Review: The Arcs Deliver Their Signature Musical Magic Captured in Time with Electrophonic Chronic

With their first (and last!) full release record playing on repeat in my headphones since 2015, The Arcs dropped their latest full-length release, Electrophonic Chronic, at the tail-end of January. A time capsule of sorts, musical magic captured in time, this record functions in many ways as a tribute to band member Richard Swift, who passed away in 2018. 

Electrophonic Chronic hearkens back, and not too terribly far, to the same sort of emotionally raw lyricism you’ll find on The Black Keys’ Turn Blue, heavy, but somehow emotionally rewarding. With the majority of tracks already scaffolded in 2015/2016, the only task keeping Electrophonic Chronic from being released as the unit it is today was the putting of pieces together. This process started in 2021, when vocalist/guitarist Dan Auerbach sent some Dropbox links of these old tracks to multi-instrumentalist in the band Leon Michels – they then started working. The end result is a very personal, bittersweet piece. 

Electrophonic Chronic is more than just a sophomore album, it’s a taste of what it might’ve been like to hang with the band. It feels very personal, like the listener is a fly on the wall through the band’s tour and studio adventures. Electrophonic Chronic is the perfect example of what The Arcs always were, a band of friends who just liked to play around with sounds and listen to music. That energy is evident here – it’s raw, but that kind of rawness that only comes from well-seasoned musicians just doing their thing, and doing it well, even when they’re just having fun. You can hear the love they had for what they were doing and for each other. 

Electrophonic Chronic explores all ends of the emotional spectrum in its 38-minute package. “Sunshine” is a bright blue-sky day in sonic form, “Behind the Eyes” is an introspective masterpiece on the two-sided nature of people. “Heaven is a Place” honors the grief and pain associated with loss while maintaining a sense of hopefulness, “Backstage Mess” is pure fun and happiness from the road somehow pieced together into a solid home-video-esque song. “Only One for Me” is a heartbreakingly relatable lament of loneliness (and acceptance, depending on your perspective), “A Man Will Do Wrong” (a gender-bent version of the Helene Smith soul number) is a beautiful aching description of love and the lengths we’ll go to for it. I could go on and on. 

Thematically, where Yours Dreamily seems to have its moments evoking that immediate and raw, yet poetic, response to hurt, Electrophonic Chronic feels like that years-later acceptance and healing. Despite these songs having not actually been recorded that far apart in time, there’s a maturity and growth to the theme of these tracks, still raw, but having started to heal from the experience. Several of the tracks delve into some really heavy concepts, almost dark at times, but the way the band executes it lends an air of hopefulness. There’s a feeling of acceptance and healing underlying these heavy themes. “Love Doesn’t Live Here Anymore” for example, has a focus on the unpacking of generational trauma and letting go of a toxic relationship, with the simple resolution of “I’ve got more love to give today / more than you could ever steal away.” There’s an acknowledgment and honoring of pain while simultaneously healing from it, and it feels especially fitting now in the context of the record honoring Swift. Much of the record functions this way, and it’s indicative of the group’s growth over the course of their time together not as musicians, but as friends, through talking and working through their own personal issues and being each other’s’ source of support, something Auerbach has mentioned in recent interviews. You really can feel the love these guys have for each other in this record; it’s remarkable. 

On top of being emotionally rich and eclectic, the record also exudes one of my favorite things about the Arcs, their inability to be closed into one genre. Even within a single track, you’ll find multiple expressions of various genres. Electrophonic Chronic explores elements of 60s soul and funk, classic country, indie rock, and even a touch of electronic. Couple that with one of the best voices in modern music delivering those gut-wrenching yet somehow therapeutic lyrics and you’ve got one of the best records of the last and the next decade.  

As a self-proclaimed Arcs superfan who genuinely never thought they’d see another release from the band, Electrophonic Chronic was worth every bit of excitement and hype it’s been given since it was announced last October. Though it feels in many ways like a new chapter for the band, it functions as a beautiful piece of closure, tying up loose thematic ends and honoring a musical genius and good friend in a way he’s sure to be proud of. It remains on track to be my favorite record released this year. I hope it’s not the end of the Arcs story, but if it is, what a damn good way to go out. RIP Swift. 

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Rock ‘n’ Rollers Ready Revolution are Born Again with Let It Out, Their First Release in Eight Years

San Antonio born-and-raised rockers Ready Revolution have returned from hiatus with their brand new, heavy-hitting record, Let It Out. I sat down with Diego, Emilio, Matt, Kevin, and Shane over Zoom to talk about the record and their upcoming show in San Antonio this Saturday (3/25/23). We talked about the process of getting Let It Out into the world, our favorite tracks from the record, and how excited they are for their first show back in 5 years!

I found my way to Ready Revolution because of their close proximity to another of my favorite bands, The Last Bandoleros, who I’ve written about several times for Banded. Brothers Diego and Emilio Navaira are the connecting pieces, and together with their friends Shane Gamboa, Kevin Diaz de Leon, and Matt Zavala, they put together this kickass rock band before TLB was a solid thing, and they’ve been rocking all over San Antonio ever since. 

photo credit: Josh Huskin

With their last release, Ready Revolution, out in 2015, and their last live show in 2018, the release of Let It Out and their upcoming live show in San Antonio feels like a rebirth for the band. Let It Out really feels like a record for the fans. All of the sounds we’ve known and loved from the band since their inception still remain, but you can hear the growth in musicianship and brotherhood among the band when you listen; it truly feels like the second coming of Ready Revolution in a way. This music has more-or-less sat in the vault for years until recently, when the band decided to get back together to finish things up and make final cuts. Vocals were re-recorded, little bits were added and changed, and seemingly out of nowhere, Let It Out was here and in our ears before we even knew what hit us. 

The record feels incredibly cohesive despite its general pieced-togetherness, and I think that can only be attributed to the strong brotherhood this band embodies, a sentiment that was echoed by guitarist/vocalist Emilio during our interview. It’s clear upon first listen that these are more than just musicians placed together in a studio, these are the best of friends who know each other better than anyone else. They know how to get the best out of each other and out of the band as a unit, and that’s evident in the overall production – Let It Out is incredibly well-produced. That’s not something you find very often in self-made bands like this one. 

Let It Out is addictive. As I sit here listening to it while writing this review, I find myself jamming (and getting distracted by said jamming!) and wanting to start every song over for another listen. It’s a record that amps you up and leaves you feeling good. Starting and ending you on such high notes without a single filler track, it’s impossible to put down. Not to mention the phenomenal musicianship that shines through on every track; these are five of Texas’ absolute best musicians. It’s never even a question that they know exactly what a track needs and how to lay it down. They’re masters of their craft. 

Deserving a paragraph all his own is lead vocalist Diego Navaira. I’ve long been hyping up his vocal prowess, but never has that been more deserved than with his work on this record. He has complete control over his range and tone, and he demonstrates all levels of the spectrum on Let It Out. He leaves nothing to be desired; if anyone was born to lend their voice to rock ‘n’ roll, it’s Diego. 

