Automatik Eden


Automatik Eden 

Automatik Eden is a highly exotic Indie-Electronica power duo out of Los Angeles, California; consisting of vocalist Cela Scott and guitarist, vocalist and drummer David Crocco. While working behind the scenes with artists like Eminem, Beck and Incubus, Cela and David decided to form their own band to create music. David worked as an engineer and producer for many artists. His post-production engineering skills have been in demand for quite a while, having worked with a huge number of impressive acts, in various genres. Performers David has worked with include everyone from Dr. Dre and Busta Rhymes to Nickelback and System Of A Down. All of whom are extremely successful artists and groups. While listening to the band’s self-titled EP, one can hear the influence of The White Stripes and The Kills. But make no mistake, Automatik Eden has their own distinct sound.

Automatik Eden is by far one of the most unique indie-electronica bands I’ve had the pleasure of listening to. I took a liking to quite a few of Automatic Eden’s songs for these reasons:

“Gold to Straw,” is the kind of song that puts you in a somber mood and helps you relax after a long day at work or school. It make you feel as if your head is in the clouds and there is not a care in the world. I enjoy listening to music that helps me cool down after a long, busy day.

“The Agency,” has an extremely catchy intro with a lot of heavy guitar riffs. I also enjoy the sound of Cela’s vocals in this song more than others. She has such a powerful sound, that this track makes me want to get things done and be successful.

“Citadel,” is a song about never giving up, regardless of the external and external demons you might have to face. This track spoke to me personally because I can relate to it. I like the fact that these two will never give up on what they believe in.

If you enjoyed listening to Automatik Eden’s self-titled EP, I suggest you take a look at some similar artists and tracks listed below;

Radiohead – “Karma Police”

Massive Attack – “Teardrop”

The Kills – “Future Starts Slow”

Nine Inch Nails – “Head Like A Hole”

The video for “Gold To Straw” is such a work of art. The dreamy atmosphere is a throwback to the golden days of every young soul on the planet and I really enjoyed the dark persona they portrayed in the video. It’s absolutely shocking that the video only has a little over 300 views. Visually, Automatik Eden has a lot to offer. Both Cela and Dave have put a lot of thought and effort into both their personal and stage appearance. For this reason, I can see a lot of good things happening to this duo in the future. They are truly in it for the passion and love of music and that’s hard to come across these days.

– Michelle Lopez

Jourdan Myers – Ruin Me With Love


Jourdan Myers – Ruin Me With Love

Some of this is a little too weird for me. Still, there is enough charm here to make this a winner. It starts and ends strong, too. That doesn’t hurt.

Starting with piano, “Lifetime or Before” turns to more of a rocker after the first section. A mellower song, “Long Days” has some real charm and magic. “Push Me On the Playground” sort of reminds me of Adele a bit. That’s a good thing. “Firelight,” though just doesn’t really reach out to me as much. It’s a little too odd.

Although “The Fight” is also pretty weird. I like it a lot. It’s pretty and the vocals add to that beauty. It’s mellow at the start, but rocks with energy in the middle sections.  I love the energy and vitality of “Wanderlust.” It’s one of the best here. It really rocks. Even though “Voice of Silver” isn’t extremely energized, I like it. There is a magic to it.

“Tears” is a weirder song. Yet, it works really well. I really like the guitar soloing on it. It’s not fancy or technical but sounds great. This is more about mood and feeling than anything else. I like “End of Me”  better than a lot of the rest. It has more of a mainstream rock sound to it. The energy and flow of the song are both very solid. I can hear some Adele on this number, too.

“Dusty Roses” feels more like the kind of pop music I hear on the radio these days. I like it a lot. I can hear some country music in “Be Here.” It’s a pretty piece and one of the best here. There is country music on “Slow Motion,” too. It’s got a lot of Americana, as well. This is another of my favorites. It has energy and melody along with charm.


– Diane Hill

8/10 Stars

Robert J. Hunter – Songs for the Weary


Robert J. Hunter – Songs for the Weary

No one howls like blues singer Robert J. Hunter on his debut album Songs for the Weary out this month. Of course, no one like the Wolfman himself. Hunter’s husky, dirty blues vocals shine on this freshman effort, prompting a thoroughly unique album of pain, reflection, and the occasional dance ditty.

