Alex Vecchietti - Blessed

Review by Karl Magi

Overall Album Impressions

Alex Vecchietti’s Blessed combines intricate guitar, layered synth sounds, powerful vocal performances and thoughtful songwriting to deliver a message of hope, individuality and forward progress.

The guitar performances on Blessed form the core of the album’s musical personality. Alex Vecchietti is a skilled, sensitive and expressive guitarist as he plays intricate and emotive solos and strong melodies. I enjoy the sheer energy and power that pours from his guitar along with the emotional depth in the music.

All of the musical collaborators on Blessed add richness and unique perspectives to the album, along with their distinctive voices. Joao Esteves, Kosmic Kiss and Daniel Hugh bring their strong vocal performance abilities to bear along with their songwriting skills. The end result is music that is full of heart, emotion and aural pleasure.

The album is also a showcase for Alex Vecchietti’s synth skill. He’s able to weave together sonic tapestries that use synths to add tonal colour, textured sounds and support for the guitar and vocal performances. His synth palette is deployed in a way that contributes to the album’s overall richness and musical variety.

My Favourite Tracks Analyzed

“On The Flesh” comes into being as popping, distorted sounds are overwhelmed by pounding drums, throbbing bass and slicing guitar. The guitar’s howling passion moves with Alex Vecchietti’s resonant, emotive voice as drums shape the music. I enjoy the way in which the vocal power is lacerated by ferocious guitar as the gigantic low end of the track throbs.

Alex Vecchietti’s singing captures the anger in the lyrics. Now angular, sharp-edged sounds pulse and bass oscillates. The guitar intricately whirls through a solo combining energy delivered by Alex Vechietti’s flying fingers. Heavy bass and hard-hitting drums support the powerful, expressive chorus and the track ends on the nasal distortion and cutting guitar.

Real life is becoming an increasingly rare experience and this song explores the consequences of that situation. Our storyteller asks the audience to “reverse all your hatred, reverse all your feelings” and go back to a time when living was worth it. He says that our hearts have been polluted and we ought to “revert to an age when we weren't far apart.”

Now the narrator points out that data tells us what to feel, how to live and defines our sense of reality. He adds that they “scream for your attention” and for more clicks through time and people until “life becomes sick.” He tells his audience to throw all of these things out, to “take all you show and take all you hide” and run. He asks us to show that “you still crave, a life on the flesh, and not in the grave.”

Those in power create a compulsion to follow blindly so they can increase their “stats.” They encourage people lie and “steal from a digital world of fiction” until it becomes reality. They force people to seek attention and show how needy they are. He warns of being seduced by the compulsion to “flick through lies and fake smiles” in a mistaken attempt to make life worthwhile.

The rush of waves on sand and caressing vocal chanting along with blues-inflected guitar open “Escape.” Undulating drums move and massive bass pulses while flashing synth chords swell. Kosmic Kiss’ silky smooth, pleasing voice comes in as it carries a yearning melody. Tentative hope fills Kosmic Kiss’ vocals as the colossal drums and bass throb.

The chorus rises, reaching out with aspiring feeling before unique, ethnic percussion comes in.  followed by Passionate, trembling sax carries a smoothly gliding solo supported by the dense bass and drum heartbeat. The sax leaps and grooves on over the pounding beat and Kosmic Kiss' voice soars again, deeply emotive as it flies out and the track gently washes into quiet.

Emotional struggles can drive someone to seek escape when they become too intense. Our narrator talks about being seduced by his imagination, saying he’d “rather pay the price and look the other way.” He adds that he’s “no enemy to life’s temptation” so he needs to redefine himself and escape.

Now the storyteller finds that he can’t face the battle because “I’m losing this fight.” He can’t find his passion and is losing pride. He admits he’s made mistakes so now he’s “gotta find a new way, make my greatest escape.”

He hears his internal voice screaming as the walls fall around him. He addresses another person and says “you see through all my lies” and adds that the other person never seems surprised “when I disappear into the night.”

“Awakening” starts as medium-high, string-like synth entangles in minor key lines that overlap over flowing bass. Gigantic drums create a driving beat underneath rippling synth and add propulsion to the track. Soft sound breathes and a tense arpeggio spins before Alex Vecchietti’s bright guitar cascades into life.

The guitar snarls heavily as the massive bass and weighty drumbeat surge below. Hollow, elevated synths spin above the guitar’s aggressive mass as it slashes through the track. The darkly intricate guitar solo unfurls in madly twisting lines that I find thrilling.