Let It Out is everything you want from a modern rock record. It ebbs and flows heaviness and anger, softness and emotion, and everything in between. Rich with brilliant guitar tone, strong lead vocals and perfectly executed harmonies, and relatable lyrics to tie the whole thing together, the only complaint I could have about the record is that it just isn’t long enough! The thirty minutes of rock magic the band does give us though? Very much worth the aching for more. Give it a listen – you’ll thank me. 

If you’re local to San Antonio and the surrounding areas, check at their show at the 502 Bar this Saturday (3/25) night, and if you’re listening from afar, be on the lookout – they might be hitting the road soon!

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Review: The Arcs Blast Off to Psychedelic Space with “Heaven is a Place”

It’s not even Christmas yet and The Arcs have gifted fans another taste of their forthcoming album, Electrophonic Chronic, with dreamy space adventure “Heaven is a Place.” Having only just announced their comeback of sorts just around a month ago with the drop of “Keep on Dreamin’,” their first new release since 2016, it’s a good season to be an Arcs fan, that’s for sure. 

“Heaven is a Place” is a full-body sensory experience. It’s one of those tracks that absolutely demands to be listened to with headphones and your full attention, maybe at a volume that’s a smidge too high, but if you give it the care and attention it deserves, it’ll reward you in kind. I find it to be heavy, but not too busy – a controlled drowning in sound of sorts. The track completely surrounds you and pulls you deep into The Arcs’ sonic universe.

Though “Heaven is a Place” and “Keep on Dreamin’” are alike in that they both evoke a sort of cosmic astral projection, “Heaven is a Place” is something I never would have expected to hear from The Arcs. It feels very different from what I’ve heard from them up to this point, yet it feels like a seamless transition. I suppose that’s what makes it so exciting; The Arcs have rarely if ever confined themselves to one sound, and this just further proves it. 

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“Heaven is a Place” also seems to function as a truly remarkable tribute to the late Richard Swift. Perhaps one of the best examples of tracks whose meaning shifts following the passing of one of its creators, it feels like a promise of better things once we leave this realm, for Swift, and for anyone. This idea feels especially prevalent when you hear the track in tangent with its animated music video. Despite the melancholy, there’s something comforting about it, a reassurance that whoever is gone has gone on to better, newer, more beautiful things. I hope the remaining Arcs can find some of that same comfort they’ve shared with fans with this track. 

Two tracks in and Electrophonic Chronic is already shaping up to be one of my favorite new records of 2023, and the year hasn’t even started yet. With two more tracks set to drop before the record’s official release, I know I’m not alone in my excitement for what’s next. If these first two drops are any indication, what’s coming next is something special, so I’d suggest you stay tuned. 

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Review + Interview: The Last Bandoleros Explore Traditional Sounds with New Companion Record Tex Flex Folklórico

The Last Bandoleros are already back with a new record less than six months after the release of their sophomore record from earlier this year. It’s called Tex Flex Folklórico, and it just hit streaming platforms today! I sat down with Jerry, Diego, and Emilio over Zoom again to catch up on what’s new. We talked about how Tex Flex Folklórico came about, the creative process behind it, and what’s coming up next for them!

Tex Flex Folklórico functions as a companion and prequel record to Tex Flex, released earlier this year. Almost entirely in Spanish, the focus of Folklórico is on the more traditional aspect of the band’s roots. Inspired by and recorded primarily on the road, the record feels like a reintroduction of sorts to the band, like a prequel film telling their story. Having existed as a band for about 8 years now, it’s so exciting as a long-time fan to have this release now, as the band has grown and changed so drastically since their conception, and get this more in-depth look at their roots. 

For those who’ve been listening to Tex Flex nonstop since its release in June, Tex Flex Folklórico could not possibly open in a more fun and almost jarring (but in a positive way!) fashion with “Vamos a Bailar,” an all-Spanish version of the opening track of Tex Flex, “Every Time We Dance.” The brand-new Bandos energy from Tex Flex is still present, yet the listener is immediately aware that this record is something different than Tex Flex. The now-Spanish lyrics to the already familiar track welcome in the more traditional roots focus while still keeping the energy high – a perfect introduction.

TLB have done nothing but surprise me this year, and their inclusion of the Los Lobos track “Cancion de Mariachi” from the movie Desperado was no exception. Something TLB have always excelled at is making cover songs their own, and I feel very strongly that if you didn’t know this track was a cover, you wouldn’t be able to tell. The most rhythmic track on the record, it’s a fun listen, and one that will absolutely be (and already has been!) a big hit with live crowds. 

Slowing things down, and probably my favorite track on the record, is “Sin Ti.” Arguably the most beautiful harmonies on the entire record, they’re tight, crisp, and confident. A light, floaty sort of track, this is one I very much hope to hear live soon, as TLB not only excel at studio sounds, but they’re a phenomenal live band, and I can only imagine how beautiful these harmonies will be filling up a room in person. 

Keeping it light, “Siempre Mi Anamorare” is a Spanish version of “Fall in Love Again” from Tex Flex. From English to Spanish, the tight harmonies remain intact and the song is as beautiful as ever. This track stood out to me on Tex Flex – it’s such a sweet love song. Even to an exclusively English speaker like me, the overall theme of love is evident in the sonics and the delivery of Diego Navaira’s vocals. It transcends language, which you’ll find upon listening to this entire record is a deep-seeded theme. 

Perhaps the most in-tune with the “traditional” theme of Folklórico from a sonic standpoint is “Malagueña,” a traditional Spanish instrumental. Something long-time Bandos fans have long known is how TLB are not only three phenomenal vocalists, they are also remarkable instrumentalists. As a long-time fan myself, it’s nice to see this as a focus of this record. With the traditional element as such a major theme, musicianship matters more than ever before, and they’ve checked every box. This is a brilliant piece of guitar work, and I find it to be a stand out of Folklórico. 

Drifting more into the “Tex Flex” of it all, “Maldita” is back again, but in Spanish this time. Its placement in the middle of the record struck me; it functions as a reminder that tradition can give rise to new, wonderful sounds, and that should be welcomed and encouraged. It is the ultimate bridge between TLB’s traditional Spanish and modern hip hop/RnB influences; it is truly the thesis of the Tex Flex universe. 

Also finding its way back again to this record is “Mi Amor,” an all-Spanish love song. It’s a perfect transition from the hip-hop-meets-traditional party back down into the classic bolero sound that has long characterized the band since the “I Don’t Want to Know” days. What makes “Mi Amor” stand out from the other Spanish language tracks from the original Tex Flex is how it was written originally in Spanish. While the tracks translated from English to Spanish have a beautiful flow (the Spanish language has a beautiful rhythm) and work well in both languages, “Mi Amor” stands on its own, exclusively in Spanish. It’s a gorgeous track, haunting and beautiful, something else TLB have always excelled at, and I’m glad it found its place on Folklórico. 