Norn in the Channel Islands, Hunter started playing music at age fourteen and signed to Spectra Records in December of 2013. It’s a one-of-a-kind listen with Weary. There’s just enough high energy and that undefinable star quality that drives Hunter’s record. Audibly, you picture Hunter as a 6-foot-tall, burly, hairy woodsman with the best beard of Movember. But that’s no dig at the fella. It just feels like one hell of a time.

“Turning” begins the album on a high note with foot-stomping guitar riffs before you’re sucker punched by Hunter’s thick voice. His single “Demons” is a sing-a-long from the gate, and the party continues from the first track. Poetically, Hunter sounds like a demon himself here, creeping in on you while making you nod your head. And, despite its name, “Sleepless Nights” calls for you to dance.

The meat of Songs for the Weary kicks off in the second act when “Nightmares” sneaks up on you as a quiet surprise. The down-tempo track is a record stand out as Hunter is at his most emotionally weighty. Here, the singer bares his soul. He’s a man lost and finding himself, and the dream-like execution (no pun intended) has you living the nightmare with him.

“Witches and Werewolves” – maybe Hunter foresaw the Wolfman reference – plays like a hypnotic Halloween song. Picture Little Red Riding Hiding in a mid-riff and not so little anymore. Neither frightening nor fluffy, seductive rather, it belongs on thirty second teasers for television’s most alluring guilty pleasures.

The deeper you go into this debut album you witness the breakout of a musician who can very well become a hall of famer. He sounds like no one else today, which, on the other hand, can also become his down fall. Sometimes, Hunter’s hoarseness comes at the expense of making out lyrics. The track titles aren’t always the most welcoming and you may not be able to differentiate one track from the next. Still, Hunter lacks in variety he makes up for in being different himself. Yet another highlight is “See You in Hell,” a down-tempo that makes you visualize being in a drunken stupor at a Nashville bar. He sings “You tried to put me down/I won’t go without a fight.” It’s a blues man at his best, demonstrating searing vocals and great depth of emotion. “Chains’ ends the record somberly, a counter to the first track, beginning with electric guitar riffs that vibrate and linger. You experience the complexity of Hunter’s soul, hearing the pain underneath his possibly Bourbon-soaked breath. It’s gospel-like and quite magical.

Hunter’s debut album is one for the books, a distinct examination of a human being in the highs and lows of his existence, all with an unforgettable growl.

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Erman Baradi



Mutts – Fuel yer’ Delusion (vol 4)

The keys/bass/drums trio, Mutts, have been described as “Tom Waits fronting a garage band” by Time Out Magazine, and “what Queens Of The Stone Age would sound like if they ditched the guitars and started playing some dirty sounding organs” by Loud Loop Press. This is the fourth full-length release from Mutts. Most songs transition into each other, and the black cover art is digital-only; the LP and CD packaging is made of a reflective foil-coated cardboard. This is a conceptual title, loosely based on winning the next big talent contest, deserving it or not. The album starts off funny but takes a few serious turns after part one of three of the same title in America’s Next Top__pt.1, and finds all kinds of room for variety in-between. For instance they go from one style to the next without losing course somehow. Real Good Boy and Shake It Up are two examples of better songs, as where some stick closer to the concept, so they tend to be more similar that way. This makes for good opposites when needed, and takes them the distance on every song, giving each one something to offer that the other doesn’t. They really have taken their sound to the next level on this, with production duties between the band and drummer Dan Smart for an overall quality release that plays well throughout. This is a very comical group but also very musical to balance it all and they prove to have gone in one direction after the other on their releases, which this stay the course in doing. On Everyone Is Everyone they show a less serious side but it’s vital to the concept threaded throughout the album, and if I had a favorite it would have to be the moody Black Ties & Diamonds. The vocals are what lead the way with this band, but the music at times is equally interesting, especially if you like their sound. In getting away from some of the more traditional Mutts songs, notice the refreshing sounds of tracks like Breed with its occasional big breaks, and the eclectic People, which is sort of a chant that really takes on the subject matter with some interesting percussion to back it. This is a very fun band with a few good releases already under their belts, and this latest, released in December 2014 is bound to turn a lot of heads their way from Chicago to each coast. And if the Tom Waits sound is not for you, don’t let that fool you, they have so much more to explore on “Fuel Yer Delusion vol. 4.” Some of it is for everyone, some of it not, but you have to hear it all to decide which falls under which. Tracks like Stone prove this to be the case, as it differs from most on offer, but can fall on either set of ears.

