Riot Fest Day 2: Coheed and Cambria, and Rise Against.

Venue:

Humboldt Park (3/6):

I’ve been to a verity of outdoor venues and temporary venues. This venue was not very well organized-- the stages were nearly on top of each other. The map was disorganized as well. The stages were also too small for the popularity of the bands performing and the screens were not quite high up enough to be seen further back. It was also verbally inaccessible without a car especially given the fact that it was very close to a rougher area and the only way to get back to the El, let alone downtown, was an odd buss line. It was not somewhere I would stage a festival. That being said, the lineup was phenomenal bringing in artists in the punk and post punk vein with a verity of degrees of fame. I was only there part of the day, but what I did catch was a lot of fun.

  

Coheed and Cambria (5/6): Coheed and Cambria always puts on one of the best shows I’ve seen. With stunning, distinctive vocals, and a striking stage presence, front man Claudio Sanchez is a force all on his own. He also brings stunning guitar work and a maniacal grin to the set. 

The guitarist was also spectacular, keeping up and matching Sanchez’s artistry flawlessly. And the new drummer is exquisite-- I actually find his work better than their previous drummer-- presses yet quick to improvise a solo if necessary.

While this was a mere hour-long set, Coheed was immaculately on top of their game, coordinated and a joy to watch.

The end of the show was something to see, Sanchez leapt into the au dance and played amongst the fans in the front row, then literally vanished. The band kept playing; seeming a little confused at his disappearance but eventually left the stage. It was quite the trick.

In short, these guys are unparalleled musically.

Rise Against (4/6): While not comparable to their previous show at the UIC Pavilion, Rise Against puts on a sincere, energetic show that still remains in my top ten. From a content standpoint, they manage to balance their very strong political and personal belief with musicality and strong lyrics that do not bash the listener over the head. Vocalist Tim McIlrath is articulate, passionate and respects those that came before him musically. Simultaneously, full of conviction and humble McIlrath is a wonderful performer.

And that’s just the front man.

In true punk fashion their music is honed to a specific effect-- To inspire change. Whether it be a slow, thoughtful song or a riotous motivational song, Rise Against has both a brilliant amount of energy and a degree of cohesion not found often in modern punk.  It was a wonderful show. And there was no question how much the abundance was into it. These guys really know how to get the audience pumped. Even in a short, outdoor set it was a wild crowd. It left me feeling more alive than ever.

Wonderful show.

Riot Fest Day 1: Offspring with Neon Trees at the Congress Theater “Come Out and Play.”

Venue: (3/6) The Congress is an elderly relic of a time gone by, and looks/sounds it. It’s obvious that the ceilings and walls used to be ornately decorated, but the molding and paint have faded and chipped, lending a simultaneously run down and endearingly worn feeling to the atmosphere. It used to be a theater, so the sloped floor lends both access to airflow and a better vantage point for those of us who are of shorter stature. The sound system has the problem all older speakers have—the distorted bass and weak middle range. Fortunately, I was at a post-punk show and the distortion wasn’t as detrimental... well, at least not to the main act.

Neon Trees: (4/6) One part Billy Idol, one part Freddie Mercury front man, Tyler Glenn took the stage with a brash attitude true to punk. Glenn didn’t care if his band was headlining or opening, he was going to play his set and get the audience involved. While the ever-true anger at the little things that get under one’s skin often brings out the sympathy in anyone, I found that they didn’t quite connect with the people who weren’t familiar with their work; if you were a fan it was fun, but otherwise, the energy wasn’t quite there.

Glenn was also far and away the most talented of his band and the most iconic. The guitar work was just a hair inharmonious and the drum work was flat out off.

Overall, I had a great time with them. They aren’t there yet, and I don’t think they mind that fact.

The Offspring (5/6): It was an honor to listen to a band that is one of the fathers of post-punk. The Offspring formed right smack in the middle of the punk movement and managed to adhere to that feel in a time when punk in the truest sense was dying. Their influence on my generation’s music is near unparalleled. Echoes of their sound ring throughout the alterative rock and post punk movements.

After twenty-six years they still have it.

While The Offspring are far from their peak, they are also far from finished. Moreover, they understand who they are playing for. While there were a few songs off of their newest album, the majority of their set was their older stuff. I will admit that nostalgia made the show even better. However, I was pleasantly surprised by the amount of skill involved. In particular, I was impressed with the guitar work. If you’re reading this, I’m sure you are familiar with the old running jokes about talent (or lack thereof) involved in punk music. This could not be further from the truth in the case of The Offspring. I am used to allowing for a degree of noise work in punk, which made the clarity and deliberateness in the guitar work all the more remarkable.

