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Greg Tripure
Stranger in This World
Even if you don’t recognize the name right away, chances are you’re familiar with Greg Tripure. Having spent 20 years recording and touring as the rhythm guitarist and backup singer for Sub-Urban Situation, and sharing the stage with the likes of Robert Randolph, Houndmouth, Devon Allman, Sister Hazel, Perpetual Groove, The Phunk Junkeez, Ana Popovic, Nappy Roots, and The Villebillies, among many others, Tripure brings a wealth of experience to his debut solo album, Stranger to This World. Of the 12 songs on the album, only four were available for preview for this review. Lead single “Be” would sound right at home amongst the tracks on Neil Young’s Harvest. And then there’s the funky backbeat of the folky “Picking Up the Pieces of You,” and the slower, bluesy Americana tracks “Waiting for the Leaves” and “Don’t Go Too Far.” Stranger in This World is a heartfelt musical journey that draws on a rich tapestry of genres such as folk, R&B, Americana, roots rock, and blues, and showcases Tripure’s versatility as a singer, songwriter, and guitarist. Recorded at 4:10 Studios in Corydon, In., with former Carrollton bassist and backing vocalist Jordan Bailey, Stranger in This World exudes authenticity and warmth, firmly establishing Greg Tripure as a solo artist with a distinctive voice and an album that resonates with sincerity and soul.
instagram.com/gregtripure
Hannan
Last Disguise
Listening to Last Disguise by Louisville’s Hannan makes you realize how bad we, as a record-buying public, fucked up by letting the music industry, as we knew it, die off; because this is multi-platinum album selling, sold out arena, major festival headlining, worldwide stardom-level material right here! Produced by Chet Roberts (Three Doors Down), Last Disguise is everything great about modern rock music. Every one of the 11 tracks on this album is absolutely filled with huge hooks that pull you in and hold you there, then stay with you long afterwards. Hannan is one of those rare bands that click on every level. The musicianship, the songwriting, everything here is just flat out astounding. This is the perfect mix of hard rock, modern rock, and alt-rock, all wrapped up in one big groove-oriented, riff-driven package. And the production here — slick and highly-polished — is absolutely top-notch. This album could be released by a major label as is, no tweaks necessary. Even the cd packaging, with its full color artwork, double-sided tray card, and eight-page booklet, is major label-level professional. There is a lot of time, heart, passion, energy and obviously money that went into making this album, and it pays off in spades. Every one of these songs is radio ready, and there is an audience of millions out there that will be chomping at the bit for them. I just hope fate, luck, and good fortune make these guys the superstars they deserve to be.
hannanmusic.us
Letters of Acceptance
Shadow Problems 3
Well, that didn’t take long! Just three months after releasing the Shadow Problems 2 EP, Lexington/Louisville hybrid quartet Letters of Acceptance wrap up their year-long Shadow Problems trilogy with the third and quite possibly best installment of the series. For those unfamiliar, LoA is one of the best indie power pop bands out there — KY or otherwise. Their knack for writing catchy, hook-filled song after song is uncanny. For proof, pick any of the 15 tracks from the Shadow Problems trilogy; doesn’t matter which one, they’re all great. This is Tom Petty and the Heartbreakers, The Cars, Bob Dylan, The Beatles, Elvis Costello, and My Morning Jacket all rolled into one band. They have an amazing way of taking the essence of classic rock and mixing it with pop sensibilities. And, I’ve said this before but I’m saying it again, every note and harmony feels meticulously thought out, yet are played in such an easy-going, carefree kind of way that you lose yourself in the music and stop paying attention to how extremely well-crafted these songs are. “Weight in Pretending” is my new favorite of their songs, and I can already tell you, even this far out, will be in my top picks for best songs of 2024. The band has recently released all three Shadow Problems EPs as one 15-song CD, and nine tracks selected from all three EPs on vinyl, which you can buy directly from the band, and I highly suggest you do.