Cory Frye

Score: 7/10

Doug McCurry & The Verticals


Doug McCurry – Doug McCurry & The Verticals


(CHARLOTTE, NC) McCurry has been involved in original since the 1980’s, as both a musician and producer. He was a member of the band Big Brick Building, who released 2 CD’s and drew the attention of industry professionals, critics, and alternative music fans. After several years of absence, Seven Songs About Leaving marks the return of Doug McCurry to writing and recording music. Doug McCurry just released his third CD to date entitled “Doug McCurry & The Verticals.” I could be wrong but influences may include John Lennon, The Style Council, Hard-Fi, We Are Scientists, Talking Heads and The Cribs. Maybe even some of the bluesy more light hearted songs by Bob Dylan. Lyrics inspired by ordinary experiences, nature, and an adventurous spirit no holds barred Americana spirit and attitude. Doug McCurry combines iconic bits of the Great American West with contemporary production values and storytelling.

A diving in and pushing forward that reflect another side of this multi-talented artist. The CD stars off with “”Prelude to Vertical” and ”Knocked Me Down” with its hypnotic horn driven melody lending itself to a captivating yet invigorating vocal performance from DM, At first you listen to his voice and cringe a bit because it’s a bit unorthodox. But as the songs continue – you get used to it and learn to roll with it a bit. Being a professional event planner, I cannot get out of my head the idea that many tracks on this CD filling almost any country function. All 10 songs on “Doug McCurry & The Verticals” have a sort of whimsical musical feel to them almost “where the wind takes you” sort of feel. This makes the world seem right but there’s an underlying sense of hope that your future looks brighter than your past. Just when you think you got this guy and his band down you get blindsided by more songwriting depth. This leads us right into my favorite 3 tracks on the CD “Nasty”, “Five Years Ago” and “Not This Time”. This last one’s got more of a short but sweet message, but still possessing a raw’ sad but true” honesty-style and grace. Not only is McCurry a capable musician, his contribution to the writing and arrangements of all these songs is of paramount importance. This is where true talent either flourishes or fails to show up. Here in this setting McCurry delivers, which is to say nothing of the pervasive and contagious chemistry he shares with the other musicians present. As a whole the bad plays like a well oiled machine. I might add there are songs here for old school Americana fans as well like myself. Indeed Doug McCurry aims to please new listeners as well as his songs are also placed in a near perfect arrangement – 10 solid pieces.

Doug McCurry & The Verticals as a whole provides a wonderful American journey via this electrifying setting with a full gamut of musicians and players. Another hit worth mentioning is “Fireball” and “Bostic Sunrise” 2 great statements that has the good and bad. Doug McCurry also reminds me of Josh Ritter, Nick Drake and The National, The Bravery and XTC.. In the end this is a rock solid release that upholds the classic Americana-jazz-blues-rock standard.

Purchase Link:

Score: 4/5/5 Stars

Jill Anderson

Joe Ness Ellipsis


Joe Ness  Ellipsis

Ellipsis, the debut album from Spectra recording artist and New York City native Joe Ness, heralds the arrival of a potentially major new voice in the hip-hop genre. Ness is working squarely within the traditions of an established mode, namely East Coast hip-hop with all of its predilections, but doesn’t limit himself to narrow explorations. Instead, the most notable aspect of this debut is his lyrically content and delivery. The gritty, organic production keeps the strong musical content in the listener’s ear throughout and helps present the album as a well-rounded, cohesive work.

A brief opener with minimalist musical content, “Intro (The Definition of Ellipsis)” is a strong delineation of the album’s lyrical themes and, with its brief running time, never overstays its welcome. An introduction like this signals some ambition. A cynic’s take might be Ness felt it necessary to explain what ellipsis means in this context to those otherwise unaware. However, the thoughtful lyrical content is a hint that Ness’ vision is clearer. This is autobiographical with, perhaps, a thin veneer of fiction imposed over the top and intends nothing less than to give a full accounting of his life.

As well, it provides a theatrical experience. The album’s next track, “The Reign”, points in that direction with its lush musical orchestration. It is hard not noticing the slightly ominous air surrounding the song and careful listening to the lyrics will only strength that opinion. While I am rarely a fan of songs hinging on clever puns, “The Reign” is methodical, well written, and flawlessly performed.

Heavy electronic music supports “Cinderella”, but Ness’ verbal skills highlight another track. He can veer effortlessly from smirking, loose-shouldered confidence into startling moments of insight and his sensitivity to enunciation peppers his delivery with surprising turns. A similar aesthetic informs “I Got To Work”, produced by Dez Beats, but the electronics are even thicker this time around. Ness’ cawing swagger never loses its way in the dense backing and, in the best example of traditional rock ensembles; his voice is another instrument in the sonic tapestry.