All told it was a wonderful show, and I would happily see them again. 

Happy 101 posts, everyone! Thanks for the support.

Album Review: The Workhorse Kings-Tripple Crown-

The Workhorse Kings Triple Crown (4/6):
Another con find. When I found them at the convention the name made me think of that garish twangy country music you stumble on occasionally, wince, and walk away quickly. While they are definitively country, there is a harder edge to their sound than most country-rock. A strong baseline serves as the groundwork for innovative instrumentation that manages to be layered without becoming noisy. There is a nice balance of electronic growl and precision. While the instrumentation blends quite well, the vocals do not; the frontman has a solid voice, and the lung power to back it up. However, when it comes to the harmonies and chorus, his distinctive voice sticks out a little too well and sometimes drowns out his background vocals. The lyrics piqued my interest with a little more intellectualism than most country. Overall, this album has brains, attitude and style.

The Spill Canvas at The Bottom Lounge 8/11/12

Normally when I get this far from the concert, I just skip reviewing entirely.  However, there are a few points that needed to be said.

The Bottom Lounge 3/6)-- Normally I love the intimacy and coziness of The Bottom Lounge, however there was one major issue with their sound system. The bass overpowered the vocals as well as the other instruments. While over emphasized bass is a common tactic to cover for a weak high end it can often be overlooked. However, with a band like Spill Canvas that is so lyrically driven that it was very distracting to the point of making me want to leave. I’ve never left a concert early of my own volition.

The Spill Canvas (4/6)

These guys have improved tremendously since I saw them a few years ago.  Their music evokes a level of intimacy that a lot of other bands just don’t do. While they can be a little emo, for lack of other word, front man Nick Thomasis a sweet, gracious soul whose lyrics are touching and romantic.  That shyness that I’ve come to be so fond of was initially what made them such a difficult band to get into live, however, experience has brought Spill Canvas a new degree of confidence and comfort on stage that wasn’t there in past shows.  This new attitude, in turn, has produced a significant improvement in energy.

Wicker Park Fest: Kill Hannah, AM Taxi, The Baseball Project, Magic box

Wicker Park Fest: (4/6)The festival itself was simply amazing. I’d never really been to the heart of Bucktown and it felt so artsy and thriving. Seeing the local artisans and artists out was a lot of fun and they managed to make the music and the art feel equally important. The space was small enough to be comfortable, but big enough that there wasn’t interference between the stages. The two stages I visited , well, they were outdoor temporary stages with all the pitfalls thereof. They were good temporary stages, albeit, but they had the distortion and poor sound balance of so common in that kind of set up. Surprisingly, the smaller central stage had better sound quality than the larger north stage.

I’ve stopped talking about the quality of the audience, but damn I’ve not seen a Kill Hannah crowd that active in years.

The Shows

Magic Box (center stage)(3/6): (partial set seen_ I wasn’t particularly a fan of their country overtones so my response is a bit colored) They sound almost completely different recorded, much more coordinated and less twangy. It still had more of a jam session feel than a show feel. The guitarist is just a little behind the beat, which is distracting.

AM Taxi (North stage)(4/6)—AM Taxi has always hovered at the peripheral of my radar, but never quite fully caught my attention. They seem to float around as a second tier band in a lot of the genres I follow. While I wasn’t mind blown, I was impressed. (Front dude) has a gravely voice that lends maturity to an otherwise standard Midwestern post-punk sound. He also enunciates better than most in the punk genera, which I like. On the whole AM Taxi has a sophistication that doesn’t happen often in their genera. Their musicality was not 100% though I attribute some of that to the venue (Outdoor venues have notoriously bad speakers, this was no exception) In order to make it really good, they need to tighten things up just a frication.

The Baseball Project (4/6)- While The Baseball Project were talented and the instrumentation was spot on, I personally just was not a fan. They were clearly professionals with both energy and enthusiasm, but they felt like has-beens, deceptive being on their up climb. They had the style that most bands the play for bigger abundances put forward, but without the experience backing them up. I also found their music immature, it felt like it was meant for children and had an utterly superficial flavor. Their sound was goofy. While there is nothing wrong with fun, bouncy music, this all just felt hackneyed and cheesy.

