AuthorTrixie Rasputin Marika Christine has been steadily making headway in the Bay Area Indie Folk scene since her album Puzzle World was released in 2021. She has been an easy choice for several Noise Pop shows (including this year's Bender's Happy Hour on Feb. 28th), and her sound fits well on female fronted bills, indie rock shows, or even with dreamy dance bands. The whimsey of Marika's songwriting along with acoustic guitar and piano-synth driven arrangements remind me of New Zealand songwriter Aldous Harding.
To my ears, the songs on Soft Like an Apricot capture feminine songwriting without being explicitly girly. Marika's voice is soft (like an apricot), but her gifts as a musician suggest there is something tougher in the center. Rhythmically there are quite a few Easter eggs on this album too, which makes it a fun listen. For example, in the track 'Rational Reaction' there are faint jungle sounds, or perhaps beach shells, that softly punctuate the music at precise moments. The track 'Apricot' opens with a round robin of vocal ahhs and a whirly swirly flute. This is a supremely talented artist who is not only writing great music, but might actually be an important teacher of the language of women. This whole album plays like a sweet lullaby that comforts the way only a mother could... and is tough the way only Mom ever could be. This album has several stand out songs, like 'Music and Heart,' a keen confession about being a grown-up but not quite. Sorrowful oohs and aahs sail over lighthearted music as Marika sings "It's hard to be young in San Francisco". No kidding sister! KQED caught wind of 'Buckle Up Baby', a jaunty Ben Folds-esque song that is reassuring and fun, while admitting that sometimes the road of life can be quite bumpy. There is a distinctive throw-back feel to much of this music, like maybe we really can wear flowers in our hair and relive the summer of love. Artists such as Marika Christine give me hope that a better vision of the world is more than just a fantasy. For more about Marika's development as a songwriter, the article from KQED is a quick and illuminating read. A strong young lady with beautiful ideals, I expect that Marika's solo show will be as captivating as watching the full band. The Bay Area music scene is lucky to have another artist I would place on par with Ellie Stokes, Christine McCann, Kate Ramsey and Tess Posner. Flawless production, sophisticated songwriting, and clear sense of self makes 'Soft Like an Apricot' excellent on every level. Highly recommended! 5/5 ⭐️⭐️⭐️⭐️⭐️
1 Comment
AuthorTrixie Rasputin Formed in 2022, Orbit 17 spent the later part of 2023 blasting through the atmosphere of the Bay Area music scene. The first time I saw them play live was at The Bistro in Hayward, a small bar-cafe with a brightly lit stage that hosts lots of upcoming bands. At this show, Orbit 17 left a glow of space dust in their wake that had me wondering where they might land their groovy spaceship. Shortly after that, I began to notice their singer Jamie Brite (along with her partner Lee Streitz of Orbit 17 Photography) was frequenting a lot of local shows, and planning for world domination (as expected). What I wasn't expecting was their debut single "Expectations" to come out of the ether without any warning, leaving me totally in awe of the band. It is a really cool track, and this humble group hardly made a peep. I suspect they knew the music would speak for itself.
Expectations is a strong launch that shows off the best features of Orbit 17's otherworldly sound. Reminiscent of Radiohead, there is a depth to the arrangements that feels quite ethereal, as I'm sure these cosmically bound musicians would have intended. They go from quiet, lyrically driven sections of the song to big swells of overdriven guitars and misty vocals. I just saw the band play again at Kilowatt in San Francisco, and I was really impressed by the band's ability to go seamlessly between the open vocal lines to the wall of sound that follows. Ultimately, Jamie writes songs that showcase the interplay between analog and digital techniques, which makes for some very interesting soundscapes. 'Expectations' truly defied my expectations for this band, and it has been a pleasure to play this one on repeat. Released on January 19th, 2024. 5/5 ⭐️⭐️⭐️⭐️⭐️ authorMichael Bang of Tell Me Tell Me 'Gold Rush City' (the debut album by kick ass San Francisco rock band Treasures) opens with a growl, both literal and instrumental. After a snarling guitar riff singer Jack Friel howls at us to join him in his titular rock and roll “Hot Rod”. A propulsive 70s banger, we hang on tight as Treasures speeds us through a 30-riff tour across our minds, occasionally rolling down the window to shout “Baby, babaaaay! Don’t you close my eyes”. Jack’s voice sprints from guttural yell to sultry croon to passionate wail at breakneck pace.
As we race through the album we hear decades of rock riffs in a mosh pit together. Here there’s a light on its feet grunge tune. There goes a parade of riffs and yowls. The title track starts as a meditation before ascending from why-oh-why to terrible acceptance. On “Kali (On The Run)” we spend some time in Smashing Pumpkins territory, desperately trying to find out who Kali is and what they’re on the run from. Fan favorite “Cinnamon Lover” rips licks out of the sky and hurls them around the room at us, their new cinnamon lovers. Have you seen them live? They throw down! Recommended pairings include Alvie & The Breakfast Pigs, Lazer Beam, and Periscope. Go see them if you like rocking out, belting choruses, and more riffs than you can carry home. You’ll hit the jackpot faster than that dude [Travis Kasperbauer of Lucky Recording Studio] on their album cover playing slots by the wind turbines. Cha-ching! 5/5 🎰🎰🎰🎰🎰 authorTrixie Rasputin Lost in Oblivion is the 2nd full length album produced and recorded by Lucust French, better known as Lazer Beam. Released in 2022, this musical sage played all the instruments, tracked all the vocals, and designed a sonic world called Oblivion from the back of his van (where he was living at the time). From the opening track 'Sorry for the Heartache' to the closing song 'The Graveyard' (an expertly delivered Devil Makes Three cover), you will feel like you've been transported to a sorrowful, magical, haunting dream world. Every song totters on the edge of over-indulgence, especially the title track 'Lost In Oblivion'. Sultry washed out vocals and Lucust's signature guitar riffs play atop a gentle synthesizer pattern and electronic snare. The effect is a lush and dreamy soundscape that sets the tone for the rest of the album, which can be at times wistful, melancholy, playful, and even frightening. Approaching the album's midpoint, 'Lower Your Guns' starts on a spooky riff that propels the album towards its darker apex. Tracks like Vultures (a visceral critique of human behavior) and Derelict (which gets an astounding vocal cameo from French artist Patrón) take you through a darker, scarier dream world with vivid imagery and poignant lyrics about addiction, loss, and giving up hope. After such a journey, it is only fitting that the album ends on a stripped down electronic version of 'The Graveyard', a song about a shipwreck that brings to mind the taking of one's final breath. The relief and surrender feel nearly total at this point, and you realize that this artist intended for the arc of the album to be a fantastic emotional trip. Everything is a little larger than life, a little more colorful than reality, and overwhelmingly beautiful even in the most harrowing of moments. It speaks to hope as much as to hopelessness, but ultimately sinks the listener like too many drinks at the bar are apt to do. Lost In Oblivion is a delightfully indulgent piece of art that doesn't apologize for the feelings it evokes, and every listen reveals another sonic layer. 5/5 ⭐️⭐️⭐️⭐️⭐️ |
Trixie Rasputin PresentsA glimpse inside of the rock and roll machine! Archives
July 2024
Categories |
Proudly powered by Weebly