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“No Apathy” - single
Tin Zelkova might be the last true rock band in the world. No subgenre, no bullshit, just straight up rock. A young band with an old soul, if you will, Tin Zelkova effortlessly combines the raw power of classic rock with a modern rock finesse that sets them apart from the crowd. They are one of those bands who would fit in on any bill regardless of who else was playing, as their sound offers a little something for everyone. Their latest single, “No Apathy,” is a mid-tempo, groove-oriented, driving song with big hooks that sink in and captures the listener’s attention. I’m hearing a mesh of Smashing Pumpkins, Rush, Kansas, Blackberry Smoke, and Three Doors Down, and somehow this Louisville-based power trio makes it all work and flow incredibly well. Their ability to craft a song that is simultaneously nostalgic and modern is amazing. The lyrics weave a poignant tale of someone who, despite their love, grapples with the feeling of not doing enough to save a self-destructive soul, and is delivered with emotive vocals that convey a genuine sense of heartache and reflection via bassist/vocalist Steven Thompson. With its mid-tempo drive, powerful hooks, and emotionally charged lyrics, this track is one of Tin Zelkova’s best yet. The band is heading out to the west coast this summer with a gig already lined up in Los Angeles, so the future is looking good for these guys!
Stuart Wicke Band
Rubáiyát of Omar Khayyám - album
Calling Rubáiyát of Omar Khayyám an ambitious project is an understatement. Only two songs, but clocking in at nearly 40 minutes in length, (kinda makes it hard to label this as an EP). Both tracks are inspired by historical poems - the first, “Song on the End of the World,” is based on two works: Czesław Miłosz’s 1944 poem of the same name, and William Blake’s “America: a Prophecy” (1794). The second song and title track, “Rubáiyát of Omar Khayyám,” is composed of 24 stanzas from the work of the same name by 12th century Persian astronomer-poet Omar Khayyám, as translated by Victorian English poet Edward FitzGerald in 1859. Wicke goes all out unabashedly prog rock here, resulting in a soundscape that fully encompasses the listener in Wicke’s vision. Comparisons to Pink Floyd, King Crimson, and Blue Oyster Cult are certainly warranted. Wicke and band are at the top of their game here, leading a master class in songwriting and musicianship abilities. Both songs are broken up with enough musical changes to keep either of them from becoming boring or predictable, keeping your attention focused on each song the entire time. And it doesn’t end with the music, as even the artwork, (done by Wicke’s mother, Meg Wicke), incorporates elements of the artistic movements in the latter-19th century inspired by FitzGerald’s version of the Rubaiyat. Wicke came out of nowhere with this one, delivering an amazing piece of musical art for the ages.
stuartwicke.com
Shadowtime
Volume 01 - EP
Bradley Coomes is a man of many faces, musically speaking. The former bassist for Louisville indie rock/power pop greats The Pine Club, (among several other bands), has done everything from the aforementioned to dream pop to noise, most recently releasing some amazing solo instrumental psychedelic shoegaze material. So one would be right to be caught off-guard by Coomes doing a straightforward, no-frills rock album; yet that is exactly what he’s done with his latest project Shadowtime. A collaboration with Kimberly Kornmeier of darkwave/synth pop band Bow Ever Down, Shadowtime pairs Kornmeier’s lyrics and vocals with Coomes instrumentation and production. The interesting thing to note here is that Coomes and Kornmeier have never met in person, (Kornmeier resides in Topsham, Maine), yet through the power of the internet were able to work together to bring Shadowtime to life. The result is a sound rooted in late ‘80s/early ‘90s alternative and indie rock that draws influences from the likes of Velvet Underground, Big Star, the Smiths, (early) REM, and others. Kornmeier delivers a strong, earnest yet vulnerable and heartfelt vocal performance reminiscent of early Pat Benatar, while Coomes provides a solid instrumental backbone to drive it all home. The recording and production, done at Coomes’ own Laundry Room Studios and Records, give the seven songs on this EP a stripped-down, raw, yet bright and expansive sound. Fans of the aforementioned bands and ‘80s/’90s alternative and indie rock in general would do right to check Shadowtime out ASAP.
Nick Teale
featuring The Java Men
“Half Genius” - single
Most musicians tend to seek out and find a certain musical niche they’re good at and stick within in. Maybe skirting the edges a little bit, but never truly exploring outside of it. Nick Teale is not one of those musicians. There are no boundaries for him to push musically because he never created any for himself. Teale is seemingly fearless as a musician; not only taking on any genre that inspires him, but digging in, putting his own spin on it and making it his own. Rock, folk, jazz, bluegrass, pop, Americana, adult contemporary, hip-hop, even heavy metal, Teale has done it all. His latest single from the upcoming full-length Glitterfingers, (to be released this summer), “Half Genius” sees him teaming up with local jazz legends The Java Men and going in yet another direction he’s not been in before: yacht rock. The result is a catchy, jazzy, light rock earworm that would be right at home on Steely Dan’s Aja. This also sees Teale stepping out from his normal big baritone vocals and taking on more of a smooth jazz tone while at the same time pushing them to be the best they can be, as always. As a musician and songwriter, Nick Teale is the real deal, (excuse the pun); someone who loves crafting songs for the sake of the art, genre be damned. And with “Half Genius,” the Teale Appeal is in full effect!
Lydia Shae
Decade Diaries - album
While we wouldn’t normally do music reviews for bands/artists out of Cincinnati, Lydia Shae is certainly an exception. A former Louisvillian, Shae was the female vocalist, keyboardist, and a founding member of Hawks, (along with ex-My Morning Jacket keyboardist Danny Cash), and appeared on their first album “Truth Will Out” in 2019, (credited as Lydia Tissandier), before moving to Cincy to pursue her solo career. Having spent the last ten years writing and performing throughout the Midwest, her aptly-titled debut album, Decade Diaries, is laced with personal stories and experiences of life, loss, love, and family told through her straight-forward, heartfelt, emotional lyricism. Shae has found a sweet spot in the Americana sound where the elements of rock, pop, country, bluegrass, and folk all flow smoothly together and give the listener just enough of each without too much of any one singular style. Her vocals ranging from sweet and soothing to all-out powerhouse rocking, while her acoustic guitar playing remains solidly in-the-pocket with her band. Standout tracks like “Comfort Queen,” “Gold Ring,” “West End,” “Something I Knew (I Understand),” “Confession,” and the absolutely beautiful “Borrowed Time” showcase Shae’s outstanding singer/songwriter talents. This is not a person looking to find their sound, this is someone who has already found and mastered it. Fans of Brandi Carlile, The Avett Brothers, and honest, emotional Americana music in general are absolutely going to need to hear this!
lydiashae.com