Kill Hannah (4/6): I have been a long time supporter of this little band. Mat Divine isn’t kidding when he says Kill Hannah has the most loyal fan base around. Devoted fans, and a band that puts all of its heart into giving back to them tenfold makes Kill Hannah feel more like family than anything else. Kill Hannah have always been accessible and gracious.
Their music is both fearless and romantic; Divine’s voice is alternately a whisper and a wildcat screech. He is as talented as he is gracious. And willing to speak with conviction and without any fear of what someone else will say. While he wasn’t 100% on his game musically he made up for it by putting forth an energy I haven’t seen from him in years. He was on fire up there.

They recently acquired a new guitarist who has style. He doesn’t look like much, a puppy face with shaggy hair that all but covers his face. I believe he’s the other guratist’s younger brother, but don’t quote me. That boy can shred like its no one’s business. He is still learning to look up and make eye contact with the audience, but he has great deal of potential.

Bassist Greg Corner has both talent and personality. Off stage he is friendly and a talented DJ. On stage he’s the strong undercurrent in a band with a lot of high-end work, so he often goes unnoticed, but his sound really round things out.

Overall, the band is always fun live. I look forward to more from them.

Summerfest, Last Day: Ducky and the Vintage, Ours and Bush

Stage: The US Cellular Stage(4/6) I would call this the best stage outside of the Marcus Amphitheater on the Summerfest grounds. A relatively clear sound system, beautiful lighting and a restricted number of people make for a much more enjoyable setting than the larger stages. However, it is also large enough to accommodate some of the more popular bands

Acts:
Ducky and the Vintage (3/6): Seeing on the fedora and vest, I expected a pretentious indie sound (witch is more prevalent in their recorded stuff) Instead it was something that more closely resembled alternative rock. Ducky and the Vintage had a lot of accidental noise in their instrumentation. I attribute this to their lack of coordination and utter lack of training on their instruments. Maybe I caught them on a bad day.
Don’t get me wrong; I don’t mind the lo-fi sound. I grew up on bands like Nirvana; I am quite acquainted with that style. Rather than the slurred, gravel of grunge, Ducky had muddy, sloppy vocals and imprecise guitar work. There was talent under there somewhere, but I feel that front man (dude) should either play or sing, not both. I have no doubt he could do either, but lacks the coordination to do both.

The set also had too many gaps in it, for an opening band that is a death sentence.


Ours (Flash warning!) (5/6): (shortened, as I was distracted during much of the performance)
Hello, dolly. Jimmy Gnecco has a young voice and a fresh face with stellar presence and confidence. I was shocked to learn this band had been around since the 90s as Gnecco looks so young. Carrying a distinctive voice and a confidant presence, it is no wonder Ours draws the number of fans it does. The instrumentation was polished and coordinated as well as being innovative.
Where they lose points is the lack of energy. While there was a lot of movement on stage they didn’t draw the crowd in particularly well.


Bush: (4/6)
Over this Summerfest, I have seen two genre defining legends—the foo fighters and bush. Front man Gavin Rossdale has wonderful presence and grace. His smile is infectious when it appears and utterly sincere. The show felt both intimate and expansive. With their deep roots in 90s grunge, Bush’s guitar work was art and the deep bass was palpable under the skin. While I can hear echoes of Nirvana in their earlier work, Bush has continued to be a powerhouse of post-grunge self-discovery. Rossdale also worked with the crowd like a true professional- constantly among the audience, playing directly to them, working with the crowd sings and gracious. I think that nearly losing his career really made him step up his game. It was an honor to hear them play.
Where I was most suppressed was that Bush is still talented a decade after their heyday. Rossdale has lost none of his talent, if anything age has made his voice more gravely lending itself further to the post grunge sound.

Chris Traynor and Rossdale had a surprisingly strong report considering that he is a newer member. They played together as though they were old friends.

Corey Britz’s bass work was magical and held together large portions of the set. Including a bass solo, not something that is common at all.

Their drummer was positively amazing and rounded out the pounding low end that makes grunge what it is.

I look forward to them making a comeback.

Summerfest day 4: Makeshift Prodogy and Art of Dying (Summefest Rock Stage)

Venue: The Summerfest Rock Stage (4/6):

I have discovered this tiny, far away from everything else stage is fast becoming my favorite stage. While many of the bigger bands come to the Miller Light Oasis, I have had repeated problems with that stage. This stage often has better acts, and doesn’t have the overcrowding problem the Oasis and Harley Davison stages have.

