Vocals are delivered in a deep male register, Joey Canyon employing a tone that is decidedly matter-of-fact rather than melodramatic or over the top. The volume is kept relatively low, avoiding excessive force or showmanship. This restrained, almost conversational delivery – as if the artist is ‘telling you a story’ across a bar counter – ensures the listener remains focused squarely on the lyrics.

Storywise, Joey Canyon’s first lyric is ‘She was the one I noticed sittin all alone’. The song tells a story of fleeting connection, beginning with the lyrical persona noticing a lonely woman, initiating a brief conversation that lasts until the bar closes, and culminating in a passionate one-night stand.

However, the true weight of the song rests in the emotional conflict: the persona reveals this pattern has been their life for too long, confessing a deep yearning for something real that transcends casual encounters. This desire is immediately undercut by a profound sense of futility, as the final image – the persona cynically tossing the sexual partner’s number out of the car window – serves as a brutal, matter-of-fact resolution, signalling that the cycle of empty passion is destined to repeat.

The lyrics thus explore the self-sabotage inherent in seeking genuine intimacy through habitual, disposable relationships.

SCORE/Outstanding: Ultimately, this is an outstanding single, succeeding precisely because of its cynical, complex lyrics. The narrative is so effective that it creates a powerful emotional tension in the listener: the persona’s heartfelt yearning for real love sits in stark contrast with the brutal, self-sabotaging act of tossing the number out the window.

This frustration on my part speaks directly to the song’s authenticity. By refusing to offer a neat resolution, the lyrics, delivered with such matter-of-fact resignation, give us a story that is genuinely felt and deeply unsettling – a sign of truly provocative storytelling.

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The work of art is at times coloured by introspective, trip-hop-inspired atmospheres, creating an intimate yet expansive sonic landscape. Across its tracks, MAYA explores various themes such as identity, inner conflict, vulnerability and the search for meaning in the spaces we often overlook- the quiet pauses, the unspoken thoughts, the moments ‘between the lines’. Chantal’s voice glides through the motions ranging from fragile to fierce, supported by expressive keys, compelling bass lines, tight drums and atmospheric guitar work that completes and elevates the sound.

This record also balances improvisational freedom with thoughtful songwriting, offering both emotional depth and rhythmic drive. Each song feels like a snapshot of inner life, which can be sometimes tender, sometimes raw, but always genuine and sincere. ‘Between the Lines’ stands as a contemplative, modern crossover album that blends genres with elegance and invites listeners on a journey to slow down, reflect, and feel.

The album starts off quite quirky and avant-garde, reminiscent of earlier works by Kate Bush, with the entry track titled ‘Q&A’. The vocalist’s delivery is quite dynamic, leaning towards that of Bjork in some instances. The instrumental can seem sparse to the untrained ear, but it’s filled with a lot of texture that actually gives it a lot of dimension and yes, neo-soul esque chord structures that colour the emotional tone in between the song. It’s delicate and very introspective sounding. It’s music that was simply carved for an ‘aesthetic’, not in a bad way, but in a ‘let’s romanticise existence’ kind of way. I will say, the range of the emotional tone within one simple song is quite impressive, as I can even hear tinges of Alanis Morrisette within this track.

The album then pivots into a track that bears the groove of Hall and Oates and certain indie-rock acts, giving it more character and improvisation with the use of bold and shiny keys. The vocalist’s voice definitely goes towards a more delicate edge with this song. I think this is an interesting progression and a sign of the general artistry within this body of work: you will get everlasting chords and trills that could fit within a Vikter Duplaix song, with a bit of indie sensibility and quirkiness of Gotye and avant-garde exploration.

If you’re into the calm, cozy and philosophical arc of the neo-soul capabilities of this album, ‘Monkey Mind’ is definitely the track for you, oozing out with a mixture of D’Angelo and Michael Jackson, yes, the Off the Wall era and the Invincible era all in one. There’s funk but shoegaze and dreaminess weaved together as well.