Insistent energy fills the guitar as it spirals with fierce strength above the tidal weight supporting it. As the track comes to an end, the leaping guitar has a palpable presence, leaping and shredding before the track fades out.

Wobbling, grating sounds burst into a retro drumbeat and smoothly throbbing bass to open “Better Angels.” Daniel Hugh’s emotive voice spills into the song over the energizing drumbeat. Glistening synth echoes in the background with a crystalline feeling. A jangly acoustic guitar strums as the driving, dynamic drums and solidly throbbing bass push on.

Daniel Hugh’s voice soars over rough-edged synth pulsation and  effectively fills the lyrics with deep expression. The vocal melody is full of defiant energy and lively feeling as the muscled drums and bass support it. Alex Vecchietti’s guitar radiates light as it intricately weaves above the explosive low end sounds. Daniel Hugh’s strong voice carries the charging melody as the track ends on slowly slipping pulses.

Our narrator tells the story of his escape from an emotionally damaging situation. He begins by saying that he can’t believe he ever let the other person in. He admits that he was “blindsided, beguiled by your spin” as the song’s subject won his trust. The narrator realized that something wasn’t right, but let it continue. However, he now adds that "I don't answer to you any more.”

The storyteller says that his “better angels won this bloody war” and he goes on to say that he won’t answer to the other person again. He continues by saying that the other person isn’t “an enemy one can’t simply beat” but had to be conquered over and over to stop the pain. As the song ends, our storyteller confidently states that "I won't do your bidding anymore ‘cause I have grown stronger than before.”

“Neon Groove” commences as distantly brushing drums preface a sharp-edged bass pulse and quickly tumbling guitar. Hard-hitting snare drum bursts underneath gently swirling, rising synth chords add warmth.

Active, wide-sounding bass throbs under Alex Vecchietti’s guitar as calls out the melody, full of lively passion and a sense of rising joy. Throbbing drums and bass create a guiding heartbeat in the music.

Glistening guitar notes interlock before the main melody leaps in, moving into a shredding guitar segment, as wildly howling notes create a dark uncertainty. Underneath, the beat drives on and again the main melody cries out, full of joy and a sense of progress before fading out.

Joao Esteves’ voice twists out over gruff, quickly shifting synth pulsations to begin “Awake.” Sweeping sound flows and massive, hard-edged synths add dynamism to the song. Joao Esteves’ voice is smooth and a little pained as it echoes out over rippling synths with a limpid clarity.

The vocal melody has a drifting, hurting quality over the gargantuan bass and pounding drums. Joao Esteves’ singing is hopeful but melancholy still flows from the melody. Bright guitar twangs through the music as the drum and bass pulse goes on. I am drawn to the way in which Joao Esteves’ mingles strength with aching emotion in this singing. Heaving, slicing bass guides the song to an end as huge drums pulse.

This song explores breaking free of the traps of modern life. Our storyteller talks about the bright screen lights on “the iris of my eyes” as he sits in a darkened room “looking out a window that connects me.” Each thought is “blinking energy.”  His thoughts aren’t robotic but “sentient of their liberty.”

His realization that the thoughts are “not a trick, not illusion” brings him to wakefulness. He talks about “a sun, rising, ascending” in a dawn in which “I'm walking in a fantasy, a dream perpetuated.” He feels energy flowing in him, reaching a peak. He talks about how he is now "blooming, the gardens of every day’s moments.”

Our narrator creates verses for his birth as it is “the first time breaking the loop of slumber.” He is “chanting, whispering” as he awakens. The narrator is once again illuminated by the sun as it rises and he ascends.

Conclusion

Blessed is a superb example of what can happen when musical artists combine their talents. Alex Vecchietti and his collaborators have produced an energizing, emotionally powerful and musically engaging album that I find quite enjoyable as a listener.

Hunter Complex - Airports and Ports

Review By Karl Magi

Overall Album Impressions

Hunter Complex’s Airports and Ports is full of fascinating soundscapes, nuanced musicality and incredibly intricately woven synths. All of these elements combine to form a rich, thoughtful and complex album that takes one on an aural journey.

Texture, timbre, tone and the way in which each of these elements interact drive the musical depth of Airports and Ports. Hunter Complex takes his synth palette and inventively combines its different sonic characteristics to produce music that journeys through detailed, intricate auditory imagery. When one adds in all of the live instrumental performances, the end result is intriguing.