Show:

Makeshift Prodigy: (3/6)

Ouch.

Makeshift Prodigy is one of my pet bands from back home in Chicago (I tangentially know their manager) however they have never quite made the leap from being decent to being really good. I’ve struggled to figure out exactly what didn’t quite click for me. I loved their style, their amicable nature, the lyrics were wonderful, the presentation fun.

But the frontman consistently does a few things that make is performance not quite solid.

First, he sings just a little outside of his vocal range. Which can be fine, however he does not have the breath support to hit some of the higher notes he aims for. The result is breathy and will break his voice if he doesn’t learn to support it. The second thing is easily corrected. Part of Anthony Banagara’s charm is that he’s shy-natured it lends to the intimacy of a lot of his shows; however, he does not pull the audience in. There is no eye contact. This gives the impression of a child rocking out in his bedroom, rather than an actual performer.

However, the talent is there, and the stage antics are positively adorable-- Banagara spent a lot of his time making his upright piano his personal jungle gym (doing flips over it, climbing/standing on it) and was very bouncy. He has a good sense of how to use his honed skill on the keyboard and the addition of a bowed guitar was a very nice touch and he managed to pull it off well.

The backup vocalist/keyboardist/tambourine player(yes really), however, had presence in spades and charm to spare. He also had vocal talent, which was wonderful.

Overall, these guys have always had promise, but in the two years I’ve been following them they have yet to really gain momentum. Good luck to them.

Art of Dying (flash warning) (4/6 recorded, 5.5/6 live):

You have to get up pretty early in the morning to put on a good show before sunset at a festival, doubly so to nearly earn a 6 from me. These guys did both.

Art Of Dying is feel good arena rock with a positivity that is rare in rock and roll these days without going soft and hackneyed.

This is my third Art of Dying show and they have consistently improved their act. I feel like their album at this point does them a disservice. While it is a great album, it lacks the arena rock style and charisma that Art of Dying bring live. Jonny Heatherington has charisma and a knack with the crowd that I’ve not seen in a long time. Gracious, but not humble Heatherington gives a dynamic show and has the ability to get even a lazy crowd on its feet. He is also very good about actually disappearing from the stage to let his band mates have their big moments--Including a killer drum solo and an extent guitar solo

The guitarist is also a very talented and has a powerful dynamic with the front dude

However, there were too many set breaks for an opener. Often bands that are well known enough to be the last opener forgets that they are intact still openers. You only have one hour tops, do your thing fast.

Another thing that went a long way with me was how courteous and friendly the entire band was and what a  fun sense of humor Heatherington showed.

I look forward to meeting them again. 

Album Review: Matchstickmen -A Change in Season, EP—(5/6)

Matcstickmen came across my radar in the middle of Summerfest this year on a down day. Hailing from Liverpool this little band packs quite the kick while still sounding like the professionals they are.

It is a refreshing change to hear a baritone in alternative rock. While I am certainly not complaining about the recent trend toward tenors, Front man Lewis Wright’s vocals stand out a from the rest of what’s on the radio these days with depth and a gravelly yet melodic sound. Wright also enunciates clearly, which is an uncommon thing these days. Matchstick men also lend a sexy twist to their cover of Michael Jackson’s “Give in to Me.”

In addition to the delicious vocals, the guitar work has personality and matches the vocals nicely while still sounding distinctive.

There is a degree of polish to this album that a lot of young artists simply don’t have, I would definitely like to hear more from these guys.

As per request here is a link to their EP and site. Enjoy this, folks. It’s good stuff.
http://www.ourstage.com/epk/matchstickmen

Summerfest day 3: Your Vilain My Hero and Miniature Tigers

Venue: The Miler Light Oasis (Summerfest grounds, Milwaukee, WI)

I have had multiple bad experiences with this stage and sound balance.  It also has the unfortunately problem of having two large sponsored beer pavilions right in the stage area. It makes for a drunk, obnoxious crowd. Add that to a stage with distorted sound and more people than it should hold and it’s a recipe for disaster. Not all the shows I’ve been here have been horrible, but it is not my favorite stage.

The show:

Your Villain My Hero (2/6) (partial review, only saw half the set) this was not my night for music.  On the one hand, this band had a lot of personality and energy. On the other, the cultural dissonance in some of the covers they performed was borderline offensive.  (Hint to new bands: if you’re covering a band a) do not insert your name into the song b) do not use their accent. Especially not if they are a different race from you. It sounds racist) On the other hand they get points for style and energy.  Their sense of rhythm and vocal tone were beyond bad. It felt like they were trying to hard to be sexy and falling completely flat.

