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Savannah Sgro “Love Me Like You Used To”

Utilizing modern production techniques and well placed automated delay is 22 year old originally Las Vegas and now Boston based songwriter Savannah Sgro.  “Love Me Like You Used To”.  The introspective and poignant lyricism displayed in Savannah Sgros songwriting is wise as she acutely portrays a tired relationship.  Production wise the song is familiar with programmed drums and synth picked to a modern pop sound.  The song was mixed and mastered by Johnny Simmen (Warner Chappel).  The vocals are pushed out into delay at the ends of phrases and occasionally a tremolo effect.  Atmospheric during the verses and picking up for the choruses the pre-chorus are a crescendo into the choruses that layers in the percussion arrangement.  Vocally the timbre is light and breathy and hurt/painful.

Definitely worth a listen, check it out below.

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The Western Den “Like You Do”

Carrying an ethereal tune that features layers of arpeggios and straight harmony is The Western Dens “Like You Do”.  The chorus is soothing and infectious as the dynamics ascend into a full jam that sees a spectacularly graceful violin and trumpet duet just shy of the two minute mark.  The electric piano and pad synths create a sense of wonderment that is humanized by the other instruments.  This song is a piece of work that stands alone and features elements of modern production combined with tried and tested folk textures.  Check out “Like You Do” by the Western Den as well as an attached biography from the artist.


To find a musical soulmate, someone with whom to explore your innermost feelings, unite artistic languages, and craft a shared voice is a daunting, even mysterious, undertaking. Some writers spend years searching and never uncover the other half they seek; for others, a partnership just flicks on like a light. The origin story of the hauntingly beautiful duo The Western Den is wonderfully curious in just this way: Deni Hlavinka, an introspective pianist from small town Virginia, posted a song idea on a college forum for accepted students. Chris West, a bright-eyed guitarist from Bermuda, sent back the song the following day in finished form. Upon meeting in person, they discovered their musical—and personal—bond was eerily close; there was never a discussion of forming a band, never a conscious choice, it just happened, fueled by a sheer desire, a necessity to pursue what felt right.

The act of reaching out in search of a common creative haven—that same force which brought Hlavinka and West together seven years ago—is a theme of ‘A Light Left On’, their forthcoming debut record. A careful labor of love, it emerged over the course of two years as a set of demos, which the pair then tracked meticulously over a six-month span. This restraint stands in stark contrast to their previous releases, two EPs which they hurried to release with the same speed and enthusiasm of Hlavinka and West’s initial long-distance collaboration. The result of their patience this time around is an ornate emotional garden, lovingly cultivated and ready for company. In their songwriting, arrangements, and production choices, the band leaves behind the folk label, which always felt like a safe descriptor yet never quite like home, pushing out into orchestral, ethereal, and chordally complex territory, while preserving their sweeping vocal harmonies, at once lush and modest, unmistakably the foundation of their partnership.

‘A Light Left On’ details a coming-of-age search—for purpose, for an environment that feels authentic. From its inceptive command to “raise it up, give a name / call it close, temporary though all the same”, the album announces its creators’ desire to define themselves within a turbulent landscape of thoughts, to have a light left on somewhere that feels permanent. Absent of that flag-planting resolution, the record offers up the belief that a light is still out there—‘I’m still holding on, still, still I’m holding on’—as if spoken to themselves as a mantra, on repeat, to reassure and encourage.

The Western Den showcases a mature pursuit of beauty that is all their own, and yet they capture the emotional soul-searching that exists in all of us, whether we hide it from the world or share it. In Hlavinka and West’s case, they have chosen to share it, extending their trust in each other to their audience.

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A Fragile Tomorrow “Circling”

Aggressively psychedelic is “Circling” A Fragile Tomorrow released on MPress Records.  Lyrically “Circling” tackles the tough mental area that is when one believes, or actually is, circling the drain.  Things start to build up beyond reality and the world starts to look unmanageable while your day to day life becomes years to years and before you know it…  well that was almost morbid.  “Circling” is awesome, the synthesizers are great, it is one of the few monotone approaches to singing that I’ve been able to get into lately.  Syncopated distorted strings accompany organic sounding drums on a mostly electronic sounding landscape that is epic.  Dynamically the song varies greatly between the chorus and verses which is sure to keep the listener engaged.  A major point that I enjoyed in the song is the jump scares that are those brief moments between sections where the band collectively inhales before jumping into another section of the song.  Stick around for the solo at 2:05, it is an artistic take on a guitar solo that makes you think about what a solo actually is.  Meaning is it a high frequency of notes run through a wah pedal and distortion or is a chance for a member of a group to truly express their individuality within the band.


From the band:

“Musically, this song evolved a lot. We just had the verse progression at first, and it was a lot slower. At some point, I was listening to the Next Day record from David Bowie and there was a song on there with a really fast paced groove that almost had elements of dance and electronica. It kind of clicked that we should take this in a similar direction, so we did and that’s when the rest of the song happened.