All of the musical guests on Airports and Ports help to create the addictive soundscapes that are on offer. Alexander Hawkins adds piano textures that grab hold of one’s ears, Aquiles Navarro sounds like no other trumpet player I’ve ever heard and creates scintillating sounds.

Kat Epple’s flute performance is serene and ethereal, Justin Sweatt’s guitar work brings an otherworldly mood to the album and Jantijn Prins’ acoustic guitar weaves warm textures into the music. Coen Oscar Polack’s field recordings contribute more interesting sonic depth to the album.

Atmospheric emotional expression fills the album in a way that charms me. Hunter Complex writes music that isn’t only for the head, it’s also for the heart. Deep, mingled emotion pours from each track and creates intensely detailed auditory imagery. I find myself completely absorbed in the music as it unfolds.

My Favourite Tracks Analyzed

“Airports and Ports” comes to life as steadily throbbing bass is joined by Alexander Hawkins’ shattered, high piano notes that wander in the distance. Synth shards twinkle in between the piano notes as the bass keeps throbbing. Airy sounds float through and minor key piano trembles briefly. Starry synths are broken by medium-high, steady pulsing synth as Alexander Hawkins plays a majestic melody.

Breathy synth notes add texture as quick fragments of piano flicker and bass throbs. A rising tide of glowing sound effectively adds more triumphant and exciting qualities to the track. Insistent synth pulses move as the piano cascades. Broadly shining synth soars above piano fragments and the bass pulse adds more strength.

Shimmering synth floats as high chimes break through and that driving drums and bass push forward. The bass has massive weight against which the piano notes vibrate. Sparkling synth gently falls through the music, split by airy notes and the bass throbs on. The track ends on flitting notes and the far away piano trails into silence.

Colossal, resonant drums pound into the music as medium-low synth sweeps through to open “The Garden.” Reverent choral sounds flow before the drums heave powerfully. A fragile, lightly touching melody is carried on rich, medium-low synth out over the throbbing weight below it.

Jangling synth flows along, cut by breathy light. Now Aquiles Navarro’s trumpet comes in playing a dreamily gliding melody, crying out with emotive strength. Only a skilled player like Aquiles Navarro can extract that kind of expression. Drums keep throbbing and the feathery, jangling synth wraps around the trumpet as it fills the track with wistful emotion before it fades out.

“Across The Atlantic, Into Africa” starts as xylophone sounds and a pipe-like synth create a textural pattern that undulates through the music, woodsy and reverberating. Gleaming, high synth washes through and rounded synths descend in a trickling pattern.

String-like synths create a soothing, enfolding background as elevated sounds flicker and warm choral sounds flow. Slowly pulsing, repeating synth creates a heartbeat that accelerates into a rapid oscillation. Metallic sounds brush through while the gentler, glimmering synths call out. The rushing oscillation beautifully adds life and energy to the music.

The sound of rain on a metal roof sloshes and trickles as synth sparks flutter. Coen Oscar Polack’s field recording sounds add another layer to the track as they move through it. Medium-high, full-sounding synths drift while windy noises blow through. Layers of sound all interlock to create a lush soundscape in this track. Steadily pulsing bass dances lightly as worshipful choral sounds move and an elevated synth sparkles.

Birds cry out and wheel in the distance as tranquil synth waves lap to start “The Windburn Is Terrible.” Kat Eppel’s flute echoes out in haunted lines as dense, wet-sounding metallic synth rings out and a steady, smoothly flowing synth oscillation moves through.

Kat Eppel’s flute has a haunted delicacy to it that I enjoy deeply along with a breathy floating feeling. Raking metallic sounds and active, full-sounding synth pulse move as Kat Eppel’s flute trembles and emotes while a higher, sharp-edged synth drifts.

Minor key, elevated synth supports the otherworldly flute playing. Shadowed feelings touch the music, contrasting with gentler sounds moving through before sweeping wind and birds calls end the track.

“New Arrival On The Island” commences as metallic, percussive synth rings out in dully resonant patterns. The wide, descending synth pattern is broken by a slightly buzzy trumpet as cascading tonal layers tumble. There’s something delicate and vulnerable about the layered sounds as sparkling higher synths sing out.

Aquiles Navarro’s trumpet distorts, lending it a slightly otherworldly quality as a hypnotic synth pattern descends, shaping the music. The trumpet floats out in roaming fragments that intertwine with the metallic synth pattern as gentler, more caressing sounds wrap around it. Wet sounds shift and enfolding synth slips through as Aquiles Navarro’s trumpet wriggles and gasps.