lettersofacceptance.org
Monkeys of a Bygone Era
The Bluest Jay
OK, so right off the bat we have a great band name. Perhaps it’s an inside joke or a line from something that I’m unfamiliar with, but it’s certainly a name you’re not likely to confuse with another band. But the great thing here is that the music is every bit as unique as the name. If you ever wondered what Ziggy Stardust and the Spiders From Mars might sound like in modern times, Lexington’s Monkeys of a Bygone Era is your answer. Taking that classic glam-era Bowie sound as its base, then expanding on it with modern day technology and incorporating a range of other musical influences make The Bluest Jay one of the most unique, interesting, and downright bizarre listening experiences you’ll ever enjoy! Not only does vocalist/guitarist/songwriter Jason Zavala wear the Bowie influence on his sleeve, but his vocals are a dead-wringer for the Starman as well. Dig a little deeper and you’ll find elements of the Talking Heads, Pavement, Violent Femmes, PJ Harvey, Kid A/Amnesiac-era Radiohead, maybe even a little Frank Zappa here. Stealing a line from their bio, “Monkeys of a Bygone Era create catchy, Bowie-esque songs that include a combination of rock ‘n’ roll drama, falsetto, and sometimes electric kazoo,” sums this up perfectly. Monkeys of a Bygone Era is truly an original and different musical experience. Do yourself a favor and check out the exceedingly cool looking music video for the track “Hall.”
monkeysofabygoneera.com
The Response
Ran Thru By The Response
No cutesy image, no emo lyrics, and no pretentiousness here, just raw, stripped-down, bare-bones, unapologetic old-school punk rock with a “fuck you” attitude and a wicked sense of humor — even if it occasionally comes at the expense of themselves. Featuring former members of Reagan Youth, (yes, that Reagan Youth), The Vagrants, Ants in an Argument, The Sickies, The Shanks, The Ladykillers, and a current member of The JimHärralson, these guys are grizzled veterans of the Louisville punk rock scene and beyond. Their sound is in the vein of The Ramones, Sloppy Seconds, Nine Pound Hammer, Dwarves, New Bomb Turks, and The Queers’ early material, but with its roots in early Rolling Stones, MC5 and The Stooges. From Donnie Vagrant’s brash and unrefined vocals barking out NSFW lyrics to Sean Magnum’s proto-punk style backing vocals and aggressive guitar work to the furious drumming of Trey Meihaus and the smooth flow of fill-in bassist Alien J (Plague IX), everything comes through clear yet unpolished courtesy of Shitfire guitarist Cadillac Young’s production at his Church of Wax studio. With five songs and clocking in at just over 11 minutes total, Ran Thru By The Response is relentlessly energetic, fun, catchy old-school punk-fucking-rock that kicks you in your ass and pushes you into the pit. And cheers to the excellent cover art of band mascot Randy the squirrel flying high by Rick Gideons of Fifty11 Media. Obviously this is highly recommended!
theresponsekyhc.bandcamp.com
Routine Caffeine
“In The End Now”
It’s easy to see why Routine Caffeine is so beloved here in their hometown; their music is mesmerizingly beautiful, and I honestly can’t say anyone does dream pop better, local or otherwise. Following “No, I,” which was released in June of last year, “In The End Now” is the second and latest single from their upcoming EP, and is a dreamy, flowing, melancholic tune that paints a big, rich, lush soundscape that pulls the listener in and takes them along for the ride. Katie Kelley’s sweet yet haunting and enchanting vocals take center stage while her smooth, soft guitar melody paired with Madison Case’s controlled walking bass lines and Emma Treganowan’s subdued jazzy drum beats create the perfect atmosphere around them, building up to an amazing crescendo at the bridge at the three-minute mark that really drives the song home. Lyrically deep and emotional, Kelley describes it: “This song is about telling someone how you feel, even if you know that might result in the end of the relationship. I’ve learned it’s not easier to be quiet and let things go on the way they are when something needs to change, it’s better to talk.” “In The End Now” was largely recorded by Anne Gauthier at La La Land Studios, and Gauthier absolutely shines at bringing out the magic in the instruments and vocals here; giving them all rich, warm, expansive tones that seem to fill the room. If this is any indication of the rest of the forthcoming EP, it’s going to be amazing!
linktr.ee/routine_caffeine