Something special for long-time fans and the band alike is the inclusion of an Emilio Navaira cover, “Naciste Para Mi.” Bandoleros Diego and Emilio Navaira IV are the sons of late Tejano legend Emilio Navaira III, and their inclusion of this cover is a beautiful use of their talents in tribute to him. There couldn’t have been a better record to include this on. Even before reading a translation of the lyrics, the track itself and TLB’s rendition take such a sweet thematic control of sound that the “love song” message comes through. It too, like so many tracks on Folklórico, transcends language. 

Fully solidifying the idea of Tex Flex Folklórico being a companion album to Tex Flex, we find “Sin Un Amor” back for another round. Its presence in their repertoire from the first time they played it live as an extended intro to “I Don’t Want to Know” to now has fully solidified it as a TLB staple, and one of the best examples of their vocal prowess as a trio. They truly excel at boleros, and it’s all due to their musicianship, brilliant and tight vocals, and their ability to function not as three individuals who are part of a band, but as one musical unit. “Sin Un Amor” will always be one of my favorites. 

Like Tex Flex, Folklórico ends with a strikingly unexpected but quite pleasant cover, this time of The Beatles’ “And I Love Her.” TLB fans know how much of an influence The Beatles have long been on the band and their harmonic sound, and their Beatles covers online have always been a big hit. To finally have a studio version of a Beatles classic is such a treat, and the way they handled this cover made it worth the wait. Its placement on the album is brilliant, and it solidifies another theme that is deeply embedded in this record: each track further progresses a timeline of influence that has made TLB the band that they are, and The Beatles represent one of their most modern influences. What better way to wrap up this album of Bandoleros traditions?

With Tex Flex Folklórico, the plot thickens on this current Bandoleros era. Even I’m not really sure where they’re going, but wherever it may be, I think we’re going to continue to get a ton of good music for the ride. Hop on the train and crank Folklórico up to 11 – it’s gonna be a hell of a ride!

Review: The Arcs Get Dreamily Cosmic with New Track “Keep On Dreamin’”

The Arcs are back in a big way with their new dreamily cosmic track, Keep On Dreamin’,” their first new release since 2016’s “Lake Superior.” After teasing fans with cryptic social media posts for the past week, The Arcs dropped their new track in conjunction with a long-awaited sophomore album announcement, Electrophonic Chronic, coming in January 2023.  

“Keep on Dreamin’” is mellow magic at its finest, hypnotic and dreamy in all the same ways that made The Arcs so addictive back when they debuted in 2015. Sonically, I find it evokes images of galaxies and spaceships – the verses and choruses feel like floating through space, with the rest of the song driven by drums, like a rocket ship racing from one end of the universe to the other. 

Long time Arcs fans probably already recognized the new track from Arcs shows past; it was a live show fan favorite but no studio version ever emerged. Electrophonic Chronic is a collection of songs created while The Arcs were on the road playing these shows, and in many ways functions as a tribute to member Richard Swift, who passed in 2018, and played on these shelved (until now!) tracks. 

“This new record is all about honoring Swift. It’s a way for us to say goodbye to [him], by revisiting him playing and laughing, singing. It was heavy at times, but I think it was really helpful to do it.” – Dan Auerbach

The sounds Arcs fans have always loved are present on “Keep On Dreamin’,” yet it feels like a completely new and exciting thing. Perhaps that’s a product of time passed, or maybe of Dan Auerbach & Leon Michels’ respective production prowess. Regardless, the result is something that has fans from all over chomping at the bit for more Arcs magic. 

Even nearly seven years later, The Arcs are proving themselves to be what those of us who love them already know, timeless, a forever kind of band. “Keep On Dreamin’” is fresh and psychedelic, and if it serves as even just a small taste of what’s to come, it’ll certainly be “electrophonic,” to say the least. 

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Review: The Velveteers Delve Deeper Into Nightmare Daydream Journey with “See Me”

The Velveteers surprise-dropped their newest single, “See Me,” on Friday, a track recorded during their Nightmare Daydream sessions at Dan Auerbach’s Easy Eye Sound in Nashville, TN that didn’t end up making the final cut. 

Something Velveteers fans love most about the band is how high energy and hard-hitting their debut album, Nightmare Daydream, is, but their slower, more ballad-like songs are where The Velveteers fully solidify their place as one of modern rock’s best bands. “See Me” is the perfect example of that; their sonic range is undeniable. 

“See Me” is beautifully rich; it surrounds the listener and plunges them into The Velveteers’ sonic universe. It’s the perfect balance of sounds, heavy but gentle, dark but bright, haunting but hopeful – The Velveteers cover every base and the result is an incredibly satisfying 3-minutes of rock magic. Singer and guitarist Demi Demitro delivers a clean-toned simple vocal that’s sweet and pleasant to the ear. Its simplicity is perfect for the track – it doesn’t distract the listener from the overall idea of the song, yet lends itself brilliantly to the overall message. If there exist any underrated rock vocalists right now, she’s one of them. 

The Velveteers themselves describe the track as being about coming into the light from the dark, wanting to be seen for who you truly are. The track begins with a gentle plea, soft and almost confused – why don’t you see me as I am? As the track progresses, this plea grows stronger, demanding to be heard and obeyed, until it reaches its peak, the point having been made. One final plea is made, softer, and with a change in chord progression, melody, and lyrics that change the meaning from desperation to hopefulness. It’s a beautiful progression in theme that yields such sweet results. 

As a hardcore Velveteers fan myself, maybe I’m a bit biased, but at this point I’m fully convinced that everything The Velveteers touch is golden, and their work with Easy Eye Sound is some of their best yet. If you don’t believe me, go give “See Me” a spin and see for yourself. 

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Review: Bleu & Carly Paige channel their inner Jeff Lynne with new duet “Holding On To You”

If I didn’t know better I’d think the latest release from songwriters Bleu and Carly Paige was actually written by the maestro himself, Jeff Lynne, of Electric Light Orchestra fame. If you’re an ELO fan, you’ll hear what I’m talking about immediately, and you’ll probably fall in love with the track just as quickly. 

“Holding On To You” evokes the gentle spacey vibes I’ve come to associate with the more recent releases from Jeff Lynne’s ELO, specifically “When I Was a Boy” comes to mind. With a heavy focus on harmonies, the interplay between Bleu and Carly Paige’s voices, and brilliant chord progressions, Bleu and Paige have created a track that fits right into ELO’s cosmic sonic universe. 

In fact, it’s so reminiscent of ELO’s soft, intergalactic ballad sound that if you listen closely enough, you can even hear the elements from the Beatles’ work that inspired that classic ELO sound. It’s a modern track that feels fresh and new, but rooted in the long-standing influence that both The Beatles and ELO have on modern music. 

To top the whole thing off, Bleu and Paige both demonstrate their vocal prowess on this track. The interplay between the pair’s vocals is mesmerizing and results in an incredibly dreamy sound that ultimately is what makes this track so addictive. 