Lyrically, I wrote the song two weeks after my mother died. I’d just come home to Savannah after staying with dad, and decided to go into the studio and just see what happened. I obviously couldn’t stop thinking about her death, so the lyric deals prominently with the idea of the end being near but not being able to let go 100% yet. I’ve never had an anxiety attack writing lyrics before, but sitting in an empty recording studio by myself with nothing but my thoughts, trying to translate those thoughts to paper, was truly a mind fuck. I felt extremely tense and anxious the entire time I wrote and demo’d those lyrics. Lyrically and melodically it’s one of the songs I’m most proud of.”

A Fragile Tomorrow began as a trio of teen brothers, who have since added an additional fourth member, who rose above a difficult, tragedy-laden childhood and channeled their emotions into smart, catchy, dreamy pop music. Having released five independent albums, the band has toured extensively with artists such as Indigo GirlsMatthew Sweet, The Bangles, and Toad The Wet Sprocket. AFT also won an Independent Music Award for their duet with distant cousin, Joan Baez, which Consequence Of Sound called “…a gorgeous and eccentric tribute.”

A staple in the Southern power-pop scene, Blurt Magazine dubbed them “One of South Carolina’s leading indie lights, period.” The members have collectively collaborated with many renowned musicians including Gail Ann Dorsey (David Bowie), Mark Hart (Crowded House), Emily Saliers (Indigo Girls), Susan Cowsill, Peter Holsapple (the dBs) and Lucy Wainwright Roche.

A Fragile Tomorrow’s upcoming album, Generation Loss, is a quasi-psychedelic pop soundscape touching upon themes of loss and regeneration in our questioning, chaotic social times.  The first single and video, “Dig Me Out”, premiered with The Pop Break magazine. The band will hit the road early this spring in support of the release and two more official music videos are slated to debut soon.

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The Stoffs “Pay Day”

Though this article only covers the opening track, “Pay Day”, I would recommend going and checking out all of Little Flock.  The song covers the turbulence of money being tight and the whole release tells the first hand perspective of being a young couple who now has to make the major lifestyle change of providing for a newborn.  The lyrics go “Hey babe we made it to pay day, hey babe we are rich”.  Everyone must’ve at some point felt that way, I’d live for the 15th of every month when I was in Los Angeles because the 30th could hardly be described as a pay day with rent going out.

The production style of “Pay Day” is modern with a vulnerable guitar lick leading into the a vocal production that features layers of vocals though Eric Stoffs voice is the most prominent until the chorus hits and a female lead, assumedly his wife Brooke, leads us back into the vulnerable guitar now accompanied by a chamber section.  The instrumentation is sparse though the harmonic layers are thick when the piano hits the bass note and the drums give it the light back beat it needs to keep a listener engaged.  Check out “Pay Day” by The Stoffs below and read more below that and then check out the whole record below that.


The Stoffs is the indie rock project of Indianapolis-based musician Eric Stoff.

Eric and his wife Brooke had a turbulent year in 2017. They welcomed their first daughter into the world, experienced unprecedented success in their business, and Eric achieved a life goal of qualifying for the Boston Marathon.

From an outside perspective, it was the best year of their lives. But the Stoffs also experienced financial stress, strained relationships, and the unique weight of caring for a newborn child.

Eric spent the entirety of 2018 writing, recording, and meticulously crafting “Little Flock” in his home. He said it was healing for him as he worked his way through postpartum depression, and it helped him make sense of chaotic previous year.

“Making this record helped me realign my identity on this side of fatherhood,” Eric said. “It made me explore what parts of my relationships – with my creator, my wife, my child and future children. What changed? What stayed the same?”

Released on New Year’s Day 2019, “Little Flock,” details a universal tug-of-war between desperation and hope


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“Model Youth” Analog Party

This song moves fast and is a well produced upbeat angsty rock and roll track.  Hailing from Los Angeles and the Sunset Strip this band sounds like they’re right at home.  To me they remind me of Velvet Revolver or Stone Temple Pilots.  The lead singer has a voice that will give you chills and a dynamic range that is epic.  Big fan of everything going on in this song including the tense guitar licks, driving drums, and phat bass lines.  “Model Youth” is the first release ever from Analog Party and they’re really onto something as far as rock bands go.  Every member is talented and fits in well together, really hoping to hear more of Analog Party in the future.  This track is the perfect level of hard rock and if you’re a fan of raw angst this is going to scratch your itch nicely.

Comprised of singer and multi-instrumentalist Animaan Pathak and bassist Charles Horin, Analog Party is bringing a level of much needed edge back to the forefront of rock music. After releasing two independent EPs under the name Dead White Day, and playing electrifying gigs at local venues like The Viper Room and The Satellite, Analog Party are ready to unleash “Model Youth,” their latest batch of ferocious and fearless rock songs – and first under the Analog Party name. While the band’s name could reflect their affinity for 90s grunge/alternative rock as well as 60s/70s classic rock, Analog Party has crafted a sound that remains entirely fresh and original. According to Animaan, the band is “a forward thinking band. We love all the classic bands because there is a wealth of influence to take from those artists, but we strive to reinterpret that influence in a way that sounds fresh and exciting by marrying influences from eclectic places – we love everything from thrash metal to 60s Italian film soundtracks.” Exhausted by the current trend of shallow mainstream music, Analog Party are ready to make a big impact with their brand of fierce and ambitious rock n’ roll.