Overall, the album is quite calm and sophisticated, with the next few tracks expanding upon that motif. It’s like as if the first track was the portal and the journey through the next few tracks- ‘Start from Scratch’, ‘Script after Script’ and ‘Golden Cage’ slowly unravel with coziness, calmness, suave and extremely philosophical lyrics in between. It’s almost like as if these songs can heal you- they’re not too subversive, but they’re not too cookie-cutter either. They’re not ambient, but they all have a dreamlike quality to it.

The track ‘No I won’t’ afterwards then begins with a darker undertone, through the use of spaced out percussive elements and the strong bass. It’s an interesting joint, mixing the darkwave tinges of Siouxsie and the Banshees with a trip-hop and bluesy feel. It’s very moody and thematic, with a tingly feeling that makes it oddly inviting as well.

Lastly, the album closes with ‘Smoke and Mirrors’, a semi-funk joint that rides on the motifs of slight Afrobeat, funk and mystique all in one. It truly finishes the album with a bang, with the solos intertwined and layered in an interesting way to complement each other. It’s muddled but not weak, maintaining the style of the album while allowing an electric guitar to shine with beautiful chordwork, complementing the notes that its shredding.

All in all, I do think this album is quite a fascinating listen. I definitely did not expect such an album to exist within the context of releases in 2025, as it really bears some of the charm of 2013 Indie sleaze (in the best way possible) while maintaining an adequate amount of motivic variation, innovation and multi-influence through the intersection of multiple genres. It’s an album that could definitely go with visuals, and I think it really triggers a form of synesthesia as you listen to it. I expected it not to be so ‘striking’ when I first listened to it, but the muted tones within the album actually have a nice mastering quirk to it, supporting the theme and the intent of the album. Truly a work of introspective art.

SCORE / Excellent – Between the Lines is an album that’ll definitely put you in the mind of a dazy chill mixed with an artistic inclination and good, solid use of various genres interplaying with each other. It comes off as a soundtrack to someone’s Tumblr feed.

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“Even in the Dark” opens with a measured drum beat that slowly blossoms as electric guitar slips in. It’s a patient, steadily building start that quickly locks into a satisfying groove. The production is tight and polished, giving each instrument space while still keeping everything unified. Gawaski’s vocals are deep, resonant, and unmistakably rock-leaning, adding grit to the track’s almost 80s/90s shimmer. The repeated title phrase works as a simple but effective lyrical anchor, and the song’s danceable energy makes it an immediate standout.

“Running Away” softens the mood, starting with a slow electric guitar line that faintly recalls The Police. There’s an interesting tension between the guitar and the vocals, at times they feel slightly at odds, but that friction creates a kind of emotional wobble that fits the song’s vulnerable tone. Layered vocal harmonies, especially the blend of deep and airy voices, add welcome depth. With its 50s-tinged sway and echoes of a classic diner slow jam or an 80s rom-com moment, the track feels purposefully nostalgic. The lyrics are personal and exposed, and the production remains consistently well executed.

“Tainted World” leans heaviest into its retro influences, anchored by synth textures that channel pure 80s atmosphere. The guitar, sharper, almost reminiscent of early Metallica, cuts nicely through the haze, giving the track bite. The long intro builds tension effectively, though the song ultimately lands with slightly less impact than the earlier tracks. Even so, it’s well arranged, well produced, and its straightforward lyrics sketch a clear, simple story.

The EP closes with its title track, “Kakorrhaphiophobia,” a bold and unexpected shift into pure sound design. There are no instruments in the traditional sense, no melody, no lyrics, only a droning, unsettling ambience that evokes unease and disorientation. Given the title’s meaning, the fear of failure, the track plays more like an atmospheric art piece than a song, ending the EP not with resolution but with tension suspended in midair. It’s a strange way to close, but undeniably daring.