Miniature Tigers: (2/6 live, 4/6 on cd) I had to check three times to make sure I’d found the right band because the sound difference was so big between their stage show and their album.  On stage they are reminiscent of a bad beach boys cover band-- waver vocals with weak guitar work and minimal talent overall.  The instrumentation was simply bad and the vocals too quiet for the mics to pick up. However, credit for effort and for their senses of humor. They were continually trying to interact with the audience and managed to get a lot of people actually moving and enraged. NO small feet for an Indi. band. They were funny, happy, and fully aware that they were not the show people came to see.

On cd, they are very reminiscent of fun. Indi pop with a pretentious but still entertaining fare. Posh.

(I saw part of fun. too but I’m not reviewing them, as I saw only fragments. )

Album review: The Local Nobodies--EP

Album review: The Local Nobodies--EP

I am continually impressed by the rise of small, independent artists as well as the relevancy of the local artist in the modern music scene. However, as with any industry, the signal to noise ratio is exceptionally high.


So, when a young man approached me at the Lupe Fiasco show with three paper sleeved albums and an eager smile I was simultaneously intrigued and skeptical.

It was a pleasant surprise.

The young man in question was Frankie Flowers of The Local Nobodies A playful hip-hop group local to Milwaukee, WI. While it is very clear they are a young band, they had a surprising sense of musical composition and rhythm. With judicious use of sampling and some auto-tune (used correctly, I might add) these guys bring an ear catching sound that is unique without being completely out of touch with the genre. It is hip-hop that is not sexist, which is refreshing. Front man Frankie Flowers mange’s to avoid many of the pitfalls that young hip-hop and rap artist fall into. He has a precise sense of rhythm a pleasantly cocky attitude.

Where The Local Nobodies falls short is composition. The album has a lot of stylistic variety witch can be good in an established artist. However, it comes across as Inconsistent in a newer artist.

Conversely, within the songs things get a little repetitive. I found myself missing a bridge on a few tracks. I would recommend longer verses as well.

I hear a lot of radio potential in these guys. They are catchy without being annoying and their style stands out.

(4/6) 

Road Trip Show: Summerfest day1-2 (Milwaukee, WI)

Road trip show, Milwaukee, WI 

Summefest day 1: Lupé fiasco (not reviewed)

Venue: The Harley Davison Stage on the Summefest grounds. 

The reason Lupe Fiasco is going not reviewed is the same phenomenon that occurred last Summefest with Maroon 5.  The volume wasn’t adjusted right for the number of people at the show. I understand the dilemma of balancing popularity with respecting the other stages, however a simple sound check would have solved a lot of the problems.

But seriously, Summerfest, would it kill you to sound check? 


Summerfest day 2: The Foo Fighters and Silversun Pickups
Venue:

The Marcus Amphitheater (4/6): will always have a place in my heart as the crowning glory of the Summefest grounds where I spent a large chunk of my youth. All told she aged well, while the decade old sound system has all of the failings of an aging system-- Heavy bass and a week  mid-tone section—the  judicious use of screens and  the even distribution of speakers minimize the sound distortion making for a pleasurable experience even when you are well back (Due to miscommunications, I didn’t get tickets until later, which meant I was almost in the lawn).

The show:

Silversun Pickups (5/6): I’ve been itching to see Silversun Pickupsn live.  I am often skeptical of more ethereal vocal qualities translating to a live show.  The moment they started their set I realized I had nothing to fear.  Despite what it sounds like, Brian Aubert’s voice is not a falsetto. His speaking has a higher register and where his lower range sound is where he is modulating his voice. Live it is something to hear. Aubert is also incredibly articulate. Many bands don’t think to enunciate; with microphone distortion  this oftem makes the vocals sound slurred. There are few artists who cane clearly understood live, Silversun Pickups is one of them.

It was interesting to see a band that relies as heavily on the bass as Silversun Pickups does.  Even when it’s a band that has a front man who is the primary guitarist, most bands these days rely on lead guitar to propel the music forward.  In the case of Silversun Pickups, it feels as though Aubert acknowledged it is difficult to play and sing at the same time, but still enjoys doing lead guitar work, so the songs were composed  in such a way that the more intensive lead guitar work happens most when he is not singing. To accommodate this they have a phenomenal bassist who is talented enough to fill in where there isn’t a lead guitar.  To the casual listener, the sound is smooth and dynamic but doesn’t feel as chopped up as one that style risks being. 