Soothing ease effectively mingles with more troubling, challenging feelings from the sharp glow of the trumpet. There’s a gliding relaxation in the distance as hypnotic synth anchors the track. Twisted trumpet sounds shift and quick digital sparks leap while the watery sounds sail through

Gruff, quickly pulsing bass that has flaring variations repeats under dynamic, brightly gleaming synth to open “Dirty Snow.” A sweeping hiss repeats while the varying bass undulates. The piano-like notes effectively pour out hope, dreaming and yearning as sweeping sounds shift.

Drums throb in steady, subdivided patterns while Jantijn Prins’ acoustic guitar adds another layer of  warm feeling underneath the inspiring piano. Far below, drums bounce evenly and the bass oscillates. The guitar gleams and dances in intertwining notes. Forward motion and life fills this track as rounded, rich sounds roll and fade into silence.

“City Pulse” comes to life as slightly echoing guitar notes are touched by string-like synths playing quickly shimmering notes. The full-voiced keyboard intertwines with the string-like synth and easy going, swirling sounds.

The guitar’s tone is uniquely lush and enfolding as Justin Sweatt skilfully adds expression to the track. There’s a feeling of ease and settled emotion in the track as a glowing synth thread runs through it. A misty sonic flow accompanies a distantly twirling arpeggio as it rises along with caressing guitar chords and breezy, flowing sounds.

Coen Oscar Polack’s field recorded sounds skitter in the distance to add atmosphere. There’s a meditative quality in this track balanced by the constantly whirling arpeggios. The music drifts into quiet on ambient sound and peaceful feelings.

Conclusion

Airports and Ports makes me think, engages my emotions and fascinates my ears. Hunter Complex and his musical collaborators create music that is rich, expressive and bears repeated listening. I would love to hear more music from this collection of excellent musicians.

Beckett - Caller On The Line

Review by Karl Magi

Overall Album Impressions

Beckett’s Caller On The Line is sexy, groovy and about as cool as it gets. Beckett’s silky voice, powerful doses of funky groove and guest performances by Luca Ricardo and Rachel Jones all contribute to making this album an addictive, entertaining slice of retro-synth goodness.

The way in which Beckett’s vocals and lyrics interact on Caller On The Line is a major factor in my enjoyment of the album. He’s got a voice that enfolds in creamy waves, expressive and sensual but he can also inject a little grit when needed. His deeply entertaining lyrics only add to the fun and sexy feeling in the music.

Jazzy, funky and groovy elements also add to my listening pleasure on Caller On The Line. There are grooves that are deep in the pocket as the percussion interlocks with the bass. A good dose of funk pours from the melodies and jazzy synths and guitar complement the album’s aching cool.

Luca Ricardo and Rachel Jones’ presence on the album also adds to its strength. Luca Ricardo’s guitar playing is fluid, skillful and expressive while Rachel Jones’ soulful, sultry voice adds depth and feeling to the songs on which she performs. Both artists take the album to the next level.

My Favourite Tracks Analyzed

“Just Hold On (Erika)” comes to life as a spot-on‘80s retro drumbeat underpins energetically leaping, glowing synths and dynamically slicing guitar. Beckett’s enjoyably strong, emotive vocals carry a melody that is full of yearning and a desire to move forward.

Driving drums and intertwining guitar dance over a smoothly gliding background. Now Beckett’s voice fills with hope and need as the chorus soars out, along with strumming guitar and glimmering synth. The drums and bass throb on, shaping the music. Luca Ricardo’s guitar intricately weaves richly howling notes, full of impassioned emotion.

Beckett’s voice has a little grit that gives it character along with its smoothness. Brassy synth hits alternate with slashing guitar before the vocals carry the song to an end along with shimmering guitar and flaring synth sounds.

Our narrator is trying to dispel rumours that he’s been cheating on the song’s subject. He tells Erika that he couldn’t have made it that far without her. He says that another woman “made it up and broke your heart, the rumours and the lies” but Erika believed her.

Now the storyteller is going to “take the whole world on” and he asks Erika to “hold on tight this time” and swears that he won’t let her go. He asks her to “hear past the noise” and disregarded the lies she hears.

In the chorus, he begs Erika not to leave him because “I never met her, never knew her name” and tells her he won’t leave her like that. The narrator begs for Erika to believe him and to “hear your heart, hear me” because he didn’t cheat and “she made a fantasy.” He ends by saying “don’t leave me this way. I wont make it."