Taken as a whole, Kakorrhaphiophobia captures Deaf Locust in a moment of creative renewal, unafraid to experiment, unafraid to lean into emotion over virtuosity, and unafraid to end on a whisper rather than a roar. It’s a concise but compelling glimpse into where Gawaski’s revived musical instincts might lead next.

SCORE / Excellent – Taken together, the EP feels like an artist reclaiming his creative voice and intentionally steering it into unexplored territory. Kakorrhaphiophobia aims for honesty, and in doing so, proves that a project this fearless can’t possibly fail.

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Beyond its primary classification, the track intersects with the Christian music bracket. The song’s lyrical content is characterized by the recurrent invocation of ‘Christ’. Also describing their instrumentation, ABRAM writes about the song having ‘a searing but beautiful section’.

While ABRAM’s notes specify piano, Hammond organ, and guitar, the final composition also features prominent, unlisted instrumentation. Specifically, the overall sound derives a heavy, driving intensity from the noticeable presence of drums and a deep bass line.

This sonic weight is elegantly counterbalanced by the female vocalist, whose angelic, sweet, and soft tone provides a delicate foil to the intensity. Her opening line, delivered in a relaxed, sweet, and soothing vocal style – ‘Where have you been?’ – is addressed directly to the angel.

Her lyrics reveal a narrative of absence: the angel had departed, remaining silently withdrawn even as the lady prayed time and again. She continues this narrative for several lines until the angel finally replies, his response delivered through deep, resonant male vocals.

Exhibiting an almost comical humanity, the angel offers an apology, justifying his silence by citing tiredness.

Thematically, the song explores a disordered world burdened by human problems, prompting a plea for divine intervention. Yet, the narrative suggests the supernatural forces themselves are bogged down in the demands of intercession. This raises a profound question: who, then, aids the supernatural? While this remains unanswered, the song’s underlying themes firmly place it within the religious genre.

The heaviness of the instrumentation is perfectly fitting, given that the song grapples with the inherently profound and challenging nature of religious questions. The angel itself is distressed, as the song tells us; the angel asking: ‘Where do angels get angels?’.

The angel’s query functions as a moment of existential inquiry within a fictional setting, but its implications extend further: the presence of such a question speaks not only to the needs of humanity, but also to the requirements of the divine. In this way, the song expertly challenges and addresses the listener’s assumptions, successfully posing a profound dilemma that the subsequent narrative attempts to resolve or at least confront.

The song’s extended runtime of over seven minutes is crucial; it provides the space necessary for the listener to register the angel’s distress. Coupled with the classical, almost symphonic soundscape, this duration acts as a catalyst, sonically transporting the audience to that strange domain where angels require aid from their own kind.

SCORE/Outstanding: This is an outstanding song on all fronts – vocally, lyrically, and instrumentally. It achieves the remarkable feat of both comforting and discomfiting the listener. While much more could be said, this concise analysis is sufficient to serve the integrity of this review.

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Dinosaur Stampede are:
Patrick “Packy” Thompson (…but ugly, Black Vomit, Jaysom Rallys) – Rhythm Guitar/Vocals
Keith Hartel (True Love, Adrenaline OD, Tammy Faye Starlite, Richard Lloyd, Motel Shootout, Pleased Youth, Handsome Dick Manitoba) – Lead Guitar/Vocals/Keyboards
Keith Kenny (Metal6000, legendary Red Suitcase one-man-band) – Lead Guitar/Vocals/Inspiration
Matt Kohut (Cold Soil Drifters, Ween, Chris Harford) – Bass
Sim Cain (Rollins Band, Ween, Dean Ween Group, J. Geils Band, Regressive Aid, Gone, Scorn Flakes) – Drums/Vocals/Wisdom

Dinosaur Stampede returns with their long-awaited second album, Big Sigh Country, co-produced by Sim Cain and New Jersey guitar legend Keith Kenny, who graces the album with his inspired and transcendent guitar work and backing vocals throughout, and was a creative and engineering force driving the project forward. Keith Hartel shifts from bass to provide some of the finest lead guitar work of his illustrious career (as well as background vocals, keyboards, and lead vocals on the new song “PLEAS”). Playing drums and co-producing the project, SIM CAIN brings his world-renowned knowledge, talent, and professionalism. The new album includes 8 original songs written by Packy Thompson and is set for release this fall. The band will be performing the new album in its entirety on November 1, 2025, at Randy Now’s Man Cave in Hightstown, NJ, USA.

