The Counting Crows dove into the music scene during the early 90s and haven’t looked back since. I think all of us can think of one Counting Crows song and remember a distinct time and place when that particular song hit the airwaves. They wrote great, radio friendly tunes that boasted solid songwriting miles ahead of any other radio, one hit wonder band during their prime. Now, its time for a little bit of respect to be handed out to the band that gave us such rousing hits like, “Mr. Jones” and “Round Here,” a band that probably had some sort of positive influence on half of the bands that pay tribute to them here.
Cover songs, let alone a tribute album, can be a scary place to visit. Let’s face it, cover songs over the past few years have been agonizingly generic and plain. Often times, bands try too much to put their own little flavor into the song and end up overflowing the song with their touch and the cover turns out just plain messy. Then other times, bands pour no creativity into it and you end up getting an updated, carbon copy version of the original song. The line is so fine that many bands just never seem to pull it off.
Not the case with this indie tribute to the Crows; Dead and Dreaming. Each band does an above average job of taking a classic song and putting just the right amount of personality into the song. The results: 12 extremely well done tracks that I believe would make Adam Duritz and friends smile from ear to ear. The songs give you the impression that there was a good amount of time and energy poured into them from the beginning stages to the finished product.
The tribute album starts out with more of the lesser known, easy on the ear paced Counting Crows songs after Rydia opens the album with a solid performance of “Angels of Silences.” The Rocket Summer gives one of the top of the line efforts on the track “High Life” where the vocals really differ from the original. Boys Night Out strips down their hardcore armor to deliver an acoustic and mellow performance of “Walkaways” which was a nice bolt from the blue. The album then shifts to the radio rock hits where Punchline ups the tempo with “Round Here” and gives the song an impressive coating of pop punk that sounds really clever. Houston Calls might do the best overall work on covering the song “Einstein on a Beach.” They implement keyboards and synthesizers to offer a really unique spin on the track. I was also incredibly impressed with Hidden in Plain View’s rendition of “Mr. Jones.” They keep true to the song mainly, but overall, they did a great job instrumentally and I can tell this Drive-Thru band has really tightened up, and the outcome is very notable.
I had high expectations for this album, and in all honesty, the bands exceeded my expectations. Each and every band did just enough to the original songs and each knew the right formula for making the cover song work. With so many cover songs just not worthy of being listened to, this was no easy task. Each band showed that no matter what, great songwriting in any form can be appreciated on many levels and in many genres.
(The Vinyl Summer)
Calvin Clone – Machines [single]
Meshed together with the cyber sounds of machines throughout, it’s a weird but working combination
The year is 2040. The war between human vs machine is at the forefront. Is it too late for humans to take back the world from Artificial Intelligence? Are we already outrun by machines? Have no fear, Calvin Clone is here. “Machines” is the first of three singles released by Melbourne artist Calvin Clone. This first track allows listeners to see into the future through song. Setting it simply, according to Calvin Clone, our world is taken over by machines, and I don’t know about you but that doesn’t sound too crazy to me.
Founder and creator of Calvin Clone, Jack Alexandrovics, “combines dance, pop, industrial and rock to create a vision of cyberpunk.” This single shows a great connection music can have between modern and classic interpretation. There is a fantastic guitar riff throughout the song and really stands out when played. Meshed together with the cyber sounds of machines throughout, it’s a weird but working combination.
Alexandrovics’s theatrical voice adds yet another element to the song. He explains that his music is “closer to a theatre production than a conventional gig”. The vocal element in “Machines” exposes an ability to move up and down the scales flawlessly.
It is really exciting to see artists thinking outside of the conventional box. Calvin Clone explores modern and futuristic ideas yet keeps the integrity of a smashing guitar riff and untouched voice. There will be two more singles released by the end of the year which will all be part of his EP Kinetics. Calvin Clone is ambitious with visuals and sonics, and wants the live audience to be fully engaged in all aspects of his live performance. “Machines” has been stuck in my head for days. It’s catchy and engaging and I can’t wait to hear what else may be coming our way. This is only the beginning.
The Ritualists – Painted People
The Ritualists play some determined, strong-willed music
After listening to Painted People by The Ritualists, I was very surprised to learn that this is their debut album. This band shows a maturity in their music that I would not expect from a first album and provides inspirational sounding tracks with ‘reach for the stars’ type of guitar riffs. I hear a modern version of U2 in The Ritualists, along with an influence of Radiohead. Their songs are full, wholehearted post-punk hooks with a lead singer that has a sizeable range.
“Rattles” opens the album, and it’s the type of song that shows their audience that they are here to stay. It has a great build-up of excitement and intensity. The band explains that this song is “A combination of dark, deep-pocketed verses juxtaposed with big, flashy choruses is a key element to tracks”.
“Ice Flower” and “Worthiest One” welcomes an electronic wave to the album and showcases just how impressive lead singer Christian Dryden’s range is. His ability to hit those high notes with such conviction puts my falsetto abilities to shame. “Worthiest One” brings this sort of nostalgic feeling- it’s a rock ballad with a floaty guitar riff.
“She’s The Sun” is a great follow-on from “Worthiest One” as it transfers the mood upwards and directs the music into more of a hypnotic vision, which conveys “the band’s inner Sixties Love Child”. “I’m With The Painted People” has a really relatable background to the song. Dryden felt a larger than life inspiration from people like David Bowie and Simon Le Bon, these artists felt like soulmates, which can be lonely at times. It wasn’t until he ventured out into the clubs of the lower east side of New York which helped him feel comfortable to express his creative vision freely. The song is all about finding like-minded people.
There are hooks galore and catchy choruses in pretty much every song. “With this record, I’ve specifically tried to be anthemic,” admits Dryden. “I’ve always loved going to shows, where immediately after the performance, and even on the ensuing days after, you just can’t help but remember and sing the songs you’ve just heard. It’s almost like a higher form of communication.” The Ritualists play some determined, strong-willed music and Painted People shows hints of variations with different genres explored throughout. They sound motivated and in return have produced motivating music for their listeners.