Author: August W. Zander

The future of music may already be here.

That is – the automation of music. With the backlash lately against automation, algorithms and artificial intelligence, it would be understandable if music enthusiasts were skeptical of computer-generated music.

In fairness, for many people, computer-generated music is that which they have heard on cheap apps, games and other tacky mediums.

That’s until you hear Simon Mark Smith‘s near-fully automated music album, Dangerous Things. History may have been made just by the release of this album; but it’s the music that really matters.

The 17-track album is over-flowing with moody, compelling, thoughtful and enjoyable songs. This by itself is a rare accomplishment in our experience. Often times, albums with more than nine or 10 tracks contain somewhere between three to five or more ‘filler’ tracks.

In this case, Smith was obviously deliberate about the placement – not just the creation (which is a whole other amazing story you won’t come across again) – of each song.

At first, one might say: “Oh man 17 tracks?! There’s going to be fat on this baby and we have to figure where to cut.”

But surprise, surprise. Without exaggeration, track after track on Dangerous Things measures up to the very best on the album – as if this was Smith’s greatest hits collection after a decade or more of hits.

But even more inspirational when one thinks of such an accomplishment, Smith was born without arms, a condition called Holt-Oram syndrome. He does not consider himself ‘disabled’ and addressed that subject, h says, in his first album.

That said, Smith completely understands that some people, especially other musicians, are amazed when they learn that his highly inventive, yet also familiar, album was done so largely through automation.

Perhaps most surprising is when one stops to consider that to make just one song, Smith had to first imagine each track first. Then, he had to figure out which instruments he was going to use in a song.

Next, he went about a process of individually programming – one by one – every note for each instrument. After that, he had to mix the tracking of each instrument and listen to them over and over again, making tweaks along the way, in order to get the right sound.

This is incalculably more difficult than a one-man band in his basement who can record each instrument and then (and here’s the key) play along with that recording with a new instrument in order to get the timing right in real-time. Smith had to do all of this the very long way round.

Without the assistance of computers and increasingly automated software programs, Smith may not have been able to achieve the final sound he wanted.

He claims it is “one of the first albums to feature mainly virtual musicians,” asking the question: “Do you think you can tell that a computer played – not just recorded – the music?”

Smith actually created virtual band members, with full identities, in order to delegate their roles more easily. The amount of organization and coordination with himself and his cast of computer-generated band members is impressive.

“What’s strange is that using computers is very similar to working with real musicians,” he remarks; “I tell the computer what keys, chords, tempo and style I want and it comes up with loads of ideas which I then edit to create a song. The difference between now and a few years ago is just how human the music sounds.”

“Driving Me Wild” opens up the album with a classic rock vibe veiled in a bit of theatrical rock complete with a chorus and rapid chord changes.

That smoking opener is followed by the slower, funkier track, “Protected,” that the listener can detect is helped by computers. Smith calls this track, compared to the others on the album, “off the wall.” A heavy bluesy organ, female backing vocals, sexy jazzy sax trills – all packed into one robust track that doesn’t miss a beat.

There is a definite Beck-like vibe to parts of the song as Smith changes it up genre-wise, and overall musically, a few times throughout with stunning effects. Speaking of Beck, another track that sounds like the indie/alt god is the funky, jazzy swing of “Your Name.”

By the middle of the album, the listener is treated to some of the juiciest parts with spectacular, mood-shifting songs like the atmospheric “Break It”, the disco-infused and amazing “Words of Prey” and the funky pop jams of “I Feel You in My Life.”

It’s not hard to see disco-inspired songs like “A Story of Love” being played as dance mixes at a nightclub party.

As Smith rolls out the carpet, he continues to surprise with genre and mood-shifting tracks, introducing songs from an era many decades ago like on the swing/jazz-infused retro hybrid track, “Dreams.”

The more one sinks into the comfortable, dazzling and cinematic album, it becomes more and more apparent to some that the production is more like a movie in which we have the visuals and sounds provided by the music itself.

Categorizing a splendid, and stylistically revolutionary, song like “Dreams” is almost a futile effort. It stands by itself. Perhaps it was intentional and strategic because at this point in the album it is becoming more apparent that Smith is a musical genius.

A little bit like “A Story of Love,” the energetic “Not Enough” is a pumped-up, disco-fueled song on the album that is about all of the things in the world that are “not enough”, he says, with the focus on love. Not enough love: a powerful message at a confusing and tumultuous time.

The title track, “Dangerous Things,” is one of the standout songs on a standout album. It is one of the most emotional tracks on the album with Smith showing off his heart-string-pulling skills.

Smith says about the title track: “This is mainly a song about temptation, but I wanted to focus on the issue that whilst we may feel we are tempted by something, it is the possibility of self-destruction that makes the temptation so powerful.”

Lines like: “This desire/ that guides me/ It’s a long way from home/ But I, I got it here/ it’s in my heart/ It wants to leave me alone” leave the listener intrigued.

“Sometimes I would have dreams about the sea’s waves crashing against my house,” growing up in the U.K.