So let’s have a listen …

The first song on the new album is called Bean. Well, folks, this is not country. The song starts with the tolling of a bell, then the full band kicks in playing an uptempo riff. The lead vocalist has a lonesome punk voice. The song in the chorus reminds me of some punk tunes. I like the effect on the lead guitar, giving it a warbly sound. Maybe the song is about Francis Bean Cobain? The chorus reminds me of some late-60s pop-rock bands.

Other Animals starts with a nice acoustic guitar riff, very nice. The singer’s voice is very distinctive. A little like Bob Dylan in its straining to sing quality. I like the slide guitar that appears halfway through the song. The songwriting is actually pretty good, if it could just get over the singer’s voice. If you listen, you’ll hear what I mean. It’s a very unique voice. I wonder what the same songs would sound like with a different lead singer. 

Lie Fight (The Truth) starts with a massive country bend and a loud solo. “She brought the truth to the lie fight.” Definitely a country tune, this one.
Pretty standard country song arrangement. A little boring, honestly.

Pleas starts with a Motown up and down riff, then falls into a two-chord vamp under the verse. The chorus kicks in and I’m hearing The Beatles, at least in the song arrangement. Interesting song so far. The singer’s voice takes some getting used to – sort of a nasally punk sound. I like this one.

Lump starts with a driving rock riff a’la Cream. Maybe a little Nirvana in this song arrangement. I like the riff. The lead guitars are mixed nicely and loud. The only thing this song needs is a better singer. But very nice production.

Undangled, Unsung has a Southern Rock sound at its core. Maybe a little blues in the way the vocals fall over the slow guitar riffs. For the vocals, you have to imagine a young Tom Waits wailing with a coarse voice after an acid trip. The guitars are mixed very loud in this track. Lots of soloing.

Broker Than Dirt starts with a folk riff, but played on an electric guitar. The song playfully bounces between chords. Sounds like Bob Dylan meets Captain Fantastic and the Brown Dirt Cowboys.

Salamis & Hookers starts with strange noises, almost helicopter-like in nature. I really like the nice chord vibe and particularly the lead guitar fuzzed and wah’d out. Not sure what the song is about, strange lyrics. I hear a lot of late ’60s and ’70s rock influences in many of these songs. I love the lead guitar jam at the end of this song, epic! Nice way to finish.

Overall, I like the songwriting, the instrument performances, and the production on all the songs. My only criticism is the sound of the voice.

SCORE/Good: Dinosaur Stampede delivers a new rock album full of interesting musical choices, excellent songwriting and musical arrangements, and a singer’s voice that only a mother could love. If you like good songwriting, though, check it out. Much love, Beth

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He has now shifted his attention entirely to that of the avant-garde as well as experimental electronica, playing regular shows within the UK underground electronic music scene.

His artistry involves a strong focus on utilising classic analogue synthesisers in both his recorded music and live setup, giving his work an organically warm and nostalgic quality. He is also currently based in the Peak District in England. In this instance, he has released a new album titled ‘Ibe Thru Epetron‘.

The album immediately draws you in, with the entrance track being ‘Ziegler7688’. It starts off with what sounds almost like a square wave and steady breakbeat electronic percussion, before being supported by mystic-sounding pads and an acoustic instrument. There’s a lack of resolve and a lot of emotion within the journey of the track, making it extremely dynamic and interesting to listen to. The slight delay added to some of the effects also give the track a very contemplative feel before infusing some elements of 909 acid synthesis. It’s a mixture between Aphex Twin, A Guy Called Gerald and Kraftwerk.