The lush orchestrations return to superb effect in the blustery “Got Damn”. Like the best examples in this genre, Ness’ formal musical backing creates a strong counterpoint to the customary, if cleverly stated, bravado filling the track. This is smart, savvy stuff with attitude to burn and a sturdy sense of what hip-hop fans have traditionally appreciated. Few tracks illustrate this point better than “Snakes On A Plane”, produced by Duck Dodger, a wide-ranging screed against society, Ness’ perceived inferiors and enemies, along with a healthy sampling of an assortment of poseurs and thieves. The music and beats have a relentless, accumulating quality that, by the end, feels like you haven’t heard this song as much as buried under it. This is perhaps the intense, tough-minded highlight of the album.

When you come out of the gate like this, swinging for the fences and intending to leave behind a statement of your arrival, the only concern is if you can maintain that focus. There’s evidence of Ness’ ability to do so in every track. There isn’t a minute of this album not stamped with a distinctive voice and personality. Ellipsis is an accomplished debut and well worth any serious hip-hop fan’s time and cash.

9/10 Stars

J. Hillenberg

Going to the Sun


Going to the Sun

I like most of this a lot. There is one song I really can’t stand, though. Some of the others aren’t as strong as some of the rest.

I love the energy and the driving beat on “New Year.” It is an entertaining song. It’s the kind of thing that really fits on the radio. They come in with a bit of a classic rock and roll sound on “Alone in the Same Room.” The energy and charm of the opener is maintained, too. This is another winner for sure.

“Halfway Around the World” doesn’t have the energy we’ve gotten used to. It’s not as good, either. It’s kind of country ballad, but it gets more fire later. I like the beat of “Never Get Over You.” It’s got enough energy to keep it going strong.

Although “So Separate” is pretty, it’s too slow and too long. A lot of “Our Hearts Keeping On” is mellow. It’s better than the last song, though. This is definitely the kind of thing that would be at home on the radio, but in a good way. I like “Out of the Night” a lot, too. It’s got energy and strong melodies.

I wish they’d left “Lying In Green Pastures” off. The stripped back arrangement is paired with the least effective vocal performance of the disc. The two together are a recipe for disaster. On “Autumn Turning Over” the singer says that the beat inside his heart makes him feel like moving. The beat driving this song might make a lot of people that way. It’s a great way to end back on track


– Diane Hill

Thalassas is Prog Rock Perfection


 Thalassas, the new album from In the Presence of Wolves, is one of our most anticipated releases of the year

New Jersey band In the Presence of Wolves has been taking the Jersey-Philly prog-rock scene by storm. This band first formed in 2009 and became a hit in the prog-rock scene by 2012. The four piece has performed at places the TLA, The Trocadero, and Kung-Fu Necktie. The band is debuting their new album Thalassas at their release party on November 29th at the North Star Bar in Philadelphia. The full length record is set to come out on December 2nd.

Thalassas features eight tracks, include a three part song sharing the album title. In my opinion, this band is the epitome of prog-rock/metal but with their own unique jazzy flare added to it. The vocals, which I would call alternative sounding, mesh perfectly with the progressive rock/metal undertone of the instruments. The seven-minute long track “Hypoxia” starts out as a soft rock song with meaningful lyrics but strikes you with bursts of hard rock.

Another great track off the album is “Birdsong.” This track shows the bands uniqueness and versatility with their sound. Like “Hypoxia,” it starts out soft and eventually picks up. “Birdsong” has extremely relatable lyrics and in my opinion, shows off the bands instrumental talents more than any other track. If I had to compare these guys to another band, it would probably be a combination of Mastodon and Incubus but much more unique.

If you’re interested in hearing what In the Presence of Wolves is all about, check them out on Gashouse Radio, or at The Legendary Dobbs on October 31st, The Wild Bull on November 7th, or the North Star Bar on November 29th for their release party. Give them a listen, you won’t be sorry.