As a diehard ELO fan, I find myself spinning this track on repeat; I can’t get enough of it. Take it from me, if you listen once, you won’t be able to stop, and that’s not really a bad thing, is it?

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Review: Hunter Hayes Kicks Off the Journey to Red Sky with Lead Single “Missing You”

Hunter Hayes dropped the first taste of his long-awaited upcoming record, Red Sky, and it doesn’t disappoint. “Missing You” is pleasantly pop-flavored, with an organic feel that is unique to Hayes’ musical style. 

While sonically in line with his more recent releases and previous record, Wild Blue, “Missing You” reminds me of his older sound more than anything else he’s released in several years. As a long-time fan (going on ten years this October!), “Missing You” has allowed me to get back in touch with why I fell in love with his music in the first place, and acknowledge how much we’ve both changed musically over the past ten years. 

Hayes tells a simple and relatable heartbreak story in a brilliantly poetic way that only he can while simultaneously employing a juxtaposition common in pop-flavored music in which the mood of the lyrics doesn’t match the sound the song. Crushing lines like “that’s why I can’t stay sober // and I tell myself I’m better now ‘cause I’m good at lying” are delivered in a light, upbeat fashion. As such, “Missing You” is a cathartic track, easy to sing along to with your whole being, while subsequently releasing your pent up emotions. 

Vocally, Hayes shines on this track. The lightness of the track allows his unique vocal timbre to rest in the forefront, a testament to his abilities as both a singer and a producer. He has come into his own as a vocalist in such a remarkable way since his first major label release in 2011, and these recent releases are where his skills really shine. 

If the rest of Red Sky is even half as good as “Missing You,” we’re all in for a hell of a treat. You know I’ll be ready with headphones in hand to listen and review it when it finally drops!

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Review + Interview: The Last Bandoleros Embrace Their Roots With New Album Tex Flex

The Last Bandoleros are embracing their roots and embodying a new sound with their new record Tex Flex, which just hit streaming platforms today. I sat down with Jerry, Diego, and Emilio over Zoom to chat about all things Tex Flex. We talked all about the concept of “Tex Flex,” making the album, what they love about the album, and what’s next for them! You can watch our interview below!

“Tex Flex” is a concept that The Last Bandoleros first shared with the world last September with the release of “Maldita,” a sultry Tejano/Latin-hip hop hybrid filled with harmonies and TLB magic. The concept of “Tex Flex” was born out of a writing session the band was involved in with Shaggy, designed to get them out of their comfort zone. The result was a unique expansion of sorts upon the sounds TLB fans typically associate with the band, incorporating more keyboards, synth and horn sounds, and Latin-influenced hip hop elements, among other things. The Last Bandoleros have long transcended musical genre with their unique blend of rock, pop, country, and Tejano, but with this expansion of sound, they’ve now created a genre all their own: Tex Flex. 

Tex Flex starts off strong and gets you into a happy, wanting-to-dance mood with “Every Time We Dance.” Immediately bringing in those new “Tex Flex” vibes with fun and funky keyboard sounds, it’s a track that demands you get on your feet before the first verse even kicks in. It’s rhythmic, it’s fun, it’ll get you bobbing your head if not all the way up dancing around your living room. It’s a strong start for this record and it functions as a sort of jump into the pool, if you will, into an area where your feet still touch the bottom. You get used to the feeling of the water on your skin without struggling to reach the air. This track functions the same, you get used to this new “Tex Flex” vibe without losing sight of the Last Bandoleros you already knew and loved. 

“Maldita” keeps the energy up but changes the vibe, going from dance party to sultry. This track has changed from its original release in September of last year to the version you’ll find on Tex Flex, with some changes in vocal lines to accommodate a change in the band’s lineup and a few changes in the overall mix. These changes are a bit surprising to hear if you’re familiar with the original version of the track, but it’s still “Tex Flex” and it’s still TLB. As the second track, it solidifies your introduction into the world of Tex Flex and fully immerses you into that vibe. Once you hear this one, you won’t be able to put the album down until it’s finished. 

A change in theme from fun and sexy to sweet and in love, “Fall in Love Again” showcases one of the biggest things that drew me to The Last Bandoleros in the first place, their tight harmonies. The vocals are pulled far enough forward in the mix to allow you to hear every note being sung in the chord, nothing gets lost. Diego’s lead vocal is sweet and romantic, and the stripped down instrumental lends itself to the track’s romanticism – love is the focus. 

Love stories can be told in many ways, through passion, through sweetness, through pain, but “California Moon” evokes beachy ghost story. Take a listen and you’ll see what I mean. 

Brought together by their shared manager Martin Kierszenbaum, singer Hannah Brier joins TLB for this track, lending her beautiful alto to a verse and chorus harmonies, blending brilliantly with Diego’s lead vocal. “California Moon” is a love story with an end, told hauntingly and beautifully, truly a testament to TLB’s musicianship and storytelling abilities. 

Out of the sweet and into the silly, we find “Friend Zone.” TLB themselves talked about not taking themselves too seriously with this one in our interview, and with it sandwiched between two slower, more serious tracks, it provides a lightness and comedic relief, keeping the listening audience from getting too introspective. After all, “Tex Flex” is supposed to be fun! Drummer Emilio also mentioned that this track showcases bits of slang from their culture, so while it may just seem like a fun track at first listen, it’s deeper than initially meets the ear. 

Flowing out of the whimsical and into the more emotional, “Mi Amor” is a full Spanish language bolero, evoking emotion from the listener even if they don’t actually know what the lyrics mean. Bassist and keyboardist Diego mentioned not being able to speak much Spanish, but with the three bandmates being Hispanic and having grown up immersed in the Tejano music scene, they grew up singing in Spanish, so the ebb and flow of Spanish lyrics comes naturally to them. Upon first listen, the use of strings around the middle of the track dropped my jaw – strings are something I’ve yet to hear on a TLB track. For me, “Mi Amor” is one of the biggest highlights of Tex Flex, brilliantly showcasing the band’s roots and chilling harmonies, both things I’m always excited to see from these guys. 

Bringing the energy back up, “Somewhere in Texas” may be the most reminiscent of earlier TLB tracks than anything else on the record. It employs that classic upbeat, driving rhythm and tight harmony-laden chorus that you’ll find all over their first record San Antonio (released only in Germany), but it still feels like “Tex Flex.” This is one of two tracks from Tex Flex that I heard on the road multiple times last year, and hearing its evolution into a final studio track was so exciting, shifting into a bigger, less acoustic/more electric sound. Maybe it’s because it makes me nostalgic for their live shows, but “Somewhere in Texas” might be my favorite track on the record.

Staying light and peppy, “In Between” touches on the ambiguity that can come from an unlabeled relationship, but spins it in a positive light. Even listeners who don’t relate to the exact story the song is telling will still get the hope and positivity embedded in the track. There’s a hopeful feel to it that makes the listener want to brighten their mindset. I find myself feeling more positive after listening, feeling happier and more appreciative of the moment I’m in. 