The album gets even better with the second track Hadfield Acid (mkorgus mix), with a beautiful soundscape that just encapsulates various different types of synthesis all at once, blooming right at your face in the midst of a steady beat. It also incorporates a lot of what I think is manually doing what Gross Beat on FL Studio does, which I love. It adds variation and doesn’t rely on the same patterns for an extended amount of measures. It’s dynamic and simply all-encompassing.

In ‘crimpresent tune1’, the 8-bit soundscape is delicately paired with a bold and strong bass, with complex lines of melody that intertwine with each other. I think if this song had sheet music, it would be very very compelling. The use of effects is also genius with this track and it actually has a certain structure to it, blending warm and cold timbres with typically ‘fx’ samples. There is a very high level of innovation within this track! Even though all the tracks in this album is compelling, this is truly one of my favourites.

The best way for me to describe this album is that it just gets better with every single track. If you thought the previous track out-did the relatively previous track to that, you’re dead wrong. All songs henceforth, just set the bar even higher and higher. Apanuary is absolutely lush in the sense of its unique time signature and technological innovation with the pitch wheel in the midst of all-encompassing pads. It’s just wonderful. I have nothing but literally praise for every other song, opReset, HRCsequencx, and so on. I just love how the artist has no limit when it comes to how many synthesized effects could be merged into one song so smoothly at that, even if the sound design of the sound is a bit ‘rougher’.

Another fascinating track to me that sticks out is ‘Sillybabbins’, which sounds like Robert Miles, early Paul van Dyk and early Bjork fused together. It has a breakbeat, funky feel but an orchestral arrangement to a degree, with a beautiful soundscape. ‘NewcastleTrip1’ goes deeper into the breakbeat soundscape with rich, lush and layered synthesis, almost turning atonal towards the end. The use of delay and acid synthesis together go so well in creating an exciting and Wii-esque soundscape.

‘Perfcasam Bath’ shifts the whole mode of the album, bearing more trancey, tribal, industrial and melodic trance motifs all at once with a house groove. It is just simply magical listening to this track, I have no other words- you have to listen to it and experience it to know what i’m exactly feeling. It’s almost like as if i’m levitating in combinatronics when it comes to the state space of what sounds waves can generate. The album finishes off in a calmer note, with ‘Post Wildfire’. The combination of the synthesis taking on a more ‘glide’ approach and the scale used makes it very ethereal and asiatic, reminding me of some Ethiopian and Hausa music but with the approach of gamelan. It comes off as more stripped-down, but is actually quite complex.

All in all, this album truly blew me away. As someone already in the scene of electronic music and constantly wanting more innovation and excitation within the subgenres of this multitudinous genre, this release is giving me exactly what I’m looking for- stretching the limits of musical potential all with proper hardware, arrangement and flow. Outlaltuo deserves way more views and recognition for his ability to construct such elaborate and technically proficient songs! I will definitely be on the lookout for this artist’s future releases.

SCORE/Outstanding: Outlaltuo basically breaks all standards in experimental electronic music with this release. It’s a fascinatingly complex and exciting album that I hate to say it, if you know, you will know! The amount of effects, types of synthesis and general ear for cohesion displayed within this release is beyond the level of the average musician.

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South Skunk Beach starts with a bass slide into a blues shuffle rhythm with the lead guitarist sailing over the top. Eventually, the vocals kick in. The singer has a voice similar to George Thorogood. The band reminds me of a good local band down at your local blues and beer bar in your neighborhood. The cymbals are all over the track, which is why I prefer toms to cymbals, but that’s just me. The lead guitar player is good but not great, but is adding pleasant leads into the mix. Very George Thorogood.

Tell Me starts with a downward walking riff, which becomes the main motif of the song. I’m getting a Clash vibe, which is cool. Eventually, the chorus kicks in and throws some interesting chord changes into the mix. Cool song. I’m liking the lyrics to this song.

