CD Reviews

On The Rocks, Sunset Blush

CD Reviews

There are all-male collegiate a cappella groups, and then there’s the all-male collegiate a cappella group. I don’t mean to put the University of Oregon’s On The Rocks on too high of a pedestal, nor do I mean to diminish the accomplishments of the many great all-male collegiate a cappella groups doing amazing things out there in the world. However, if you’re looking for an archetype of what this specific type of group is like, or perhaps should aspire to be like in 2018, I think we’ve got our platonic ideal right here.

On The Rocks Sunset Blush Front Extended

Some context. On the Rocks made one of the definitive viral videos of a cappella in 2008, with their cover of Lady Gaga’s “Bad Romance.” They owned their identity as a prime example of what men’s college group looks like in representing their community on The Sing-Off in 2010. If these steps weren’t enough, 2012 saw the release of Pitch Perfect. It would be easy enough to think the great aca-movie of our time utterly unrelated to On the Rocks, except for the Barden Bellas being loosely based upon Oregon’s Divisi, which would make The Treblemakers a lot like Divisi’s all-male campus counterparts, On the Rocks (to be fair, The Treblemakers are probably more fairly assessed as an amalgam of On The Rocks, The Beelzebubs, and The Hullabahoos who were featured in the source book, but these identities are intertwined in party-hard, competition-winning, aca-institution).

Thus have On The Rocks shaped the world’s understanding of all-male collegiate a cappella, and thus can we understand their new album, Sunset Blush as the group’s honors thesis, both encapsulating and pushing a quintessential sub-genre of the a cappella form through keen song selection, sound, and multiple original song tracks.

On The Rocks benefits from a ton of raw vocal talent, arrangements from no lesser luminaries than Tom Anderson and Ben Bram, and mixing by veritable legends in the field Ed Boyer and Bill Hare. In short, the group has a ton of tools at its disposal and capitalizes nicely.

But let’s talk what makes Sunset Blush such a definitive album. There are the opening tracks to start—Justin Timberlake’s “Senorita,” followed by his “That Girl” and “Pusher Love Girl.” Like Timberlake himself, the guys ooze sensuality and charm, doing a brilliant job of translating live a cappella charisma and showmanship into a purely audio, studio format.

From there, it’s off to the races with Bruno Mars’s “Gorilla.” This is exactly the kind of song choice you’d expect college guys to go for, if only for the refrain of “you and me baby, making love like gorillas.” The group does one better, though with lush flourishes of sound that keep the track from being dismissed as comedy, not to mention the swank production effects to refresh the sound constantly and hook listeners over and over again.

While I could do without yet another a cappella cover of Nina Simone’s “Feeling Good,” the guys offer up a sterling rendition of it, and the song choice does fit my suggestion of this album encapsulating the what groups are singing these days. Moreover, “Feeling Good” offers a fine transition to a pair of tracks written and with solos by music director Jasper Freedom—“You Lift Me Up” and “ Crown Royal”—each with a purity of sound and old school vibe that nicely encapsulate a classy, mature style .

“You Lift Me Up” and “Like I’m Gonna Lose You” each capture a key quality of today’s scholastic a cappella, too, for On The Rocks not silo-ing itself off from its campus community, but rather indulging in collaboration, first with University of Oregon Gospel Singers, then with sibling a cappella group Divisi for a particularly rich sound and fine spotlight on soloists Jordyn Brown from Divisi, and Clay Attig.

Speaking of Attig, he shines for offering both solo work and vocal percussion on a number of tracks, most notably his own original, “Embers.”

On The Rocks doesn’t shy away from in vogue tracks like “Colder Weather” and “Love on Top,” as well as a classic like Earth, Wind &Fire’s “September,” and comes across the better for straightforward, polished takes, without huge frills or surprises. Beyonce’s “Love On Top,” in particular, underscores why the On The Rocks franchise made such a smash covering Lady Gaga in the first place in 08. Sure, there were the bells and whistles of the guys going all in on comedy and dramatic interpretation, but all the more so, the group took the music seriously and demonstrated polish on an unconventional song choice for dudes. The song choice itself is the easy part; doing it legitimate justice is what distinguishes a group like this one.