Groovy, fat bass and tapping drums are touched by glittering chimes interspersed with shiny brass licks as “Step On It” opens. The brass section is full of pleasing sunlight and an eager energy. Beckett’s silky voice flows with sensual promise as the funky guitar line weaves over the popping drums and active bass.

Horns add more positive, confident energy to the vocal melody. Beckett’s voice is both rich and expressive, now matched by Rachel Jones’ sultry vocals, broken by gleaming chimes and metallic percussion. Nasal-sounding, medium- low synth carries a wandering melody sliced by the crisp horns and supported by pulsing percussion.

Luca Ricardo's guitar swirls in, jazzy and gliding, while the horns keep flaring out. Again the chorus is carried by Beckett’s seductive voice as the horn section’s delicious licks dance over the drumbeat and moving bass line. The song ends on guitar with a funky flow and percussion.

Temptation and desire fill the song as the storyteller talks about the danger of him and the object of his affection getting along so well. He adds that he can “feel your flirty moves.”

He points out that “since your guy’s a mess” they’ve been getting along well together. The narrator invites her to jump in his car and head to the mall. He says that he wants to take her out, to be “seen places you wanna be, for your peace of mind.” He asks the song’s subject to forget about the other guy and focus on him.

Now the storyteller invites her to spend some time together alone, adding that she keeps him “spinning round and round.” He tells her that he knows a place they can be alone that “only you and I need know.” All he wants is a yes or no.

He goes on to encourage her to forget about other guys and give him a chance to try. Our narrator points out that “I can make it fun girl, if you wanna.” He continues to say that he might “blow your mind” and reminds her to “check out what you’re missing.”

Her response is to say that she’s spent another night alone, waiting. She only wants “one call: all I need to hear, one text: all I need to read.” She concludes that all she wants is one love from him and for him to “feel the same way as me.”

“Fright Night Fever” begins as steadily throbbing bass and a horror movie voice over comes in along with creeping, distant sound. Rough-edged bass growls while an ominous organ rises and haunted notes interweave.

Beckett’s voice slips in, flowing and full of feeling while the organ adds a thrilling sense of threat and percussion throbs with retro life. The vocal melody is shadow, but full of promise and guitar adds a razor edge to the song.

Slap bass contributes cool energy and organ chords swell with evil intent. Drums burst and minor key, distorted synth spirals down through the song. The guitar slips through as the organ’s weight flows into darkness and delicious horror.

A little spooky season action fills the lyrics of this song. The narrator talks about how on Halloween “the party is kicking.” There’s a knock on the door and he asks “got the ghouls and witches a trick or treat?” He talks about the song’s subject being “hot in jumpsuit and boots” adding “a trifecta for me, tasty.”

Our storyteller bets he’d “make you scream, chase you down, movie serious.” He talks about how the song’s subject is a fantasy whose “blood red lips make me delirious.” He wants them to take a stroll at the midnight hour. The storyteller asks if she’s feeling chilly and adds “your skin so soft and cold, I’ll keep you warm if you dare?”


in the talk box segment, the narrator talks about having “fright night fever” when they are alone in the shadows, in the moonlight. They’re undead creatures “on the loose, coming for you.” He says that they are “nightmare screams” and “stars of the double features.”

The evil identity of the storyteller becomes clear as he says “they say I’m something to behold, I’m 400 years old.” He talks about moving in to kiss the song subject’s neck as the skin goosebumps. Now the final strike is made as his “my hands a gentle touch, you shudder with delight and as the clouds roll in I take, my bite.”

Oceanic sounds and seagull cries are touched by repeating, flashing synth as “Harbour City” kicks off. The synth has a cutting shine as airy panpipes tremble in a glimmering pattern and a guitar cries out, gaining energy as it climbs.

Breathily flowing panpipes add texture and a snare drum rapidly taps as guitar jumps in with a shiny flare. Now rippling, interweaving digital sounding synth carries a warm, positive sounding melody. The drums keep on charging and now the pipes add an inspiring touch to the unfolding synth line’s enlivened emotional outpouring.

Underneath it all, the drums rush along and Luca Ricardo’s guitar drifts out in full-sounding chords as the elevated synth pulse glitters rapidly. The guitar cascades in sunny sparkles as the snare drum keeps bursting and the bass undulates. A sense of bustling life fills the track, evoking a busy street in a retro future city. The track ends on deep guitar notes, feathery panpipes and floating bass.