Not Even Superman Can Save Us Now starts with a rising chord change. This song is explicit. Funny and thought-provoking lyrics in this one. I like the superhero theme of the music itself. These guys are your good local bar band. “The Lone Ranger can’t even find his horse.” I like the single-note riff in the bridge. I like the tone of the lead guitar on this song. A powerful song on the album.

Good Times Are Comin’ has a main riff that is a cajun zydeco stop riff motif. The song structure makes the track sound a little dated.

Where Did It All Go Wrong? Starts with a drum fill into a cool guitar riff. I’m liking the tone of the lead guitar on this one. Eventually, the vocals kick in. The singer definitely reminds me of George Thorogood. So do the riffs. A song, lyrically, about a lost love/friendship, “where did it all go wrong?”

Escape From Reality starts with a softer falling arpeggiated guitar motif. A nice interlude. Then come the pounding guitars and drums. I hear a slide. For some weird reason, this song reminds me of music from The Rocky Horror Picture Show, which is apparently my go-to “escape from reality” LOL. I like the heavier guitar sounds in this song. I personally think the arrangement and vocal parts are a bit hokey, maybe too on the nose.

Victor LaDuke. I like the guitar riff that starts this song and the sound of the lead guitar in the mix. Again, the vocals are very George Thorogood. I like the arrangement for this song. Liking the lead guitar solo in the bridge and the very heavy sound of the guitars. A tale about Victor LaDuke and his drinking problems and love of demolition.

Ridin’ The Growlin’ Demon starts with what sounds like a guitar riff in D. I’m guessing the guitars may be tuned down a full step. I like the vocals and lyrics in this one. I’m digging the slide guitar all over this track. And, come on now, who doesn’t love demons? A tasty end to a nice album.

SCORE/Good: Moe Green & The Dive Bar Juicers deliver a solid blues-rock based album full of fun songs played by your favorite local blues band down at your neighborhood bar. A fun listen. You are required to drink a pint while listening to this album. Much love, Beth

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The project starts with ‘Decouple’. It’s an instrumental piece that launches with a striking, almost abrasive soundscape. It begins with a unique sonic texture – a sound akin to an electric, zig-zagging voltage or the sharp crumpling of paper, incorporating a distinctly jazzy, non-traditional scratch.

The introduction is slow in its progression, building up layers of rhythmic elements: single, deliberate bell strikes and metallic progressions that hint at strings. The core ensemble soon takes shape, featuring piano and horns. The saxophone phrasing is particularly noteworthy, developing an almost loopy, hypnotic quality, supported by tight drum percussion.

The composition achieves its groove when a steady, anchoring piano key, coupled with light, focused drumming, enters and gives the piece weight. The track gels into a sophisticated, wordless narrative that is at once metallic, deeply melodic, and blues-infused. Though whimsical bells briefly take the spotlight, the robust and grounded presence of the horns ensures the track remains firmly rooted in the jazz tradition.

‘Idiosyncrasy’ follows. The track begins with a light, delicate texture, centered on bell and string-like sounds. This soon establishes a rhythmic base with the introduction of a minimalist kick drum and a deep, bassy guitar line.

The mood shifts sharply with the entry of an abrasive horn, signalling a rapid maturation of the sound. Horn phrasing that follows is particularly striking, leaving a piercing and sharp mark on the developing groove.

The energy continues to escalate as rapid drumming propels the piece forward. The horns create diverse and varying phrases, building harmonic tension throughout. Having started subtly and lightly, the composition concludes in a thrilling, frantic, and energetic climax.

Up next is ‘Kamon’. The composition opens with light, calm piano keys, immediately establishing an easy and tranquil ambiance. This delicate introduction quickly evolves into a rapid piano progression, subtly underscored by an understated bass line that adds depth to the sound.

