Mastria

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...

A guitar plays single notes at a slow and measured pace as if to test the depth before stepping in. “The opening of ‘Mariana Trench’ is like that – and it doesn’t hurry up from there. Paul Garside's vocals have a placid quality that draws you in initially: one that's resigned to the fact that he will eventually go under. The key is low, the song is dark, and everything is heavy in the best way, but nothing in the worst way. The underlying beat is strong, steady, patient and calm. The second verse makes it clear that this song isn't asking for sympathy. It is a place that Garside is familiar with, but ordinary, curious images that don't explain themselves and don't need to. What interests me is that the chorus doesn't go so loud that it makes a point. Paul's attitude is very direct and straightforward – almost like a fact – and that's what makes it land. He does not want attention from you. He's just saying what's up and that's more convincing...

The synth line in THROES NYC's new EP, The Wires Out, doesn't just appear out of nowhere, but gradually makes its way into the track. The same mood carries into the darker of the two songs, “Something Chemical.” A bass that circles before the chorus, along with a sparse piano, sits under Courtney Leo's voice. Courtney's delivery remains low and somewhat distant, as if she is telling herself something that she knows may not be right for her. The bass has a funky feel and keeps moving underneath her, giving the song a tight and slightly off balance feeling. It makes you feel as if you're in a situation that keeps repeating itself. “Always, Baby” is quite a different story. It starts with just piano and voice, a much softer and more open sound than “Something Chemical.” Then the buzzing synths appear, followed by the guitars, and the song gradually becomes heavier and fuller. At the end, it's no longer the same tone as at the beginning, but rather more rugged and r...

A sustained note on electric piano – quiet, slow, before anything else comes in. Noah James Mass begins “I Am the One” with a breath of fresh air. For a bit, just keys and a light beat under Mass' vocals, but when the guitar finally leans in, it truly changes the atmosphere. His guitar is offset, with a rough edge that is befitting of the blues undertow throughout. I like this build for being patient. When bass comes in, the background vocals fill in, and the drums move from loose to locked. Nothing rushes. Every new part is earned and not added for effect. The words dance around a reiterated line, one that continually points at someone else, an outward-pointing ache. Then near the end it comes back to the same phrase, but it sounds different when you're aware of the change. It's a minor adjustment in the name of the song, but it's a huge shift in the meaning. Noah sings as if not yet finished, not yet thought out. He is low to the mic in quieter moments, but once the m...

Noah James Mass' debut single Misery Winter is quiet for a tale that is pressing so much, but that's what makes you listen first. The guitars are clean and bright, but there's something deeper underneath them. That's the secret behind the song. Even though the words are about going round and round the block, wanting to leave and never getting there, Mass sings smoothly and steadily. His voice stays clear and calm. It just continues on, and the hurt feels even more intense when it is silent and calm. The drums don't let up either. From the beginning, they have a steady tempo, and that tempo remains firm even though the lyrics get darker. I kept expecting the song to get slower and sadder, but it never does. It simply continues to walk, like the beat is the one thing that keeps him moving. It's also a little raw in the recording, not too clean and shiny. The instruments have a natural room character, with an analogue feel. That is the choice that adds authenticity...