I appreciated the group’s nod to Eugene, OR in the lead-in to its first track, and cover of Matt Kearney’s “Coming Home (Oregon)” for the acknowledgment of who the group is via where they’re from. It’s easy for a group of national standing to eschew these more personalized choices, but embracing them to, instead, explore the unique creative opportunities they afford is a fine choice for a group of this stature, and a step back toward more traditional collegiate style I’d love to hear more groups return to.

So it is that Sunset Blush arrives as far more than a flavor of boxed wine, but a stunning rendering of something equal parts nostalgic and forward looking—something unmistakably beautiful as it captures the present in moment in a cappella.

RANGE Volume 1

CD Reviews

If I were to apply just one adjective to Volume 1, a debut album from new New York City-based a cappella group RANGE, it would smooth. While it’s not technically a seamless compilation, each track feels polished and slides into the next effortlessly in a way that creates an easy listening experience; moreover, at just twenty-three minutes, it’s easy to consume the full recording as one big piece, which demonstrated good judgment and restraint on the part of the group.

Range Volume 1 Final Cover

Opening with “Morning in America,” originally by Jon Bellion, was an excellent choice both as an attention-grabbing first song selection, and for helping to establish the group’s cool, urban identity from the get-go. It’s not unusual to hear mixed groups sound like they’re alternating between being a female group and a male group between tracks, and I particularly appreciated this one for giving all of the vocal parts an opportunity to shine at different points in the song, thus also making the track an effective introduction to the full group. Nice full sound, and particularly good use of dynamics to build an epic feel here. My only (minor) complaint for this track is that by the end the repetitions began to wear a little thin, and I’d suggest the track might have been even more effective had the group made some cuts to bring it from the longest track on the album at four and a half minutes, down to three-to-four minutes.

The group did nicely on relatively straightforward covers of Avril Lavigne’s “I’m With You” and Major Lazer’s “Cold Water,” each of which were technically on point and featured nice production work by group members in partnership with The Vocal Company.

Delta Rae’s “All Good People” marked a particular high point for the album—a soulful, emotional message song that nicely switched up the tone of the album for a moment. While I imagine some listeners might have wanted a slightly rawer take on the song, I actually appreciated the aesthetic choice for the group to stick closer to its smoother, more polished sound, such that the track slid in organically with the rest of the album.

Rangeedit2 Low 1

I thought RANGE was at its absolute best on its mashups. Early in the album we get “Wild Things,” originally by Alessia Cara, mixed with Misterwives’ “Reflections.” While I’d heard both original songs, I’m not overly familiar with them, and I was struck that on my first listen I didn’t even recognize that I was hearing a mashup, and had to go back looking for it in re-listenings. That’s a nice testament to how fluid the transition between songs, which first occurs on the second verse, was that this did not sound like a Frankenstein monster of songs coming together like mashups sometimes can, but rather like two songs that were meant to be woven together.

Speaking of well executed mashups, though, the combination of “The Circle of Life” from The Lion King and Sara Bareilles’s “Chasing The Sun” proved particularly dynamic, interesting, and artful. In this case, I knew the songs at hand much better, and was a bit skeptical of the choice to combine them, but I’ll be darned if it didn’t work. And it worked both a sonic level, letting each song influence and reinvent the other--they wove together very early on and kept going—and thematically given each song has its own unique story tell about life and how those who come before us might impact how we live today, and what we might do with our futures. It’s a beautiful piece, made all the stronger for the smoothest transition of all with the song feeding directly into the "Outro" track at the end, which nicely incorporates pieces of all of the songs from the album. It’s a closing track that doesn’t necessarily work on a stand-alone basis, but speaks to RANGE’s careful thought about presenting an overall album that works as a whole, wrapping up with a short, deeply satisfying grand finale.

RANGE has garnered attention previously for videos covering and mashing together tracks from Hamilton as well as a medley covering the evolution of Kelly Clarkson. Volume 1 suggests the group has depth and may well be a recording powerhouse for years to come.

You can learn more about RANGE, including information on where to find their album at their website.

Seanote Transitions

CD Reviews

Seanote is a five-member post-collegiate group based out of Seattle, that spun out of University of Washington groups Furmata and Awaaz. After a promising debut album, Vocal Static, the group is back with its new release, Transitions.

Right off the bat, the album demonstrated the group’s attention to detail and consideration of how an album as a whole comes across. The choice to kick things off with Ariana Grande’s “Focus” was really shrewd for its grabbing, offbeat intro that compels the listener to—well, focus. In an era when so many of us listen to music absently while multi-tasking, “Focus” compels the listener to zero in on the music. A jazzy instrumentation at the end of the track further commands our attention for a strong opening to the album.