Just as the momentum builds, the piece introduces abrasive textural touches before a harmonic horn melody emerges, tightly coupled with the drumming to create a focused, mature section. This track stands out as a beautiful and balanced composition where all the elements – from the serene start to the dynamic peak – are in complete harmony, succeeding precisely because it prioritizes musical flow over overt experimentation.

‘K/S’ follows. This track is characterized by a strong minimalist touch, with the flute taking center stage early on, establishing a spare and understated atmosphere. All instruments contribute to this feeling, relying on simple, effective strokes and hits rather than anything elaborate or fancy.

However, this restraint is dramatically abandoned at the song’s conclusion, which explodes into a section of frantic, cohesive improvisation involving horns, drums, and the rest of the ensemble.

Up next is ‘Somewhere’, a song featuring vocals by Jillian Moore. The vocals are expressive and ethereal, but do not carry any real story.

‘Copeland 1 & 2’ follows. This instrumental piece immediately establishes a dry, somewhat stark atmosphere before the instrumentation quickly imparts a decidedly brassy and abrasive feel. After a very brief build-up, the track explodes into a section of rapid, frantic improvisation that dominates the soundscape.

This intense, quick-paced play abruptly recedes almost halfway through the song, leaving the listener with a more subdued focus on the rich, bassy tones of the guitar strings to carry the remainder of the composition.

However, this initial pared-down arrangement soon blossoms into a more complex interplay

The title track closes the album. Earlier on, the track is anchored by a weighty piano that is accompanied by a cinematic sound. This is another cohesive, melodic song where all the elements gel harmoniously, though a prickly horn adds a deliberate touch of friction. Notably, the guitar also leaves a significant, memorable mark on the overall composition.

SCORE/ Excellent. Benedict Koh and his fellow musicians demonstrate a mastery of melodious craftsmanship while simultaneously embracing a thoughtful experimental spirit, offering listeners the best of both worlds. The album is nearly entirely instrumental, featuring only a single track with vocals – a factor that inevitably places that song under considerable pressure to distinguish itself and justify its unique presence within the collection.

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From the opening moments, layered with ambient sounds of nature and a resonant voice calling out for freedom, you know you’re entering sacred territory. The first song sets the tone: soulful, introspective, and unafraid to wrestle with hard truths. Oledude’s vocal presence is rich and commanding, but never overbearing; it feels like he’s guiding a congregation through both sorrow and celebration.

Throughout the record, Oledude balances heartache with hope. Songs like “The Choice” and “Save the Children” confront systemic injustice and moral responsibility with lyrical precision and emotional weight. In contrast, “Rainbow Soul” and “If a Woman Had Made the World” bring joyful energy, built on funk-infused basslines, tight harmonies, and infectious optimism. These songs groove while carrying messages that stick long after the rhythm fades.

“Orange Blues 24,” one of the standout tracks, hits with raw urgency. Its blistering blues riffs and defiant tone recall protest traditions of earlier generations, yet it feels entirely of the moment. “No Crowns for Clowns,” meanwhile, pairs biting political critique with sharp, modern production. Both pieces demonstrate Oledude’s skill at translating righteous anger into art that moves the body as much as the mind.

Production-wise, Preacher Man, Vol. 1 shines. The mixes are clean and dynamic, with clear separation between instruments. Bass lines are warm and defined, while the layered vocal arrangements, sometimes choral, sometimes conversational, create depth and texture. Spoken-word passages appear throughout, offering moments of reflection amid the rhythmic pulse. The transitions between songs feel deliberate and cohesive, allowing the album to play like a continuous narrative rather than a collection of tracks.

There’s a deep reverence for musical history here: traces of classic soul, gospel, funk, and folk are interwoven into Oledude’s contemporary sound. The result is a sonic tapestry that nods to artists like Curtis Mayfield, Stevie Wonder, and Gil Scott-Heron, yet speaks with Oledude’s own unmistakable voice.