Sonically a complete 180 from the track before it, “That Kind of Cowboy” comes in strong and dark. One of my favorite songs from their live shows last year, this was the track I was most excited to hear when getting my advance listen of Tex Flex. At first listen, it shocked me. Of the two songs I heard live last year that find themselves on this record, “That Kind of Cowboy” has changed the most, shifting from a loud, grungy rocker to a more reigned in, slower storyteller of a song. It retains the haunting quality that made me fall in love with it in the first place, and it couldn’t be a better track for guitarist Jerry’s voice. He handles his vocal line with such care, providing the stability that this mix of “That Kind of Cowboy” requires without losing the badassery the lyrics evoke.

“That Kind of Cowboy” flows effortlessly into the first of two covers on Tex Flex, “Sin Un Amor.” Originally by bolero trio Los Panchos, Jerry shared during our interview that this trio first became popular in the early 1930s and 40s and he heard many of their songs from his grandfather. After having sang several of their songs at his grandfather’s funeral, he began to fully discover Los Panchos’ music, and shortly after, “Sin Un Amor” became a staple at Last Bandoleros live shows as an intro to one of their most popular songs, “I Don’t Want to Know.” Now on Tex Flex it’s been given its own life, twice as long as it used to be at live shows, and stands on its own. Their vocal blend in their harmonies on this track blow me away; they certainly have the voices to stand as their own bolero trio if they so choose to. 

To brighten up the ears once more before the end of the record, perhaps the biggest surprise for me on my first listen to the record, is “Something Else,” a more modern cover of the Eddie Cochran tune from 1959. Diego explained that the idea for them to cover this one came from their manager Martin, and Diego’s voice couldn’t have been more perfect for it. It embraces their love of and influence from rock ‘n’ roll with just enough of their own flavor to make it theirs. If you didn’t know it was a cover, you wouldn’t suspect; it fits right in on Tex Flex. 

The record ends with two bonus versions of two album tracks, “California Moon (Spanglish Version)” and “Somewhere in Texas (Unplugged),” both of which show different but equally beautiful sides to each original track. Ending the record with two already familiar songs brings a sense of comfort to Tex Flex and further makes this record something you’ll want to come back to again and again. 

The release of Tex Flex marks the official beginning of a new era for The Last Bandoleros. As a longtime superfan, I can’t wait to see where this record and era take them (hopefully to a city near me and anyone reading this soon!). For now, I’ll just turn Tex Flex up loud, pour myself a drink, and party, and I think you should do the same – you won’t regret it!

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The Speaker Wars Bring Classic Rock to a New Age with Debut Single “Never Ready to Go”

What do you get when you bring a Heartbreaker and a songwriter extraordinaire together? One of the best debut singles of the past ten years, that’s what. The Speaker Wars are Stan Lynch, founding member and drummer of Tom Petty & The Heartbreakers, and singer-songwriter Jon Christopher Davis. Together, they dropped their kickass debut single a little over a month ago and I haven’t been able to stop spinning it since. 

“Never Ready to Go” brings that classic Southern-tinged rock sound to a new group of rock fans, and for rockers like me who love those classic Southern rock bands, getting to experience a brand new band giving that same energy is a treat unlike any other. 

The track is driven by Stan Lynch’s drums; he knows just what the track demands and doesn’t overdo it. The guitar riffs give it that Southern rock edge that is so unique to hear in a modern rock track, and to top it all off, Jon Christopher Davis’s vocals solidify the track’s rough, dirty edge. 

I can already hear “Never Ready to Go” as the opening track of their debut record. I can hear it rev up as the band walks out on stage at a small, intimate music venue as the crowd goes wild. It gives that “hey, here’s who we are, here’s what we do, get a taste” energy in a truly brilliant way. I don’t know how many completed tracks they have under their belt, but they couldn’t have picked a better one to kick this thing off with. 

“Never Ready to Go” is a phenomenal listen, and I cannot encourage you enough to jump on the Speaker Wars train before it leaves the station. It’s just creeping out of the station now – give this track and listen and hop on before you miss it. This duo is going to do big things. 

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Review: The Black Keys Continue to Rule Retro Rock with Dropout Boogie

The Black Keys have long been major pioneers of modern rock, with their unique blend of blues, garage, and alternative sounds. They have long proven themselves to be masters of modern retro, and eleven albums in, they continue to be the cream of the crop. Their newest release, Dropout Boogie, is everything you’ve always loved about The Black Keys while still feeling fresh and new. 

Since its release, I’ve listened to Dropout Boogie nearly every day. I’ve found that the more I’ve listened, the more I’ve loved it. It’s a brilliantly cohesive record. No two songs are sonically the same, but they go together nonetheless. This is one of those records that is best listened to in its entirety. Keeping with that energy, I’m going to take you on a tour of the album, track-by-track, as it deserves to be listened to and described. 

Right off the bat this record opens strong with “Wild Child.” With a blend of Prince-esque guitar, disco vibes, and garage rock, The Black Keys may very well have created the rock song of the summer. I keep going back to this track. It’s one that demands to be listened to at full volume; it’s catchy and just fun to listen to. It’s perfectly placed on the record too; the album couldn’t have started any other way. 

Shifting gears, “It Ain’t Over” still maintains that retro sound, but in a different style. Distorted lead vocals and choral background vocals make this track especially sonically interesting. I say this about too many things I review, but elements of this track remind me of early Electric Light Orchestra, particularly in the lead vocals on the chorus, which I find are reminiscent of “Showdown.” It’s a strong track with some seriously kickass vocals. Dan Auerbach never disappoints on that front. 

Of all the tracks on Dropout Boogie, “For the Love of Money” reminds me the most of what I’ve personally come to know The Black Keys for, their deep-seeded blues influences. “For the Love of Money” is a futuristic blues groove with particularly apropos lyrics for today’s world. Telling this story in a blues style is genius, and it’s one of this record’s biggest highlights. 

My first thought the first time I heard “Your Team is Looking Good” was about how good this song would sound in a stadium, with thousands of fans stomping and screaming the chorus back at the band. Listening to it again for quite possibly the 20th time just this week, I still feel the same. Your Team is Looking Good gives stadium anthem in the best way. It drives, it rocks, and I think it’s going to be a fan favorite once The Black Keys get back out on the road with it. 

ZZ Top meets The Black Keys: something I never knew I needed, but I’m so glad 2022 has blessed us with. I won’t mince words here, “Good Love” is sexy. The juxtaposition of a grungy, nasty, sexy sonic sound with arguably melancholy lyrics is something that makes this track really stand out from the rest. It’s easy to feel sad when you think about what the song is really about, but letting that groove wash over makes the message all the easier (and more fun) to digest. 

Every record benefits from a slow-down, cool-down about halfway through, and being the brilliant musicians and producers they are, The Black Keys know this and dropped “How Long” into the mix. Mellow as it sounds, it’s a song of strength, with the lead character finally fighting for themselves from a partner who treats them wrong. This track reminds you that The Black Keys are jacks of all trades; ballads, hill country blues, hard driving rock, they can do it all. 

