Mastria

The song begins with a quiet acoustic guitar, so low that if it wasn't for the lyrics, you might almost miss it. Then it is the voice of Michellar, like she's talking to someone who's no longer there. That's how "Can't Get You Out Of My Mind" begins, and it immediately puts you in that feeling of being stuck with a thought you can't get rid of. The overall song remains on one idea. Ruminating over someone, even when you'd like to forget them. It's not something complicated that you feel, but the song continues going round and round that feeling until it becomes familiar. The way things enter your mind and you just keep thinking about it, without being aware of it. The music slowly gets bigger as the song goes on. It begins with the acoustic guitar and vocals, after which the bass line is played, followed by the keys below. It comes back with a much fuller guitar sound later, and it's almost psychedelic. I enjoy that the song doesn't rus...

It's immediately a voice that asks about a book that wasn't written. AJ Gilmore is first, and direct, as if he's reading his own story back to himself. The next instrument to join is the guitar, a bit rough around the edges, and before you really can sit down and listen, "Chapter & Verse" by Rumour Den begins to play. The song is about a character that everybody sort of remembers from school. The one who thought his talent would just come to him when he needed it, and who was too cool to learn. Gilmore doesn't pretend he's a better man than he is. That's one of the reasons it works here, the delivery remains direct throughout. Steve Simms is able to keep the music close to the voice. Not a single thing feels unnecessary. The guitars push, the drums keep steady, and there's a melody under all that to hold on to. It's good that this is a song with such a straightforward message and it still leaves something in your head. I really don't li...

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...