Kennedy (Atlerbridge) sings on the album, and he does a great job. Axl Rose has so many die hard fans, but I think they will be happy with Myles. The test for me was Rocket Queen. Rocket Queen is a sultry song off the GnR Album Appetite for Destruction. It’s a perfect test to me because of it’s high and low notes. None the less, I was quite impressed. Myles did a great job. Hopefully, we will see more of him!!
Thus, no one can deny the awesome guitar playing by Slash on his newest album. Plus, the production is great, and Myles Kennedy does a great job singing. This is a must have for Slash fans. Expect moments of spontaneous air guitar!!
Transistor-on Takes “The Way Back Down” on EP
Transistor-on calls their goods “fuzzed out reverb music,” and in the spirit of post-rock, EP The Way Back Down is full of that melodious texture and sensation. Recorded at The Cottage with Damon Moon, The Way Back Down is a mere four tracks. But those songs make a satisfying sampling of a band with a big future ahead.
Atlanta duo Joey Piersante and Chris Armistead offer up a hazy fugue state that is the blueprint for this coming summer, showing that they can run with the best of the lo-fi crowd with their unique rhythms and finger-picking. The minimalist use of instruments that whip up the dream poppy wall of sound succeeds in taking the listener in a layered, chill journey.
Tracks like “Calling Out” and “Solar Flare” are so catchy (the former with its title refrain; the latter with its main guitar melody), that they etch onto your brain and trick you into thinking these are songs that have been around for maybe 20 years or so already.
Reviewers are throwing out comparisons—and they’ll continue to—of Transistor-on to Explosions in the Sky. The similarities are there for sure; both bands share a genre, after all. But saying only “they remind me of Explosions in the Sky” overlooks the fact that Transistor-on are stepping out in earnest on this EP, sounding comfortable in their skin without being jaded. Plus, having smoky vocals on the tracks adds to the spacey miasma and mystery that serves as the overarching feel of the record. The singing on “Empty Planet,” for example, highlights the track’s slow burn into its rocking guitar-driven crescendo.
Though the last piece on The Way Back Down is called “Exit,” by no means is that a harbinger of the band’s future. Transistor-on closes with a sure-footed tapestry of distortion and crisp rhythm, wrapping up a consistent and skillful release that definitely marks their arrival.
The Way Back Down is available to stream on SoundCloud or for purchase on iTunes. The gorgeous photo cover by Richard Casteel.
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Emily Hearn Saves Time in a Bottle on “Hourglass”
Emily Hearn’s sonic journey on Hourglass shows that she is a woman coming into her own, figuring out the knots of past heartache, the bliss of newlywed life, and the passage of time.
Time acts as the overarching narrative on the record; Hourglass spans the two years following the Athens, GA native’s debut Red Balloon and 2013 EP Promises. “We fall in or out of love as time moves us,” she explains. “We learn life-changing lessons as time goes on. We figure out how to handle important relationships as time shapes us. We decide who we want to be and what we believe as time reveals our priorities. And ultimately, we grow older as time goes by.”
Hearn sings wistfully “Oh, to be young, and to have time” on the third track “Oak Tree,” longing for the naïve feeling that time would never move forward, or at least not so fast. She frets over seeing her parents age so quickly. The existential worries of a twenty-something come delivered in a package of a catchy, infectious chorus and clap-along-able melody.
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