After many, many listens to Dropout Boogie in its entirety, I found myself consistently going back to this one, and I’ll safely dub it as my favorite track from the record. “Burn the Damn Thing Down” is a comradery-fueled grungy anthem, and it’s my favorite kind of earworm, one I don’t actually want to get out of my head. The loud, distorted guitar that drives the track is incredibly sonically satisfying and makes me want to listen on repeat. 

“Happiness” may very well be the most brilliant track on the record. Something I love about rock music in general is how tracks with positive, encouraging messages are executed without feeling cheesy or cliché. At face value, Happiness is a blue-tinged garage rock jam, but just one listen through while paying attention to the lyrics and you realize how deep and necessary the message is for the listener to hear. Everyone could benefit for taking a minute with these lyrics and letting them sink in. 

One thing about classic rock that isn’t present often in modern music is a song structure resulting in a separate section that differs sonically from the rest of the track (think the piano portion of “Layla”), and “Baby I’m Coming Home” executes that perfectly in a modern package. It’s so satisfying to hear the track shift into the faster-tempoed jam section, and right back into that grungy, distorted guitar riff that functions as the key piece of the track. This is a jammy, funky track, and it’s one of my favorite listens. 

Dropout Boogie wraps up its just 34-minute duration with a complicated question about love in “Didn’t I Love You.” This is another of those Black Keys tracks you know and love that embrace the bluesy guitar jam, making the guitar the star of the track. The track is tight, but it’s laidback and easy-going, a pleasant listen despite the conflicting subject matter. The beauty of the track almost makes you side with the lead character as he argues that despite his wrongdoings and pain he caused, didn’t he love her?

Dropout Boogie is nothing short of a musical masterpiece. The more you listen, the more you’ll find to love. The year may still be young, but Dropout Boogie has already made it onto my top albums of the year list. Give it a stream, or better yet, grab it on vinyl and give it the true retro treatment, and try to tell me it doesn’t deserve every compliment I’ve given. 

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Greta Van Fleet Deliver Cathartic, Cinematic Hometown Show on Their Dreams in Gold Tour

Greta Van Fleet have kicked off their 2022 Dreams in Gold tour with 3 stops in their home state of Michigan to hordes of enthusiastic fans traveling in from all over the country. With their intended five-show run cut short due to illness, it’s safe to say that their hometown show in Saginaw was their most electrifying of the three, but remember, it’s Greta Van Fleet we’re talking about – even if they played the whole show sitting down, it would still be one of the best shows you’ve ever seen. 

Having seen them live in Grand Rapids the night before, there was something in the air in Saginaw that made this hometown show different. GVF were on fire in a way I hadn’t yet seen before, fueled by the hometown hero energy that filled the Dow Event Center and the thousands of screaming fans that couldn’t get enough of what they were seeing. 

There was a confidence to all four rockers that was unlike any other, and that confidence was well-deserved. The last time the band played this venue in Saginaw, they were opening for the legendary Bob Seger and his Silver Bullet Band. It was quite the full circle moment, and the band acknowledged as much on stage. Despite not being from Michigan myself, I couldn’t help but beam with pride at how far they’ve come since then. They played their hearts out, interacting with each other and with fans with smiling faces for the duration of their two-hour set. It was one of the best shows I have ever seen. 

Of course, one of the most important things about a Greta Van Fleet live show is getting there early to see the opening acts that the band hand selects. An immediate fan favorite from the start of the tour was The Velveteers, and rightfully so. They managed to give the room a full and cohesive rock show in their 6-song set, leaving everything they had on that stage. In true GVF-fan fashion, it became clear that many of us had listened to their stuff ahead of the tour. I noticed people all around the venue singing along to Charmer and the Snake. I’d hazard a guess that many would say the highlight of their set is the moment where Baby, the band’s always well-dressed drummer, drops down right in front of the pit and places a drum in a fan’s hands, beating away while the pit screams. They were loud, they captivated the crowd, they were rock ‘n’ roll. 

Rival Sons also didn’t disappoint. Having been around a few years longer than GVF, it was such fun to see this already-established band being introduced to a new audience. I’ve heard many people talking about how much they ended up liking these guys. The power of Jay Buchanan’s live vocals cannot be disputed, and the band demonstrated a cohesiveness you might only expect from a band who’d been together for several decades. They know what they’re doing, and they do it well. What was especially fun about their set in Saginaw was that with just a few songs left in their set, the lights went out. Being the professionals they are, they kept going, and GVF fans in the first several rows of the pit pulled out their phones and lit the rest of the set. It’s a surreal kind of moment, watching musicians and music fans come together to make the most out of a wild situation. You could tell Rival Sons appreciated the love, and the fans appreciated the rock. 

Greta Van Fleet are nothing if not cinematic, and their tour intro was truly straight out of a movie. It doesn’t begin when the lights drop; no, just as with the Strange Horizons tour, the room is first flooded with a Jethro Tull tune, Reasons for Waiting. Fans who were around during the last tour know exactly what that song precedes, and you can feel the energy in the room shift when that tune begins as a result. People grow less focused on their phones or their friends and shift their attention to the big black curtain still hiding the stage from view. The song ends, and energy is high. At this point, everyone knows that the show they’ve waited months for is about to begin. Low instrumental music slowly begins to swell, and when it reaches its peak, the lights cut out and the arena erupts with screams. All focus goes to that big black curtain, Josh Kiszka’s wail from The Weight of Dreams fills the air, a gorgeous instrumental begins, and Josh’s speaking voice floods the arena. 

All across the world we travel wayward for in search of things to hold.

I’ve asked in moments filled with doubt, and this is what I’m told:

That living is in itself a constant celebration of love

And where there is love, we will live on,

And where there is not love, we must provide it.

Peace is not for purchase, it’s a state of being.

Exercise the responsibility of freedom.

We are prisoners of freedom.

Age doesn’t change the person within. It is the person within that changes with age.

Death should not be a way of life, it is only part of it.

Letting go is the only thing we will never understand.

The only fun that must be had is too much.

People need people.

Enjoy all of it, always, and remember that all you have is special.

Love doesn’t leave when we fade away.

All across the world we travel wayward for in search of things to hold.

And in the end we will spend

The weight of dreams in gold.

With every word the moment starts to feel more real and the energy only grows higher. As he delivers the tour tagline, the band behind the curtain starts the opening song, and anxiety and excitement build. The beat kicks in, and the curtain is dropped in an explosive moment of screams and ecstasy. There they are, the band people traveled all across the country for, the band people set up camp outside all day for. It is the moment that people will go home and tell all their friends about. 

