Mastria

Strings come in sharp and fast, and the overall vibe shifts into a different gear. “Guillotine” by OpCritical takes an approach like some of the most daring bops, moving so directly into the music that the build-up is almost nonexistent and there's no warning. There's tension from the get-go, and the song begins to move before we can even get comfortable. It immediately grabs you and makes you want to know what's next. The song begins unexpectedly softly with a violin and guitar, which provide a sense of almost a lack of energy. But that goes on for a short time. The drums begin to grow bulkier, the synths introduce a bit more edge, and before long, the entire thing sounds more like a march than a song. The music is very well suited to the subject of the song. This is the third song in a trilogy about inequality, taking the French Revolution as a point of reference, when ordinary people finally rose up against a king and a queen who lived luxuriously while everyone else was...

It's followed by a guitar line that is sharp and full of movement, and suddenly, the whole song feels like it's leaning forward. There's a bit of energy in those first seconds, but there's a bit of warmth under it too. “Good Samaritans” by Harry Kappen is not too difficult to get sucked into. Then it's time to consider something else. This song was created by Harry Kappen to honor those who do things without drawing attention to themselves or posting a picture. The concept is at the core of the song, and as soon as you grasp that, the music is easier to understand. The bounce and swagger are not a display of muscle. They feel more like quiet confidence. The electric guitars bring the bite, and the country feel in the melodies brings the warmth and humanity. There are also minor layers and textures underneath, giving the song some room and keeping everything balanced. It's louder but still intimate. The song definitely evokes the spirit of David Bowie in its tone...

The first few seconds of "Annunciation" were right on the nose. The guitar chords come in hard, with the drums right behind them. There's no ramp up or anything to prime you for. This song has an important message from the beginning. Mary Strand's voice is raw. The words ring true, even when some are not easy to sing. She doesn't want to put on a show. It feels intimate, as if it were something she really had to say. This band is very comfortable behind her. Ryan Smith's guitar doesn't come off as a showpiece, but keeps the song moving. Then the chorus enters and all things seem bigger. Mark Wade's bass keeps the song grounded. Peter Anderson's drums continue to drive the song onward without ever letting it slow. What I most love about the song is that it isn't sad throughout. There's a lot of grief in it, but there's also anger and there's something that needs to change. Knowing that the song was written in response to the shooting...

Here's that guitar note, that's the first thing you hear in “I Will Follow You” by CREEPS. It only stands there for a brief second. So now nothing else has come in yet, and that already sets the mood. Dark and a little heavy, but at the same time calm. The song is about to open up. Then it's Marek Sedláček's turn. It is deep and gritty, with plenty of character. He's not attempting to sound smooth or polished; I think that's what makes it work. He has a message that he believes in. The song is a modern rock, with some hard rock in the background. The guitars are definitely the ones that caught my ear. Filip Buršík is keeping it simple, though there's a lot of weight in the riffs. Bass from Jakub Malášek is there to support the song, providing it with a foundation. The drums of Michal Vašín fit in the same way. Everything fits well with the song. Everyone does what is required in the song. The lyrics, too, are simple and straightforward. They were written by ...

The opening bars hit me right away. My chest got tight, and it loosened up. It was as if they were in a room with people who had lost someone they loved, except they began playing. One More Angel by Eric Alexandrakis starts with a lot of weight, but quickly adds warmth as well. Eric covers the song, written by Raul Malo and Alan Miller, as a way to cope with the loss of Raul, who he had known for over 30 years. He sings and plays a number of instruments and did the majority of the recording himself. One can tell by the attention that was put into it. Nothing feels hurried. He allows the song to be sung at its own pace. The musicians who surround him really make it come together. EJ Ouellette is a violinist, violist, mandolinist and slide guitarist. In the background, the slide guitar can even be heard as a long sigh. The song has a familiar yet slightly dusty quality thanks to Michael Guerra's accordion. Theresa Bentley's harp is soft and light. There's plenty of room for e...

“How Will I Ever Know” is a song by George Styles that I was immediately drawn to. The song is like you're at the end of a hallway, one light is on, and there's a door you know you're not going to open. It was as if I felt that right off the bat. It starts off pretty simple. There's the guitar and then the bass underneath it and the drums are just kinda there. First of all, George doesn't sing very loud. He almost sounds like he’s just talking to himself. It's like he's saying it to you, it's his own voice in your ears. I waited and waited and waited for him to let it go but he took his time. That really makes the song harder to take. He seems to be going over the same question over and over, because he still hasn't got an answer. At 2 minutes and 23 seconds, everything gets turned upside down. The guitars get heavier, the drums come in harder and George's voice opens up fully. It's raw, a little messy but real. It doesn't sound like he i...

All the people in the street are gazing in the same direction at the same time. Nobody says a word. There's someone you know in front of them and your feet just remain in place. That's where herbie the rabbit got me from his song “Burn the Witch.” I felt a tightness in my chest before the first minute was even over. It begins with only the keys and Dan Marsh's vocals. He sounds like a man who's got something to get off his chest. The keys underneath stay simple. He delivers some words with real feeling, and I spent time sitting silently and listening. I waited for him to turn his head and look away from everything around him, but he never does. After that, the chorus begins to take over and the voices start to rise until it becomes like everyone in the room saying the same thing. This song fits that feeling really well. The synths fill in the gaps between his lines – there isn't really much room to breathe. It would be easy to sing along with, and that's what ma...

One window after another that are opening along a street and fresh air is coming in. I can still see that when I played Beautiful Day by Laurie Little. Before I knew why, my shoulders dropped. This song quickly opens something inside me, and I never see it coming. Loose and simple guitar riff, followed by the vocal. It seems to be very aware of what it is supposed to do. At the front there's a big, easygoing voice, it's right at home at Laurie's. There is no strain. It just rolls out. I really enjoy the way it all works together, although it's all made by one artist. The drums keep a steady rhythm and don't rush. Then there's the middle section, and the horns play alongside the guitars. The song seems to be larger; it sounds like it's in a room with lots of people who are happy to be there. From then on it seems like the speed increases. Or perhaps I'm leaning in. Anyhow, it is in motion. Everything is right where it needs to be. I don't overthink it...

The piano line is not a warming up line, it's a driving one from the first bar and the whole song is geared to move. That's "Power Up" by Andrei British, and the energy is already there before the first verse even lands. It captures the essence of South Florida nightlife, the night is on the move before things even start. The song's structure is one of a rock foundation with horn parts over it, and that is what propels "Power Up." Not only is there piano carrying the track, there's also horns in there that give the arrangement a bit of a kick, here and there, verse by verse, keeping it going. The motion is kept from becoming too much by Bec Hollcraft's vocal. Her delivery is soulful and high powered, and her R&B phrasing and rock swagger are the keys to having her voice cut through a dense, driving arrangement. The chorus doesn't need to explain itself, it just says the title over and over, and that is the point. The one-word hook helps k...

The piano entry is warm, but it's a little unexpected to begin the song at such an early stage. Slowly, the gated snare and synth pads join her, but they don't push. They wait. That's what makes ‘Echoes of Paradise' different from other songs constructed like this, that's the patience. The strings are behind her and her voice remains soft and intimate in the verse. Then the chorus asks, “Can anyone hear me? Can anyone see me?” Behind the two questions, the orchestra opens up. It's an unusual moment. The verses are careful and understated, the bigger parts are large because of that. As the song begins to become louder, I begin to notice how the space around the song seems to shift. She's playing alone for a moment and the acoustic guitar is close enough for you to hear the texture of her breathing between the lines. Then it expands outwards to something broad and almost film-like, more at home on a screen than a speaker. However, it does not sound like it...