“Night Liaison” starts as unctuous bass and reverberant percussion launch into an undeniably groovy pattern. Beckett’s sensual, enticing vocals fill the song, carrying a caressing melody. Lambent light bursts from the rounded synth. I enjoy the way in which yearning and latent hope fill this song.

Steadily pulsing, gliding synth is touched by the shimmering bell and slap bass keeping the funk going. Luca Ricardo’s blues-inflected guitar leaps in, carrying a solo that cascades with passionate need. Strong retro percussion shapes the music before the arcing lead synth melody’s brightness illuminates the lyrics. Beckett’s voice is as velvety and expressive as ever while the luscious guitar tone swirls around it.

Sometimes love’s a tough thing to work out as our narrator is discovering. He feels that he’s taking a step forward and two back while “in a bona fide rat trap.” He tells the object of his affection “don’t be like that” and she responds that he talks too much. The narrator says “I fear these games we play” adding that they are getting old.

He wonders about “another lover contingency” pointing out that “trust is gold.” He points out that now he has a paying gig so he’ll step up, asking if they can work on the relationship but is still unsure. Our storyteller feels that “we never used to be like this” as the time seems to have come for them to “question it all.” He says they used to be madly in love but now asks “do we shut it down or answer the call?”

In the chorus, the narrator asks if they should “drift apart, hold back our cards, let down our guard, hide our hearts?” and likens it to a “night liaison.” Now he talks about “two hearts, running out of step” and he feels he has to “talk under my breath.” He points out that she said they’d “always be like this” but now he finds himself saying that he doesn’t know.

Popping electric bass, steadily bursting percussion and a medium-high, wriggling synth bring “Caller On The Line” to life. Taut synth curls tendrils through the music as a call to a radio show starts. Incredibly thick and groovy bass moves as quick synth sparkles flicker.

Rachel Jones’ vocals are enjoyably emotive and full of need and hope. Trumpet-like synth flares behind the melody mingling aspiration and progress as the drums and bass throb in a shaping pattern.

Deep feeling fills Rachel Jones’ voice as the DJ’s reply comes in with resonant tones as the drums burst. There’s a soulful feeling in the main melody that suits the vocals well. Brassy synth doubles the vocal melody, lifting it and adding more heartfelt emotion as it all keeps grooving.

Our storyteller has called a radio show to lay her heart bare to the person who hurt her. As she starts talking, she says that she won’t wait or debate, adding “you’ll hear this call!” She asserts herself and says that she won’t be hurt this time and “you’ll start learning, I’m needing more now.” She says that people say love’s found every minute, but warns the song’s subject “your time’s almost out.” However she adds, “I made this call to say you’re forgiven.”

The narrator says that the next time, she’ll get it right and not “waste breath on pointless fights.” She says there won’t be any “rundown or broken men” since she’s looking for a “lasting heart” and easy love. Everything should be “clear and plain” and she won’t have a man who’s not true. She adds “Babe that’s why I know we’re through.” Our narrator concludes that "love it needs to burn with desire, shouldn’t need to ask.”

“Talk Low, Talk Slow” commences as soft wind drifts and slap bass gets right into the pocket as jazzy, round toned synth shivers through the music over Beckett’s voice. The rap hits, flowing with old school feel before Beckett’s silky singing slips over the rock-solid low end and the melody extends outward.

Now the rap continues, easily moving through the track as the slap bass pops and wriggles. I am drawn to this song’s hip-shaking feeling as Luca Ricardo’s ultra-chill guitar solo slides through, full of tasty licks.

Hi hat creates a steady metallic pulse as the twisting, nasal synth trips in the background. The vocals are as cool as the guitar as they unfold over steady drumbeat and bass flow. Luca Ricardo lets loose with his guitar once again, delicious tones dancing out over the low end groove.

The rhyming that starts us off winds through playing off lines like “it’s the new swing, it’s a NewJack thing” and “I’m da - kid Beck-ett, I got the sound legit.” Our narrator tells the song’s subject to “feel the bass groove, nod your head, approve” his low and slow talking.

Now the storyteller invites the object of his affection to drink some Chardonnay after a long week. He says he’s glad she made it out “even though now we work from home.” He adds that they need the chemistry, “the simple office crush” but through a screen, he can’t offer much.

He wants the song’s subject to “stay the night, call it love” as she moves in close and “one kiss ain’t enough.” The narrator wants to fall into her eyes as she talks “low and slow” and feels his pulse racing. He adds “I know you need to have that softer touch.”