Sea Note Transitions Album Cover

I really enjoyed the transition to Zar Larsson’s “Carry You Home,” a track with featured excellent vocal percussion that eased the song into a groove and some really fine solo work. I was a bit worried when I saw the next track “Ordinary People” on the track listing—a song that’s already been covered extensively and that’s refrain of “This time we’ll take it slow” I’ve had bore me to tears in more than one live performance. Fortunately, Seanote was up to the challenge in this case, pushing the tempo at key moments, and having two soloists interact over the track to keep the song fresh, interesting, and moving. “This Is What You Came For,” originally performed by Calvin Harris, featuring Rihanna, represented similar creative strengths for a nicely subdued intro, into a more complex, up-tempo sound. I really liked the production choices on that track, too, to infuse just the right level of an electronic sound to fit the song, while not compromising the more purist a cappella sound the group leaned into for the full album.

The “Interlude” on track five of the album proved to be one of my favorite choices on the recording. While it doesn’t hold up as a stand-alone track, it was a nice palate cleanser and transition between sections of the album. Too often, a cappella albums sound as though groups just threw together a bunch of songs they’d been singing recently, but a track like this demonstrates wonderful care in thinking about the overarching listening experience, and inviting an audience to listen to an album as one holistic piece. The interlude was particularly effective on the transition to Shawn Mendes’s “Stitches” with a wonderfully creepy, static-y whispered intro, a nice handling of the rap interlude, and really cool sound on the outro, with a soprano overlaying the group sound.

While the tracks to follow, “Let It Go,” originally by James Bay and A-Tran’s “Fatal Disease” were handled nicely, they were relatively straightforward takes on popular songs that left me wanting a bit more to make the songs distinctively Seanote’s. A cover of “I Choose You” by Sara Bareilles risked falling into a similar trap, but I appreciated the choice to insert a male soloist on the bridge to mix up the sound and lend a metaphorical sense of two halves a whole relationship coming together on it. My only knock on that track was that the rhythm section felt a bit too present on it, threatening to overwhelm the sweet song.

In the latter stages of the album, Shaeer Aftab’s “Take It For Granted” came at just the right time for the rap to really mix up the sound and I appreciated the stripped down nature of the track. Unfortunately, Fall Out Boy’s “Centuries” felt like a bit of a letdown after that. While the group’s handling of the song was certainly competent, it’s a song choice we’ve all heard so many times in a cappella at this point. In principle, the choice to do a softer, slower take on the song seems interesting, but I felt the choice ultimately robbed the song of some of the fire power it could have used to justify its placement on the album.

Seanote ultimately saved some of its best work for last though, with a mashup of Rachel Platten’s “Fight Song” and Katy Perry’s “Roar.” At first, I was a little underwhelmed with the choice for this one to start so slow as well, but Seanote knew exactly what it was doing in executing this fine arrangement by Lucy Liu and Michael Kibbe, as the soft slow beginnings offered plenty of room to grow, and a particularly electric moment as things picked up on the “my power’s turned on” lyric from “Fight Song.” While I’d argue that this one could have popped a bit sooner, the payoff was nonetheless impressive, and the track finished in truly excellent fashion as the two songs came together.

To nitpick, I think this album may well have been stronger were the group to have weeded out one-to-three of the of its less memorable tracks. Nonetheless, I really appreciated the overall architecture of the album from its well thought out beginning, to the shrewdly applied interlude, to mixing the tempo and style at just the right times en route to an excellent finish. Transitions is available now.

The Pentagrom App

CD Reviews

Pentagrom is a new app whose makers tout it for offering “real-time visual and auditory feedback of each note you play or sing.” The app is currently available for Android and iOS.

The makers of Pentagrom collaborated with The A Cappella Blog to reach out to real a cappella groups to get feedback on how the app works for their purposes. We’re pleased to share the responses. The reviews below come from members of Cornell University After Eight and Florida Institute of Technology’s A Cappella Choir, who were asked the guiding questions: 

1.As an a cappella singer, do you find Pentagrom useful? 

2. If so, for whom? For what? 

3) If not, why not?