Well, that’s how it’s supposed to go. Fans who attended the Saginaw show got something a bit different, but still every bit as exciting. Everything went off without a hitch; Josh’s voice filled the arena, energy was high, everything was exactly how it was intended, until the intro audio suddenly cut out. I’ve never heard such a collective exclamation from a crowd until that night. I don’t think there was a soul in the room who didn’t react. But Greta Van Fleet being Greta Van Fleet didn’t miss a beat, starting up Heat Above anyway, with Josh addressing us live from behind the curtain. 

“I love a good intro, but sometimes we’re edging too much. We gotta get this damn curtain down and do the thing, man!”

Turning a misfire into a cool story to tell your friends who weren’t at the show is something Greta Van Fleet excel at, and by the end of the night, missing that show intro was almost completely forgotten. 

No band has ever had the emotional impact on me that Greta Van Fleet has had, and I’ve never been so affected by a live show as I was on this chilly Michigan night. The show in Saginaw was my fifth Greta Van Fleet show and by far the most cathartic. It was a beautiful night of tears and screams and release. What I’ll never get over is Josh standing on that stage talking about release, as though he knew just how impactful this night was for me. Clearly I wasn’t alone in my need for the cathartic release this show provided. 

I found myself connecting with songs in ways I hadn’t previously, and I found myself in tears more often than I usually do at GVF shows. They have a way of breaking down those walls and situating themselves comfortably in the hearts of their audience, and their live show is where this is felt especially. A GVF live show for a GVF superfan is like finally coming home after one of the hardest weeks of your life. There’s a relief and release to the experience of their music washing over you that few other bands could even hope to recreate. 

Their Saginaw setlist was identical to their second night in LA on last year’s Strange Horizons tour, which was especially a treat for those of us in the crowd who didn’t find ourselves in LA but did find ourselves endlessly envious of the show they received. The highlight for my friend group? Lover, Leaver, Taker, Believer, in its nearly 30-minute glory, and all the fun intertwined throughout. In fact, there exists a very unfortunate video in which you can hear my full-throttle screams when they launched into their That’s All Right cover smack dab in the middle of the magic. 

Greta Van Fleet balance their setlists perfectly, switching them up show-by-show to ensure that every city gets a different show (those of us who travel to multiple shows on a single tour appreciate that too!), and creating the ideal blend of both their older and newer catalogue, with all of their full-length releases represented. There’s good reason for them to make sure everything is represented fairly: fans know the words to every single song, and in almost every video you’ll find from Saginaw you can hear the roar of the crowd singing every note almost as loud as Josh. 

Dreams in Gold feels like Strange Horizons’ older brother. The stage setup is similar, but bigger. Thus far, the setlists appear to match those from the four Strange Horizons cities. It’s evident that Dreams in Gold is a continuation and not an abandonment. It’s bigger, it’s more dramatic, it’s somehow even more energetic, there’s fire – it’s a production, but it doesn’t take away from the music. Their music is cinematic, and it’s meant to be listened to loud. The production they have created honors and showcases that in a beautiful, hypnotic way. Despite having been several rows back in the pit, I wasn’t distracted by the people around me. I was borderline physically incapable of looking away from that stage. They had control over every pair of eyes in that room in a way that only they could. It was like we were in another world. 

If I’m being honest, what was most special about this show, above all else, was how all of my friends and I walked away feeling fulfilled and renewed. I journeyed up to Michigan to meet up with my friends from the Midwest, the South, and New England who all found ourselves in the same group chat last summer. It was the first time we were all six meeting as a cohesive group in person, and it was GVF who brought us together in the first place. We found ourselves split off as the show began, some of us in the back of the pit and others together closer to the middle of the pit, but somehow it still felt like we all spent the night side by side. There wasn’t a single one of us who walked away from that show feeling sad; we were all on the same high. So much laughter and love was shared in the Dow Event Center lobby, and it’s something I’ll never forget. 

There’s still so much more Dreams in Gold to come. Due to illness postponing the remainder of the spring shows, Dreams in Gold will continue starting in May in South America, with a plethora of European and US dates taking place in the summer and fall. If you’ve ever given an ounce of thought to seeing these guys live, let this be the push you need to finally buy the tickets. Take it from me, I’m five shows deep, and I’m not stopping any time soon. 

“All across the world we travel wayward for in search of things to hold, and in the end, we will spend the weight of dreams in gold.” Though we didn’t get to hear this line in its entirety, it still takes me right back to the pit floor, moments before that curtain dropped, and it gives me chills.

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EDITOR’S NOTE: The BANDED team wishes Jake and the rest of the GVF crew a healthy, safe, and quick recovery! We’re look forward to your valiant return to the stage!

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Mike Campbell & The Dirty Knobs Deliver Explosive Rock with Sophomore Release External Combustion

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The new Mike Campbell & The Dirty Knobs release, External Combustion, is perfect for lovers of classic and modern rock alike. Campbell and the Knobs demonstrate mastery of rock for all ages, with something everyone in your group is bound to love. 

External Combustion is a truly phenomenal collection of tracks. I would even be bold enough to say that it’s one of the best if not the best rock album you’ll see released this year, but then again, I may be a little biased. As a hardcore Tom Petty & The Heartbreakers fan, I believe that Mike Campbell can do no wrong, and he and the unbelievably talented Dirty Knobs have put out a no-skips record that I will never stop talking about. Let me take you track-by-track. 

They throw you right in with “Wicked Mind” as the album opener, a blast of pure, hard-hitting rock ‘n’ roll that I still can’t stop singing the praises of since this track dropped back in February. “Wicked Mind” hits you smooth in the face and gives you the perfect taste of what’s to come in this 45-minute rock journey. Perfectly snappy and jangly, it’s just a fun listen and it entices the listener to stick around a while and jam. 

The Dirty Knobs waste no time demonstrating their range as players as they jump into the next track. “Brigitte Bardot” follows a bluesy formula, with the repetition and chord structure you’d expect from your favorite old blues tunes, but delivers it in an upbeat, rockabilly-tinged package. It’s an interesting love song, comparing the love interest to a 50s and 60s sex symbol, but perhaps that’s what makes it unique. However the person being courted by this track feels about the comparison, there’s no denying that it’s catchy.  

Like a sonic slap in the face, the album transitions into “Cheap Talk,” arguably my favorite track on External Combustion. With the use of strings and backward masking, I immediately found the track to be reminiscent of Electric Light Orchestra, like the most perfect mix of their 70s stuff and 2001’s Zoom (my ELO fans out there will know exactly what I mean). It’s haunting in a way, and a bit more heavy and progressive than I might have expected to hear on this record, but it doesn’t sound a bit out of place. The Dirty Knobs have range, and they show it every chance they get. 

Expanding on that progressive vibe, the title track takes things in a different direction, away from the strings and more toward a dirty, Southern blues-rock sound. I find it to be very reminiscent of Tom Petty and The Heartbreakers’ Mojo. Sonically, they took the title very seriously when crafting this track. The verses build brilliantly into this intense chorus that shakes you up and hits you hard in a perfectly disastrous way. It demands to be listened to loud. 