Our storyteller says “so you wanna keep our feelings quiet” but wonders about “those extra meetings” and whether or not they “keep sneaking around the office briefings.” He questions if it’ll be online or at home, wondering “do we even need to be remote?”

Now he says that he wants to be “the guy that’s in your chat room window” who has “soft breath and tight threads.” He wants the song’s subject to “book a special meeting, evening” to have dinner with “the real me.” As the song ends, he concludes that he needs “a woman who can love and lust and play, right?” He talks about how they’ll be "talking sexy, talking slow.”

Conclusion

Caller On The Line is one of the most fun albums I’ve reviewed lately. Chilled out, funky and full of satisfying grooves, it always feels laidback. I get the feeling that Beckett had a blast making this album because I sure had a blast listening to it.

Kushna - Dream

Review by Karl Magi

Overall Album Impressions

Kushna’s Dream takes listens through a richly varied series of synth vignettes, each telling a small tale. There’s a balance between intricately interlinked synth sounds, strong melodic writing and effective auditory imagery in the music. The end result is a sonic journey through different dream states.

Layered, luscious synth sounds combine to create engaging sonic textures, tones and timbres on Dream. Kushna skilfully wraps different synth threads together to create ear-grabbing musical moments that balance the rough, the smooth, the bright and the dark. He layers sound on sound to produce intricate, engaging music.

Dream is also a showcase for Kushna’s ability to write great melodies. The melodic content is expressive, memorable and explores multiple emotions within one track. I enjoy the way in which feelings that run the gamut from tragedy to hope sometimes unfurl out of a single melodic line as it evolves. The melodies further add to the impression of being taken on an audio journey.

Another strong aspect of the album is the way in which Kushna generates mental imagery through music. The inventive sonic combinations paint vivid pictures that are given extra depth by the melodies. Each track draws me down a different mental pathway and leaves a unique impression on me as it reveals itself.

My Favourite Tracks Analyzed

“Dream” begins with steadily guiding drums and quickly swelling and fading synth chords with a gritty edge. Thick, slowly oscillating bass notes intertwine and create a smooth, strong undulation as ticking drums shape the music.

Medium-high, flashing synth carries an enjoyable melody that mingles hope, victory and power as it sings out over muscled drum and bass. Rapidly leaping, high synths cascade to add sparkling light above the underlying depths.

Oscillating bass adds propulsion as the main melody calls out again, yearning and full of a sense of progress along with just a hint of more pained emotion. Again the fluttering, tumbling high synth adds light above the power below.

Sharp-edged synth pulses join speeding drums and gruff, accelerative bass as “Stylewave” starts. Bell-like synth carries the main melody as it flies out with a dynamic shine. Now medium-high, full-sounding synth takes up the main melody. I am drawn to the way in which the melody crackles with energy and rocketing motion.

Ringing, gleaming synth carries the melody, pushed forward by the speeding drums and bass. Now tight, glittering synth takes up the melody, exploding with motivation. Angular synth bursts out, contrasting with the energizing melody. Rushing drums and a bass pulse adds momentum touched by flaring light.

“Memories” commences as slowly shifting, metallic chimes express melancholy feeling. A steadily glowing background sound flows and chimes echo out. Gruff-edged, pulsing synth accents them as solid bass throbs and the snare drum bursts.

Now glittering, trumpeting synth carries a melody that looks to the future and dreams of the past in an ear-pleasing way. The drums and bass form a  shaping heartbeat of drums and bass, as chimes ring.

After a drum fill, the melody sings with aching emotion and brightness while the chimes flicker and the percussion and bass guide the music on. One more drum fill and the music fades out.

Angular, darkly oscillating bass is joined by tapping drums that launch “One Dance” forward. Now elevated, leaping synth dances in a volleying motion. Lower, continually driving synth with a sharp edge carries an urgent melodic pattern above the strongly, evenly pulsating drums and bass.

I am enamoured of the way in which the music is full of rushing power and infectious energy. The lead synth has a string-like quality with a  shadowy tinge as higher notes add shining accents. The melody cascades through, full of lively feeling but touched with a hint of hurt as the angular bass and thudding drums keep charging on.

“Lush Story” begins as wobbling, full-sounding synth bubbles into the track with a dense, resonant sound swelling up below it. A rounded, gruff synth arpeggio quickly twirls as hard-hitting drums rebound and form a slowly shaping beat.

