Secret Broadcast is the indie rock band made up of Matt Lightstone (Vocals / Guitar), Keith Heppler (Drums), Curt Harding (Bass / Vocals) and J.C. Sandoval (live) (Guitar / Vocals) from Calgary in Canada.
Secret Broadcast – photo credit Seattle Music Photography
Melody and energy emerge from the speakers on hitting play as Secret Broadcast harness their sounds to deliver well spaced and harmonised music that needs to be heard by a wider audience without delay. There is something almost timeless about the music which contains both an earthy connection and finesse as the out-fit provide music that is smartly delivered.
Secret Broadcast have the ability to create music which is both engaging, yet easy to listen to, giving them a potential audience across many genres and this they have achieved by concentrating on taking the time to develop the tracks with extensive use of melody, which builds in intensity as the songs progress. If would have been tempting to blare out the music, but by taking the volumes down a notch, they have been able to inject the compositions with emotional context, with which the listener is easily able to identify.
Their recently released thirteen track LP Filthy Souls (which is available on iTunes*) is well worth getting hold of.
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Steve Koserski from Toronto in Canada is a progressive rock music producer.
Flights of fancy spiral their way around the room as the sounds of Steve Koserski tumble around the room like a light display. Tracks of what seem, on reading duration, interminable length quickly flow around the brain as the music mutates from phrase to phrase. The sounds are not unattainable, but they do challenge the listener to appreciate the themes. If you take the time, you will find yourself submerged in a weave of seeming conflict, which by the time it drops to the ears coalesces into a streaming consciousness.
Not for everyone’s palate, that is for sure, but I found myself lost in the extended tracks which flow in apparently unrelated chapters until reaching the finale, where the pieces meld together, the tale told sinks to a summation and the composition forms a sharp focus of thought.
Not for a five minute run out – as in the main you won’t even be half-way through the piece, Steve Koserski offers material which requires time to ingest and as he is in no hurry to reach the conclusion, there is plenty of space to lay a while.
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The Population Drops a garage rock band from Vancouver in Canada comprises Mary Jane Doe, Matt Wrong, Helen Heaven and Teddy Reckless.
The Population Drops
A sultry blast winds its way in to the room on hitting play as The Population Drops combine electronics and instrumentation with tracks resonating of menacing under-currents. The sounds percolate the mind with imagery as the quartet layer on booming bass which plays superbly against the high pitches of the keys.
Whilst the tracks are generally less than the three minutes, they are laden with so many layers that they seem to extend far longer. It is the raw bleeding edges to the sound that brings it to life as The Population Drops play with a range of concepts. It is easy to find references to earlier bands, but that is to miss the point, as the quartet deliver a sound that has a distinctive style.
Having recently put together an EP – Enough – there is another due in short order – Find Another End. Having been away for a few days, it was with some considerable pleasure that I stumbled upon these four and I look forward to hearing more in the future.
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Sometimes a band name makes perfect sense – Stegall is the synth-rock trio of three sisters of the eponymous surname – Clara (vocals), Sydney (guitar) and Liza (keyboards) from London in Canada.
Hitting the ground running, having formed recently, Stegall offer music which resonates of their upbringing which saw them move across swathes of The USA and the music provides an inclusive international quality. Light on the feet, they are not trying to recreate the wheel, rather add embellishments to a genre and this they do with some style.
A delightful bass sweeps along the music and the percussion is thoughtfully programmed allowing the vocals and tonality to hold the attention of the audience as Stegall showcase their compositions which belies the age of the band.
Having spent considerable energy in getting the on-line and visual elements right, they have also recently released their perhaps appropriately named début EP IV, which evidences these are more than glossy marketers. As a template for new bands Stegall are stellar examples.
The next step will be to see how this transposes to a live environment and they are booked for a tour in Eastern Canada later this year. I look forward to catching up with Stegall later in the year to see how it is all developing. For now, well worth catching at the start of what has the foundations for a promising career.
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Black Walls is the ambient drone solo songwriter Kenneth Reaume from Etobicoke in Canada.
People who are new to the site would be forgiven for thinking the only material covered is sombre and melancholic as Black Walls is of similar theme to The Imaginary Suitcase LP reviewed in the previous article, musically they are of different styles completely, thematically both very introspective.
The billowing black clouds roll across the room enveloping the listener in a shroud of darkness in which the brain becomes fixated. Partially shadowed lyric adds to the atmosphere as the music gathers itself in folds. There is beauty in the blackness which curls around the brain.
Black Walls has been around for a while and the most recent release Communion set for release tomorrow is by far the most introverted by Reaume, having been recorded at night in a bedroom reminiscing over the death of his father. The very personal and considered nature of the material makes this a release more than worthy of consideration as within that self-enveloped space of inward discovery there are semblances of glimmers of cracks in the skyline.
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