Here's what these objective test users had to say:

Liz M. and Brianna C.: Yes, I find it useful. I think it can be useful for everyone because nobody sings perfectly all the time. It's useful for checking notes if you are unsure. I like the visual aspect in that you can see when you are not exactly on the note you want. When you see a different note on the app than what's on the page, you know you're out of tune, and you can see whether it's sharp or flat. If you see a bunch of notes jumping around the screen when you are only trying to sing one, you know that you're splattering on the note or you're using too much vibrato.

It wouldn't be useful for rhythm issues/learning because it only shows you notes. Some a cappella arrangements aren't note-intensive but some can be rhythm-intensive, and Pentagrom would only be able to show you that you're singing the right notes.

Emily B.: In theory, this app is a wonderful idea. However, its execution is far less spectacular. Some of the features, such as pitch-matching, were very helpful. The micro-tones feature included in the app is an excellent idea that I find very practically useful as a singer. It represents a unique opportunity to finesse my pitch which I would otherwise be unable to do. However, the app remains full of glitches and error messages (most in Spanish, despite selecting my native language of English), I was repeatedly prompted to unlock various functions despite already having access to the unlocked app in its entirety. As the director of my a cappella group, several members informed me that they were completely unable to make the app work for them. The price for full unlock is also remarkably steep considering the current functionality of the app. Although I would love to see how Pentagrom continues to grow and change, at this point further development appears to be the foremost concern in Pentagrom’s immediate future.

Sarah T.: This app is really creative and awesome, there are some things that I noticed that could be changed. However, the notes get laggy when you are singing. You can’t sing too fast or else it won’t pick up on the notes in between. Also, when you record something using the sound, and you sing the same note with a rhythm, it doesn’t play the note twice, it just holds the note out. It would be nice if the note would play twice in a row. The recording part works better when you do it by touching the notes on the screen. It could just be my phone but once in a while, when the app is not closed for a long time, the notes do not ring when you touch and hold them. They just beep once. During recording, when you switch in between two notes fast, sometimes it doesn’t pick up the note. If you were to sell it worldwide, it would be nice if you could have an option to switch between Do Re Mi, to C, D, E, so you can tell which letter note and which solfege it is.

Richard H.: It was confusing to figure out how to utilize the interface without instruction. Touch functions and the microphone function did not always work but were useful and interesting when they did. Error messages were frequent and never in the language I had selected. When this app is complete, it will be excellent.

Charlie S.: Pentagrom is a lovely idea on paper, but still needs some of its kinks ironed out. It does a good job of picking up and identifying played or sung notes, but has issues if multiple notes are played at once. In addition, they keyboard function malfunctions on occasion, requiring a restart of the app to work properly. Certain in app messages are still in Spanish, regardless of the localization choice. The notes of the solfege function do not shift when you change keys, making it harder to remember which note is actually your tonic (in addition to having no support for minor keys). The record function works excellently, as does the in ear feedback. Overall, it's an excellent idea for an app, that has some good groundwork and core features, but falls flat in execution, being clunky in operation.

Thomas W.: When the Pentagram code I was given was entered, the iStore said that the code entering was successful, but the locked features of the app were still locked. I tried reentering the code, but the iStore said that the code had at that point already been redeemed. In regards to the free features of the phone, the feature that plays the note tapped on the sheet music is simpler to use than a regular piano app. While one may select a new octave in the menu screen, it might be more user friendly if one could just scroll up and down to change the octave with having to stop and go to the menu. If the app could work without needing to have earbuds, that would also be more convenient.

Harris H.: Pentagrom, although a very useful idea, fails in performance. I was unable to hear any sound from pressing "keys" on the staff, the interface was clunky, the app needed your precise dexterity, and, although I had to change the language setting to my native language (English) every time I loaded the app, approximately half of all the text still appeared in Spanish.

The best part about this app, was its note detection from the user's voice, although it wasn't very responsive.

I was given a free copy of the full version of this app through my a cappella group, in exchange for a review. So, in terms of usefulness in a cappella, I can say the current state of the app is useful for finding your pitch, but accompaniment from another instrument will have to cover the app's aforementioned shortcomings.