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Hypnumb “On Fire”

A band from a town with an incredibly interesting name Christchurch, NZ.  Hypnumb “On Fire” is a song about waking hungover and from the looks of the video the only treatment is some hair of the dog.  This swagger filled blues rock track is fun with a driving beat and a down and dirty distorted guitar riff.  One of my favorite points in the video is @ 1:03 when the video cuts to a percussionist sitting on the couch with a tambourine and the beat picks up a notch.  “Can anyone tell me if I’m really dead” is an edgy and angsty lyric.  The song picks up to a garage rock level of distortion with loud crash overheads before fading down dynamically into a break that sets up nicely for a bluesy guitar solo where the arrangement features all aspects of the rhythmic portion solo’d out.  The outro is loud and aggressive and the fullest portion of the song.  “On Fire” is a track for fans of blues rock with an extra edge and a cool female frontman.  Personally I’d rather put this song night of rather than morning after but having run a very thorough field test I’d say “On Fire” is good for both.

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“Cry” Thompson Newkirk

A silky smooth voice accompanies a soothing bluesy country rock track.  “Cry” by Thompson Newkirk is a song for kicking cans around town with your head hung at whatever place you choose to keep it but the song recommends you hang it.  The pacing starts off with a driving harmony section that develops into a heavy hitting rock ballad.  The dynamics fade and then rebuild into an uplifting section and rhythmic break.  The guitar solo is bluesy and crunchy, it reminds me of going out to jam band music festivals in the northeast with a twinge of country and blues.  The outro builds into three part harmonies repeating the hook as the song jams out.  Definitely for fans of a combination of; John Mayer with more edge, My Morning Jacket with more country, or Zac Brown Band.

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4th Dimension “Woman”, get up and dance!

It is classic rock with a modern programmed drum approach that might be comparable to NYC acts Bronze Radio Return with a more club based sound.  This is the first release in a year from Belgium based band 4th Dimension.  “Woman” is an uplifting upbeat track with euphoric riffs and a chord progression that features a nice use of a line cliche that adds to the musicianship of the track.  The hook is infectious with female backing vocals syncopated singing “Woman”.  “Woman” features guitar solos that are driven and concise in phrasing as well as having some seriously fine riffs.  The clean rhythm guitar uses filters to enter between sections that invigorates the sound.  Eventually a slamming saxophone solo hits that jams to the end of the track as the hook repeats and eventually you’re stuck humming “Woman” by 4th Dimension for the rest of your day.  4th Dimension have been writing and recording music for a while now, check out “Woman” below as well as the artists biography and another link to stream their whole catalogue including “Long Time Ago” and “Circle”

It was on school benches that Maxime and Alexis met each other. Growing up as neighbors they discovered their common interest in music.

In 2010, after being in same band for a year, they started studying higher education. A year later, Alexis joined a rock band (Fugitives) allowing him to develop his musical sense and to perform on stages. At the end of 2014, Maxime discovered the world of electronic music and musical production.

Both friends start to compose music together. The song “Wolves” was born from their first collaboration. Then came “Long Time Ago” that was sent to several big YouTube Channels such as The Vibe Guide, MrRevillz and Get The Sound. The track was playlisted on more than 10 YouTube channels, reaching more than 1 million views and more than 1.2 millions streams on Spotify.

After such a craze, the two Brussel guys released “Australia”, signed on the record label The Vibe Guide. Three more tracks came out: “Nazali Mabe”, “Circle” and “Insecure”. After a one year collaboration, Maxime and Alexis performed their first show at the Brussels Gallery. A few shows followed leading the band to travel to Australia. There, they performed and shot their first music video.

4th Dimension are now ready to release their last single “Woman” on Riptide Records. The Belgians are ready to face a bright future.


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Getaway “The Spirit of ’57′”

Another great act coming out the booming U.K. music economy.  “The Spirit of ’57′” by Getaway is a super chill and well produced modern track that combines elements of lo-fi chill-hop, dream pop, and a skilled vocalist that uses R&B licks to capture the listener with soothing melodic runs.  Getaway kicks off their year with Fuzzbrain Music out of London and it looks to be a promising one.  Getaway “The Spirit of ’57′” captures the essence of soul with a modern edge.  Stream below and learn more about them from some information provided by Fuzzbrain.


Getaway are a bit of an Essex supergroup made up with members of Splitknuckle and Stages Of Faith to bring you their own brand of tingling and lightly psychedelic soulful rock music. Bringing you Jeff Buckley level vocals alongside hints of Grateful Dead-esque guitar playing with production from London’s finest Tolushorts to make Getaway one of the most exciting bands to watch out for in 2019.