To pull you out of the rubble, they ditch the prog elements and launch into a raw rocker. “Dirty Job” is hard-hitting, borderline grungy, and sonically satisfying, featuring vocals from the legendary Ian Hunter of Mott the Hoople fame. This was a combination I can’t say I expected, but now that I’ve heard it I can’t quite figure out how I ever lived without it. I keep going back to this one and I can’t get over how perfectly placed into the record it is. 

As a self-proclaimed Tom Petty & The Heartbreakers superfan, “State of Mind” hit me hard. Campbell’s voice is so much like Petty’s here that it took me by surprise when he started singing. The track also features singer/songwriter Margo Price who blends beautifully with Campbell. With the brilliant use of strings and horn sounds, “State of Mind” would fit right in on Tom Petty & The Heartbreakers’ Southern Accents; it’s like rock and classic country had a baby. I find it to be the most beautiful song on the album. 

Getting you back up on your feet is “Lightning Boogie,” and this track is a bit deceptive. With an opening guitar riff that mimics the one at the beginning of Autograph’s “Turn Up the Radio,” you think you’re about to be sent to the 80s rock stratosphere, but instead the Knobs launch into a rock ‘n’ roll, ragtime, boogie woogie extravaganza that would get even the grumpiest person in the room on their feet. If it hasn’t already been emphasized enough: This. Band. Has. Range. And they aren’t afraid to use it. 

Transitioning back into the southern-tinged rock you’d expect from a band fronted by a Floridian, “Rat City” is a sonically satisfying rock masterpiece. The track is perfectly balanced, and eases up on its driving heaviness, maintaining the listener’s interest with a jangly acoustic final verse, before diving back into the train-like sound that characterizes the track. Vocally, I can’t get over how good Campbell sounds on this track. For him to have not been a lead vocalist for the majority of his career, he steps into the role so seamlessly with The Dirty Knobs, and it really shows on this record. You’d think he’d fronted a band as the singer his whole life. 

Providing a bit of a break from the head-bobbing jams, “In This Lifetime” is a dark, mellow, and beautifully haunting piece placed perfectly in the record. It sends the message that the ride is slowing down and soon coming to an end in such a satisfying way. One of the greatest tests of a rock band is the quality of their slower songs, and The Dirty Knobs pass with flying colors. This was one of the tracks that surprised me the most and solidified my believe that The Dirty Knobs can do no wrong. 

After the haunting beauty of the last track, diving into the bouncy, happy “It Is Written” is just what the listener needs. I think this track is what you get when you mix a Bob Dylan song, a Traveling Wilburys song, an old bluegrass tune, and a long drive in the middle of nowhere on a sunny day.  It’s undeniably catchy and perfect for the time we find ourselves living in. “It Is Written” is uplifting without approaching toxic positivity, and that’s something I’ve found myself needing these past few months. It’s a gem of a track. 

Finally, bringing the album to a close is easy rocker “Electric Gypsy.” A perfect album closer, “Electric Gypsy” touches on the ever-popular theme of the rock ‘n’ roll vagabond without seeming overdone. It puts you in the boots of the rock ‘n’ roll vagabond himself, evoking desert vibes and feelings of the road. It’s a brilliant track and couldn’t be a better way to bid farewell to one of the best records to come out of 2022 (said it before and I’m sticking with it!). 

What more can I say? If this isn’t enough to convince you to go spin this damn record, I don’t know what else to tell you. External Combustion is phenomenal, and if you love rock ‘n’ roll, you’re gonna love it. Go give it a spin, try to prove me wrong. 

REVIEW: The Last Bandoleros Take You to the Beach with "California Moon"

Having recently transitioned from a four-piece to a trio, The Last Bandoleros are finding their groove with their new lineup and embracing collaboration. TLB have delivered some strong, hard-hitting releases over the past few months, but it’s been a while since they’ve shown their more laidback, acoustic side. 

Teaming up with singer/songwriter Hannah Brier, and showcasing lead vocals from Diego Navaira, “California Moon” is hypnotizing in a haunting way, almost like the singers are telling a ghost story. Navaira and Brier both sing about a mysterious love that didn’t last, like a fairy tale with a less-than-ideal ending. 

Just as with their last release, TLB explore some sounds I haven’t yet heard in a Bandoleros studio release. They have always been genre-defying, and “California Moon” is no exception. Like “Maldita,” released back in September 2021, “California Moon” was written during a week-long writing session with Shaggy at his home studio. The songs resulting from that session have been affectionately described as “Tex-Flex,” and all find themselves dipping more into pop and hip hop, something a bit different for TLB. “California Moon” deviates from the Tejano rock sound many have come to know them for in favor of a Latin-pop sound that is equally as delicious.  

Brier’s and Navaira’s voices blend beautifully, creating a vocal combination I wasn’t expecting. Having heard TLB collaborate with Kree Harrison in live settings, I knew what a female voice could bring to the table, but I wasn’t anticipating just how lovely Brier’s use of alto and Navaira’s tenor would be together. 

“California Moon” is haunting, but in a truly beautiful way. It evokes feelings of being on the beach as the sun has just set, taking in that last bit of warm before the water and sand start to cool. It takes me to California despite having never actually been there. It’s immersive, as though the story of a fleeting love is actually about you. 

“California Moon” is a perfect reminder of the storytelling powers The Last Bandoleros and Brier possess. With every release I still find myself amazed. The music video just dropped, so give it a spin and fall into the story.  

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Seeing Double Bring the 70s to 2022 With First Release “Leah”

Your new favorite 70s rock band is here, and they just dropped their first release?

A new band called Seeing Double popped up on my TikTok For You page a few weeks ago, just brushing their teeth while their first release, “Leah,” played in the background. It only took a few notes to instantly have me hooked – their promo tactic worked!

With ABBA-esque harmonies and the musicality of Fleetwood Mac with a touch of ELO, “Leah” is undeniably catchy while still retaining that haunting, witchy vibe that Stevie Nicks brought to the masses all those years ago. 

It’s incredibly well-produced – it’s balanced and has that 70s feel without it feeling forced. And this group is tight. Their harmonies snap brilliantly into place, it’s clear they know how to handle their instruments to give the track the sound they want – they already sound like pros. This isn’t one of those groups that’ll take a few albums to find their groove; they already have it. 

Even lyrically, “Leah” evokes the 70s. I could promise certain death / and storms on Venus hold their breath… the moon’s a marble in her hand / I watch the tides roll from the sand – these are lyrics you’ll only find from modern artists who take their inspiration from the rock ‘n’ roll of yesterday. It’s thrilling as a 70s enthusiast to find another band of today incorporating those themes, especially from a band as young as this one is.  

“Leah” is no doubt the first of many harmony-laden, retro-tinged jams from Seeing Double that you’ll be throwing on your playlists as fast as they come out, and I’m already excited to hear what they do next. Until they drop their next masterpiece, I’ll be spinning “Leah” (and its B-side, “Don’t Wait”) non-stop, and hey, friendly reminder, don’t neglect the music you hear on TikTok.