Rebecca D.: The interface (while easy to understand for someone who is musically inclined) offers no instruction on how to proceed from the beginning of using it. There's no instructions or pointing out the features of the app, or explaining things to the user at all. You have to either figure it out on your own or watch video tutorials online to understand what the app does and how to use it. The key signatures for the note detection are all written in solfége, which is a little strange to a musician who can read. It only works with headphones, which renders it useless in a group setting, or if the user doesn't have earphones with a microphone on them. The ten-dollar micro-transaction to unlock all the features of this app seems a little wasteful, given that it seems that one could accomplish anything this app can with a minor knowledge of how to play a piano and any free desktop recording software. Without the in-app purchases, this app feels like a giant pitch pipe—which isn't a bad thing, just something you don't need two of.

Shelley M.: As a singer, I found Pentagrom very useful for pitch-matching. Normally, to find a note, I would sing the note and play keys on a piano app until I found the one that matched my pitch. With Pentagrom, I just have to sing the note and I get the precise pitch immediately. It is also useful when reading sheet music because you can immediately tell if what you're singing matches the notes in the piece. The micro-tones feature is very useful for exact pitch accuracy; as a singer, I want to be right on the center of a pitch, and this feature helps me to do so. Additionally, I found the extensive range of instrument sounds very impressive.

As for the things I didn't like, the app loads all of the pitch sounds every single time it is opened, which takes a little while and is slightly bothersome. Also, all of the pitch sounds were somehow automatically added to my phone's music library on four separate occasions, so I had to delete 88 twelve-second tracks from my phone four times. I don't know if this is a problem with the app or with my phone, but if it keeps happening, I may have to delete the app. Also, despite the fact that I have selected "English" as the language, some features and phone notifications are in Spanish.

In terms of improvements, perhaps there should be a search bar for selecting an instrument because there are so many of them and a search bar would make it easier to find a specific one. I know there are a few instructional videos online, but I personally would like a more in-depth description for the various features; maybe the app could have a button/menu feature with instructions for each component. A metronome feature might be nice as well. Lastly, the circles on the staff for pitches could be slightly bigger to accommodate for people's fingers.

Kristie B.: The app is very nicely laid out, having the clef on the main screen makes it easy to see what note is being sung and being able to click and play a note helps to give a starting note when singing a cappella. The app lay out can be confusing, better labeling of what tabs do would create a more user friendly app. Overall however it is useful and well thought out app.

Vocal Line It’s Coming On Christmas

CD Reviews

With the holiday season upon us, I was so pleased to encounter It’s Coming on Christmas, the new album from Danish a cappella group, Vocal Line. The project is artfully plotted into chronological order, starting before the Christmas holiday, arriving at the day, and then exploring the aftermath. This narrative thread not only lends cohesion to the album, but also offers a key gateway to understanding for listeners like myself who are in no way fluent in Danish.

Vl Jule Cd 2016 Cover Digital

The title of the album pulls from Joni Mitchell’s “River,” the third track covered on the album, and offers fair warning that this collection is not all whimsical or joyous, but rather leans into the kind of melancholy and introspection familiar to many during the holiday season. Moreover, that title reference also alludes to the beauty of the album to follow. Particularly in the classic holiday songs that will be familiar to a US audience, Vocal Line achieves lovely harmonies and pristine mechanics that result in a smooth, easy listening experience that allow the listener to become immersed in each track.

The first two songs of the album “Skyerne Grane” and “En Rose Sa Jeg Skyde” offer a sound entry point, particularly in conversation with each other. The former offers a rich sound, anchored in its bass, and feels as though it captures the sound of communal singing in the holiday season. While the latter song is also handled chorally, it’s much softer, spotlighting its high harmonies. In each case, these songs hint at the warm beginnings of the holidays. Aurally, the transition from them to “River” is quite fluid, but the stark tonal shift takes us to a colder, less celebratory place. Vocal Line’s soft, careful rendering of the “Jingle Bells” sample at the end of the track is particularly haunting.

For the Christmas day leg of the album, “Mit Hjerte Altid Venker” is particularly successful for the pounding bass that adds a sense of danger to the track on the mounting crescendo, while “Hjerte Loft Don Glaedes Vinger” demonstrates a certain measured professionalism that is especially lovely on the closing—the sopranos soaring while the lower parts come in right beneath them for a full finish. All of this functions in perfect contrast to “O Holy Night,” arranged with tremendous skill and restraint by Morten Kjaer, for a stripped-down presentation that not only showcases the incredible vocal talent at hand, but makes expert use of dynamics so the group really pops on its crescendos.