“When I thought about this I wondered if the sea was my own emotions and desires wanting to smash my own ‘internal’ home down. You might think that would be illogical, but if we have a self-destructive part of us, then that might make sense,” he says.

“Dangerous Things” is one of the strongest compositions on the album. It’s slow-burning, melancholy story, Smith’s heart-wrenching vocals, and the remarkably arranged instrumentations make it impossible to turn away from.

It’d be a killer song in a film or TV sequence. The comparisons that come to mind goes like this: “Think Bowie mixed with Pink Floyd and some Clapton for good measure.” And again, folks, this is all done on a computer – no real instruments. Can you tell?

And that’s where Smith has something truly unique that sets him apart from the vast majority of musicians – it’s automated music.

Take a trip to the 70s with the Gordon Lightfoot-like acoustic track, “Losing Me,” with its touch of Roy Orbison and tinges of country-rock.

The vocals effects and techniques employed here stand out from the music itself, which is by no means a negative (just the opposite) commentary on the music itself, but rather to say that Smith has a mastery of moods and sounds that are largely inspired, it seems, by his vocal intuitions.

He sways from style to style, emotion to emotion, on tracks like the bluesy groove of “Dream Girl” and the somber, heart-wrenching love song, “Fallen Angel,” complete with a cello droning in the background.

The last one-third portion of the album explores more the stories and emotions of love with touching songs like “Our Love Lives Forever” and “Forever Today” – both tracks are obviously thematically aligned.

The acoustic-driven “Just A Friend” marries nicely with the Tom Waits-like closing track, “Neon Sun,” complete with its smooth tropical jazz vibe, a nice end to a wild and amazing sonic ride of sounds, vocals, genres, styles and yes, automation.

Put simply: this exceptionally unique album is something that you’ll need to definitely hear yourself from front to back. If you’re like us, you’ll need to listen to the album a number of times – not just because it is so different, or has 17 tracks, but also because it’s just simply stunning.

Smith’s musical influences are many, including Nick Cave, Tom Waits, Leonard Cohen, Mary Margaret O’Hara, Chris Isaak, Mark Knopfler, Dire Straits, JJ Cale, The The, Bob Dylan, Pink Floyd, INXS, and Roxy Music.

Memphis DIY alt. rock duo Magnum Dopus recently dropped the sizzling, 11-track album, Hizumi (which means either rice plant or flower or princess in Japanese depending on a number of factors).

Hizumi was recorded by guitarist, George Cole, and vocalist, Andrew McCarty, under the duo’s moniker, Magnum Dopus.

The album opens with the rolling and rocking of “Control Me,” starting and stopping melodic riffs, the deep vocals of McCarty and a fine guitar solo from Cole.

“Live Love Lose” has a kicking guitar rhythm similar to the opener, but McCarty’s vocals are more forceful. LLL sounds a lot like the post-punk era of the early 1980s for the 80s enthusiasts among you. As the album rolls on, it becomes clear that the duo is influenced by the post-punk genre and that era in rock history between the decline of punk and the emergence of new wave.

The lead single, “Black Boxx,” on Hizumi is a strutting, strapping number with jangling guitars and a heavy bass line.  McCarty’s vocals meld nicely with the various tempo changes.

“Like many of the other songs on the record,” says McCarty, “it’s about heartbreak and reflecting on a previous relationship; musically, it’s a bit like Interpol meets Talking Heads.”

Things slow down on the next track, “Crashing Down,” but it’s a bit too demo-sounding. However, the second half of the song improves as it takes on a true chugging vibe. Still the song suffers a bit from an identity crisis. Following that, the duo turned to a punk-pop sound on “Departure,” which portends a type of dark foreboding.

One of the album’s most powerful numbers is “Get Over It,” a dreamy, lo-fi pop track with a smooth vibe and discotheque beat.

The track is also one of the most memorable songs on the L.P. McCarty’s vocals (for the most part) seem much better suited for a song like this. That may be because the other instruments are not drowning out his vocals as with other songs. It also seems better mixed and mastered as well.

“‘Get Over It’ is our ode to disco,” McCarty remarks. “While there was a bit of Daft Punk influence musically, the song quickly became it’s own thing and a little rougher around the edges and rockier. The original idea was to write a song that would make people dance at our shows.”

This would have been the single we picked for the album, not only because it’s a decent track, but perhaps the most accessible to a wider audience.

Another standout track on the album – which also nicely highlights McCarty’s writing/singing and Cole’s guitar playing – is “Headlights.” It is the duo’s stripped-down, more basic songs that often work the best.

“Headlights” is a straight-up pop song that ponders what could’ve been in a relationship. Sturgis Nikides (Low Society) played banjo and slide guitar and Lisa Mac sang backup.

Some folks might also dig the retro-flavor of “80s Girl” but it feels a bit unfinished. The album closes with the roaring post-punk-influenced track, “Hai,” featuring a ‘hey-hey’ chorus and what sounds like people talking on the radio. Cole digs in at the ending of the track with one of his finest guitar jams.