Speaking of the bassist.  Nikki Monninger is a slip of a thing and soft spoken, and her body language is playful. (At one point during a particularly bouncy song she did what I can only call a hop step—like she was skipping in place) Her soft soprano voice serves to highlight Aubert’s already ethereal voice lending an otherworldly feel to their choruses.

And she plays a wicked bass.  

Then there’s the drum work, which is precise and technical without sounding over-rehearsed.

Overall these guys were killer on stage and a great show.

Foo Fighters (5/6): The Foo Fighters is one of the few bands I’ve seen live that  are not only still going after over twenty years but are still musically relevant (as opposed to the bands that are running off of nostalgia).  There  is something in how a band that seasoned comports themselves toward the crowd that you don’t see in even bands that are ten years old. There is a wonderful balance of both professionalism and well-deserved cockiness that comes with time.  David Grohl  is not only wonderfully talented and energetic, but  also  has a perfect report  with the fans. It feels as though he has learned to really gauge what the fans need and play to it.  Beyond simply being talented, Grohl has  both a strong presence and  the ability to share the spotlight.  Even after having been in the scene for as long as he has, he still took the time to introduce the  band as though they were new, encouraging them to show off their talents and praising them.  IN particular his dynamic with drummer Taylor Hawkins was both touching and entertaining. Hawlkins made the comment that the best thing about him was being best friends with David Grohl)

Aforementioned drummer is exceptionally talented in his own right, standing out in a six man group all of whom are exquisite musicians. 

It was also a real treat to hear some of their old songs (In addition to newer things),  I hadn’t heard “My Hero” in over  a decade and I’d be willing to wager I was not the only one in the crowd to share that sentiment.  There was something for every era of Foo Fighters fans.

A well done show.  It was a pleasure.

Linkin Park -Living Things-

 Linkin Park, Living Things (4/6):

 Living Things has not yet been released in the US.(Today is the theoretical release date, but I haven’t seen hide nor hair of it being sold) However, I found a streaming version off it on iTunes. Linkin Park has been one of my “guilty” pleasure bands since back in the days of Hybrid Theory (2000) Back then they were defiantly mediocre teenager music at its finest, angst ridden lyrics, lots of screaming and  while there is a place for that, they were very much a one trick pony Linkin Park has improved with each album and honed their sound dramatically over the years. They even expernemented with other styles within their subgenre.  Living Things has all of the anger and edge that their older albums had but has a sophistication that comes with a band working at their sound for over a decade.

Both the vocalists have stepped into their respective styles with a new confidence and conviction that is contagious. Rapper Mike Shinoda has particularly sharpened his skills. It is clear he has studied other rap artists and taken the parts of the style that work with his voice into his own work.

The addition of an electronic element really makes the album pop and throws in an extra layer of dynamic sound that proves both innovative and pointed. The band as a whole has improved their sense of rhythm and precision both in vocalization and in music itself.

Overall, this album is edgy and vicious without being petulant and melodramatic.  It speaks to really pushing forward in the face of adversity.  Linkin Park has grown up with the fans and it shows.

Single of the week: Husky "History's Door"

I get lulls sometimes, when music is scarce in my neck of the woods, or when I just plain old tap out. To prevent this, I present to you "Song of the week" I will review single songs, usually new once a week in addition to my usual stuff.

This week's single:

Husky "History's Door"(3/6):

 “History’s door” was neither particularly stellar nor particularly horrible. One of the things that prevented it from being a really good song was the over use of auto-tune. This is especially obnoxious in Indi music where there is a lot of melody auto tune can be used well to create ambiance and make certain words stand out, however more often than not, it is used to mask a mediocre voice or sound 'cool," which I find distasteful. Have the artistic courage to put your actual voice out there or really lay on the distortion. Go big or go home. 

In that vein, it was like Husky was trying to make a polished studio produced album sound lo- fi. Either go minimal production, or don’t,-don’t fake it. I found that pretentious and off-putting.

That being said, the guitar work stands out in places as very clear and uses some interesting tuning adding a little twang. It is clear the guitarist is good. The lyrics are decent as well and I wonder what the vocalist sounds like without the auto-tune.  It seems as though there is talent buried under all of the distortion.

It grew on me a little as I listened to it again.