What makes Preacher Man, Vol. 1 so striking is its sincerity. This is the work of an artist rediscovering his purpose through sound. Every lyric feels earned, every groove intentional. Oledude has transformed grief, activism, and love into something deeply human and spiritually elevating.

In an era hungry for authenticity, Preacher Man, Vol. 1 stands tall, a vibrant, fearless collection that reminds listeners that music can still heal, challenge, and inspire. It’s a record that doesn’t just speak truth to power; it invites power to listen.

SCORE / Excellent – In the end, Preacher Man, Vol. 1 feels less like a debut and more like a long-awaited homecoming. Chris Oledude reclaims his voice not just as a musician but as a messenger, bridging generations, genres, and struggles with honesty and heart. His songs remind us that rhythm and resistance can coexist, and that hope can still move mountains.

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This release follows up releases that were made almost a decade ago, such as the album ‘The Importance of Being Serious’ released in 2013 and the EP titled ‘Ballad of Bones’ that was released in 2016.

The history of this band goes back to 2011, but this album features a new lineup, with the longstanding singer-guitarist Rob jones and bassist/multi-instrumentalist Tim Packer… joined by the superb talents of Sinéad Florence Livingston on vocals, keys and guitar,
violinist Alistair McCubbin, cellist Caroline Hoile and drummer Mark
Burley.

The album was recorded by the band themselves in the Old Church, Sacriston, and was mixed by Newcastle musician and producer Martin Hoile and mastered in Nashville by Steve Corrao. It was funded by a successful Kickstarter campaign, having raised almost £2000 for mixing, mastering and album production.

The official launch date of the album is stated to be the 19th of November, with an event at The Globe, Newcastle, with the band performing the full album live for the first time, accompanied by special guest acts like Bubamara.

I’d definitely say this: one thing that truly sticks out in the album is the quality of the instrumentation, even if the arrangement is pretty predictable. Every instrument is accounted for and mastered quite well, making it where it’s hard to really find fault with this release. The songs on this album oscillate between a little bit of Siouxsie and the Banshee, indie rock, folk rock and traditional folk with crossgenre appeal. The vocalists have very opposing timbres, which make it quite interesting to hear when they’re together in a song.

There’s a bit of stylistic darkwave lodged within the album as well, with tracks like ‘Sinking Sand’ reminding me of Bauhaus in terms of the vocal delivery amidst the wonderfully sprawling, folksy and minor orchestral influence within the instrumentation. There is a bit of agedness within some of the production techniques and the chord structures used within this album, but I can tell that people who can appreciate this genre will definitely boost its indie appeal and I don’t think the aim of the album was meant to be futuristic. It does truly make up for its lack of innovation with the melodies, the improvs, the solos and the various strings of instrumentation (Think of tracks like Space).

One thing that does stick out is the potential for a lot of these songs to be ‘singable’ in a crowd, which definitely aligns with the main means of marketing this album will have in terms of its response to a live venue. As I’ve mentioned earlier, people who are used to this genre and have an appreciation for similar sounds would definitely treasure this.

In terms of the emotional tone of the album, these songs certainly go through a lot of emotional dimensions, being scary, confrontational, emotional, self-reflective, liberating and relatable at the same time. This complex web of emotions expressed sonically will definitely enrich your experience of listening to it, as the groove can only do so much.

I have to say, kudos to the violinist and the guitarists within the release. They did an excellent and wonderful job at interjecting motivic variation and a large amount of depth and dynamics to these songs. One point of critique I do have is how simple and predictable the drumming is. It’s good, quality drumming, but perhaps experimenting with different time signatures could truly elevate the quirks within this group. Otherwise, this is a decent act and frankly, a decent album.

SCORE/Good: ‘Look On These Works’ is a decent album that focuses on groove, motivic variation through instrumentation and the interesting fusion of emotional depth and tonality within these songs. It explores a myriad of personal and mythical themes throughout its duration, and is definitely cut out to be a cult classic.

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