The duo got together a few years ago after leaving their previous bands. “Once our previous band fell apart,” McCarty says, “we re-constructed the music and lyrics and it became the first Magnum Dopus album.”

For some, the duo’s range of styles and sounds through the 11 tracks may be a bit irregular and disorienting, but overall, it’s a strong lo-fi rock album.

“To flesh out the sound, Andrew also recorded bass and drum parts. Since the band didn’t exist at the time of recording, we didn’t have a particular sound we were going for, so the album is a bit of a hodgepodge of sound.”

An experienced rock producer who knows how to bring out the best in their truest sounds (together with some fine mastering) could really help boosts many of the tracks.

There are a number of songs that miss the mark (“One Sunday Too Far”; “Crashing Down”) and could have been left off to make the album stronger, but in the end, that doesn’t overshadow a solid rock album.

https://www.magnumdopus.com

An album cover with a budda on it is something that definitely gets my attention. But look a little closer and Budda is not in a good place.

So, the first goal of the artist – to get people’s attention and interest – worked. Compelling art can do that. But what about what’s inside? What does it sound like?

Well, the folks in the cafe agree – Steve Katsikas‘ debut solo effort, Hidden Village, is well worth 40-45 minutes of your time. This is especially true if you like indie rock songs with plenty of melancholy, creativity, and experimentation, featuring lyrics of love and loss and of political and societal consciousness.

Katsikas has cut his teeth as the vocalist and frontman of the Louisville, Kentucky prog-rock band Little Atlas.

Now, his 11-track is building organic support online, including on his Bandcamp page.

The album opens with the dreamy guitar strings and piano keys of “America” which grows in intensity, energy, and sound. Thematically, the song is “an extended observation of our political bickering, failure to listen to each other, and tendency to disregard the experiences of others,” Katsikas says.

“It’s a slow grower and becomes more and more intense as it progresses,” he says, adding: “I’ve created an accompanying video to go with it that I think sums up the main points.”

The emotional aspects of the gloomy “Life is a Movie” are intricately arranged. The sonic effect is achieved with an elaborate rhythm and melody, together with an expressive vocal, and soft guitar tones.

The song addresses, with some irony and cynicism, the concept that the human race has been blindly allowing the world to destruct by disassociating itself from the difficult reality.

“The song deals with the way that we manage the incomprehensible as if it were a movie,” he remarks. “Climate change? Endless War? Racial strife? It is so hard to think about these devastating occurrences that we watch and think about them as if they were happening to ‘some character, far away’, and that we are simply observers.”

“Psychologists call that ‘psychological distancing,'” he adds, “but that would have been a terrible lyric.” He has a really good point there about the disassociation and distancing. It’s perhaps how many people – who understandably feel helpless other than what they can do in their daily lives – react to these overwhelmingly pressing and dire global issues.

A tribal-like drum beat opens up the intricate, nearly eight-minute track “Solitary.” The beat snakes and interplays with dark guitar melodies and rhythmic bass lines.

As the song evolves, violin strings and Katsikas’ unique vocals build into complex instrumentations that add the overall allure of a hauntingly gorgeous song.

The poetic and dreamy acoustic number, “Authors and Architects,” is the shortest song on the album, and one of the best too. In fact, the listener wanted it to last longer. Together with the vocals, violin, and piano, a pleasant atmosphere is created. Katsikas is already showing his diverse musical interests and sensitivities.

Next, violin strings and keys meld and produce a sleepy atmospheric on “Sleep for Longer Days.” As the song ebbs and flows, the mood changes and becomes darker, floating on complex bass lines and choral-like vocals.

By this point in the album, Katsikas really lets his experimental instincts go. The jazz-influenced song, “Fall,” sounds like a track sort of from another era, emitting jamming piano keys and melodies with wavering vocal registers and strong bass beats.

“Fall” seems to flow into “Shoulders,” yet another song with an airy, jazzy vibe; a stripped down, folk-pop guitar song that creates an ethereal vibe.

This compelling album closes with soulful styled “The Clock Restarts.” The beat made out of a clock ticking sound is a cool effect. Katsikas also does decent covers of the Beatles’ “Across The Universe” and Pink Floyd’s “Gunner’s Dream.”

Hidden Village is an album that was nearly a decade in the making. The title, Katsikas adds, is a reference to the huge group, or ‘village’, of friends and musicians who contributed to the recording; a “journey that has taken me from city to city, genre to genre, band to band, and life event to life event.”

The making of the album was difficult to complete, he says, because of the tragic loss of his friend and ‘musical brother’, guitarist Roy Strattman “whose amazing guitar work flows across this album,” Katsikas adds.

“It remains a hard thing to hear his passion-infused tracks frame and support the songs, but it also is a way to spend time with him and honor his musical gifts. Grief is mixed with love and gratitude.” The album, Katsikas makes sure to say, is dedicated in loving memory of Strattman, his music and his life.

My Little Atlas family, Rik Bigai, Mark Whobrey, and Diego Pocovi are also interwoven throughout many of the songs presented in this album. There are many other professional musicians who contributed to the album – too many to list.

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