A bass void opens up below as richly circling arpeggios move through the music. Medium-low synth wth a subtly intertwining sound carries a mournful, drifting melody out over oscillating bass and bursting snare drums. The melody is wistful and emotional, full of feelings of drifting loss that I find touching.

Rough-edged, broad-sounding synth arpeggios shift above the diffuse snare drum and flowing bass. The main melody returns, bending as it conveys pained emotion, shaped by the throbbing bass and strong drumbeat. The music sweeps and swells with deep feeling before the track ends.

Razor-edged synth scampers in and fades quickly as an unevenly throbbing kick drum smacks in to kick off “Kool.” A snare drum adds to the rushing, propulsive bass and a jagged synth pulse adds even more acceleration.

Now a smooth, elevated synth shimmers in a dancing pattern that effectively adds lambent life to the track. Nasal-sounding, rounded synth sings a melody rich with an adventurous feeling. There are medieval sounding shades to the melody as the flaring synth carries it out over the speeding rush of the drums and bass.

“Mute” opens as a groovy bass line and steadily tapping, open percussion create a funky pattern.Tightly wound synth trickles and big, bold and full-sounding synth adds richness. I enjoy how the synth becomes a surging, enfolding melody that contains inspiration within it.

Drums pulse steadily and the strong bass groove goes on. Elevated, shimmering synth sings out the melody that is both positive and a touch sad as the driving drums and bass drop back into the funky groove.

Dramatically muscled, throbbing bass and a kick drum are joined by gigantic, heaving snare drum to start “Ready To Fight.” Tight, nervous sounds rapidly undulate and medium-low, reverberant synth carries a melody that combines a feeling of intent with a sense of readiness as it unfolds.

Huge, ominous drums batter and bass surges in the background. A segment with ragged-edged, trembling synth cuts through the heavy low end while higher synth tumbles. Now the wonderfully majestic, threatening and battle-ready melody calls out again, given a sense of impending eruption. Solid drums and rippling bass guide the music to an end.

“School Life” comes into being as delicately drifting, soothing synth waves lap through the track in a gently shaking motion. Thudding bass and shaping drums thunder into the track, adding more power. Elevated, gossamer synth dances in flickering motion, carrying a tripping melody.

I enjoy the way in which the melody’s fragile feeling contrasts with the great weight below it. Gigantic drums imbue the track with deep energy. Diffuse, gliding synth sails over the drums and strong bass oscillates underneath. Filaments of tender, high synth trail through the music before the towering drums fall silent and the track ends.

Heaving, ferocious bass and solid drums drive on as “Cyborg Love Story” opens. Trickling, glittering synth with sharp edges spins out through the music as drums with tidal strength throb. After a drum fill, medium-high, gritty synth sings a tragic, triumphant melody.

Pounding drums add irresistible forward motion along with weighty bass. A slowly undulating, glowing synth pattern is cut by flashing higher sounds. There’s a deeply emotive feeling in the  melody to which I am drawn, full of aching nobility and power. A flaring synth pulse adds accents of light while the crushing drum and bass motion fades into silence.

“Send off” starts as seething darkness and a sense of impending doom fill the shadowy bass and metallic, broad-sounding drums. Now medium-low, full-sounding synth carries a melody that beautifully exudes heartbroken emotion.

The melody is briefly taken up by raised, shimmering synth briefly. Trumpeting, metallic synth carries a secondary melody with a more hopeful quality while danger pours from the dark bass and drum pulse. Now a segment with slowly spinning, hollow-sounding synth arpeggios comes in.

There’s a return to the hurt-filled, lightly touching main melody and sparkling higher synth heightens the pained emotions. Brassy synth sings out an uplifting melody over the slamming power below it. The track ends with twirling arpeggios.

Jagged, massive bass oscillates as drums rebound through “New Beginning.” Nasal-sounding, medium-low synth carries a gently dreaming melody out over undulating bass and bouncing drums. Enfolding warmth fills the main melody as it unfolds, evolving from melancholy to hope.

Softly glowing lead synth adds to the melody’s emotional impact, effectively deepening its yearning, dreamy feeling. In contrast, the bass has undeniable weight and the drums add form to the music.

Elevated, glimmering synth carries a wistful, slightly pained secondary melody and descends to velvety lower sounds. The low synth mixes a sense of loss with a feeling of change before the track ends.

Conclusion

Kushna’s ability to draw me through a series of dream states with his musical skill is what most impressed me about Dream. Every track is crafted in a way that engages me as its small story unfolds. As a whole, this album is an intertwining, image rich voyage through the imagination of its creator.