The final leg of the album casts a spotlight on Vocal Line’s soloists--in particular Katrine Gregersen Dal on “Det Er Hvidt Herude,” with her wonderfully chilling winter tone. The warm, celebratory staccato instrumentation on “Sneflokke Koller Vrimlende” delights as well.

All in all, It’s Coming On Christmas is a musically pristine collection that boldly melds traditional international holiday favorites more unique to the Danish and Nordic tradition. It’s certainly worth a listen for anyone looking for something different this holiday season, and in encountering some of Denmark’s finest vocals. Credit for production goes to Jens Johansen and Herik Birk Aaboe with Line Groth, with mixing by Corona Music, Thorso and mastering by Emil Thomsen at ET Mastering.

You can learn more about Vocal Line at their website.

On The Rocks That Girl/Pusher Love Girl

CD Reviews

The a cappella world has its share of groups that have enjoyed long-term success—thriving in the recording studio and in competition, crossing over to garner mainstream attention beyond the confines of the a cappella world.

When we think of groups like that—groups with a wide range of successes, groups that sound great, and groups that have been hitting landmark after landmark over a period of years, there are few that hold a candle to On the Rocks.

The group was founded at the University of Oregon in 1999 by Leonardo de Silva and Peter Hollens (yes, that Peter Hollens who has gone on to mad success as a solo YouTube sensation). In 2002 and 2003, the group would place at ICCA Finals, and 2004, 2006, and 2009 would see them land tracks on the Best of Collegiate A Cappella compilation.

In 2010, the game would change. First, On The Rocks uploaded a video of them “Rick-rolling” a New York City Subway that grew wildly popular. From there, they released a music video to their new recording of Lady Gaga’s “Bad Romance.” Well arranged, well sung, well produced, and wildly entertaining from a visual perspective, the video was a smash success, instrumental in the a cappella boom that continues to this day, not to mention wildly influential in so many other all-male groups covering Lady Gaga  and other female pop artists in the years to follow. The video also paved the way for On The Rocks to find their way onto The Sing-Off, reaching a truly national audience via multiple appearances on NBC.

But what has the group been up to since?

Though On The Rocks hasn’t been operating at quite as high a profile, they’ve exploded back onto the scene today with the release of a brand new single, a mashup of Justin Timberlake’s “That Girl” and “Pusher Love Girl.”

The tracks opens with a pristine take on “That Girl”—largely stripped down, driven by a powerful rhythm section led by vocal percussionist Donovan Cassell, featuring a super clean lead and backing vocals soaring over it. Two minutes in, the group seamlessly crosses over to “Pusher Love Girl,” pushing the tempo ever-so-slightly, employing a fuller sound and letting a falsetto lead really shine over the course of the song, leading up to a beautiful fallout moment for the leads to operate unaccompanied on the final lyrics. The solo work by Nick Grant and Ethan Alvarez across the track really shines.

It would be easy for a track like this too run too long, or to feel like it represented two disparate pieces wedged together, but between a slick arrangement, execution by the group, and production (recorded by Russell Kamp and Peter Hollens, mixed by Ed Boyer, and mastered by Bill Hare), this mashup is a huge success in terms of feeling cohesive, and consistently communicating the overarching sense of easy, sexy swagger, intrinsic to Timberlake’s original songs.

The single is available now on iTunes, Loudr, and directly from the On The Rocks website.

Next Page
On The Rocks, Sunset Blush
RANGE Volume 1
Seanote Transitions
The Pentagrom App
Vocal Line It’s Coming On Christmas
On The Rocks That Girl/Pusher Love Girl
​The Cornell University Chordials Surface
The University of Texas at Austin Ransom Notes Falling From The Sky
Retrocity Mixtape
Movie Review: Stages
The University of Rochester Midnight Ramblers Deja Blue
Movie Review: Pitch Perfect 2
Proof of Purchase Quintessential
Forte Uncharted Heart
The Boston University Treblemakers The Teal Album
Forte Femme A Very Forte Femme Holiday
The Octopodes The Kraken
Soul2Soul Game Over
Business Casual Eyes On Me
Book Review: A Cappella Arranging by Deke Sharon and Dylan Bell
MIX Edifice
SeaNote Vocal Static
Mister Tim The Funky Introvert
No Comment Ellipsis
The Nor'easters Equilibium
GQ Vol. 1
CD Review: Arora Bioluminescence
Reverb Blueprints
The Cornell Chordials The Shadow Aspect
All The King's Men Royal Flush