Patrick Joseph – Moon King

Playing 10/14 at Tin Angel

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GENRE – Singer/Songwriter, Indie Rock

Patrick Joseph hails from Pittsburgh, PA and honed his skills as a singer/songwriter in the local pub & club scene. With the desire & ambition to perfect his recordings, he moved to LA and recorded & produced his debut LP Antiques. This initial project was met with immediate success securing multiple placements in TV and film, including NBC’s The Office, ABC’s Happy Endings, CW’s Gossip Girl, NBC’s Chicago Fire MTV’s Friendzone, FuseTV On Demand, and select tracks from the album featured in various feature films such as The Boys Of Abu Ghraib (2013) and Desecrated (2015).

Over the last several years, Patrick Joseph has played around the continent from the Sundance Film Festival, multiple appearances at SXSW Music Festival in Austin, TX, CE Cutting Edge Conference in New Orleans, to the NXNE Music Festival in Toronto, CA and CMJ in New York.  Joseph has toured relentlessly during that span all over North America and Europe.

About The Record

Pulling influences from Tom Waits to Radiohead to Elliott Smith, Joseph creates a collection of songs that compose an impressive soundscape, further demonstrating his skills as an important producer and songwriter in the indie singer/songwriter genre. Moon King was recorded and produced largely in a solo effort, but unlike his debut LP, Joseph recruited the talents of his touring band to help capture the sound and feel that makes up the beautiful chemistry of the recordings.

Look for Patrick Joseph at one of the following dates this fall:

9/20/14 – Los Angeles – Republic of Pie

10/2/14 – San Francisco – Coast Recorders

10/4/14 – Los Angeles – Hotel Cafe – RECORD RELEASE!

10/8/14 – San Diego – Lestat’s

10/11/14 – Pittsburgh – Club Cafe

10/14/14 – Philadelphia – Tin Angel

10/16/14 – New York – Rockwood Music Hall

10/17/14 – Asbury Park – The Saint

10/18/14 – Pittsburgh – Jergel’s

Catalina Shortwave – Repeater

Catalina ShortwavePrimary URL:


From Connecticut comes rockers Catalina Shortwave who just released their latest CD entitled “Repeater” in 2014 (Spectra Records). SC Marty Stauffer – Guitar, Dave Rizzo – Vocals, Brent Morton – Guitar, John Garvey – Drums. So I guess they have 2 guitarist and no bass player? OK?


Right from the start of Track 1 “Don’t Never Take Your Love Away” it might be easy to just categorize these 4 as a straight ahead “dime a dozen” throw back rockers and write them off as the newest trending band around the east coast. It wouldn’t be wise, though. Sure, if you listen to some of the catchier moments within this 14 song CD: that’s the impression you would likely get. However there is a method to their madness. There are some really well crafted, good songs on “Repeater”. This 14 Track offering dares to step outside the modern rock music boundaries and go towards Soul/Rock/R&B and even Funkadelick Rock. As a vocalist Rizzo is not afraid to color outside the lines musically and bare his true soul to the world. Some of the lyrics are powerful and I believe he believes every word he sings. Of course much of this goes against the grain of modern day rock with many feel has lost its way by leaving its soul at the studio door in an attempt to please the corporate music world. As a result Rizzo’s amazing singing coupled with the bands solid writing style really opens up the CD emotionally. This enhances the listening experience rather than limit it for me. So there’s really not a lot about this band that’s “dime a dozen” is there.


Zeroing in on their sound these 4 are obviously experienced at performing and writing music, but they need a producer to help them refine and present their sound a bit better. A Producer outside the band that can give them better checks and balances. I hate to use the word “Garage Band Sound” but that’s the impression I get from this CD. Unfortunately how the music is delivered (speaker to ear) is just as critical as the writing and performances. This major-major-major blemish makes these latest 14 songs stand out in a bad way from other artists and bands at the pro level.


Now that’s that paragraph is out of the way – we take a lot for granted between the lines and notes and although some would claim there’s nothing here that hasn’t been said or done before – if you listen to the songs carefully the devil is in the songwriting details. Perhaps that is why “Catalina Shortwave” is on our radar screens in the first place. Bottom line is these guys make it all look too easy. Forgive me if I’m talking in circles – but some bands and artists can deliver music that’s pretty straight forward, conservative and painfully simple. Yet brilliant in scope.  Furthermore in lieu of the amazing string of songs on ‘Repeater” deliver on this fully loaded 13 track record it almost feels as if they are really on to something – well special. I hate to pigeonhole but I can hear Pearl Jam

Shawn Mullins, Sister Hazel, UFO, Led Zeppelin and Glen Hughes. At the end of the day Catalina Shortwave will please a wide range of musical personalities in the process of their “raw” exposure.




Review by Sean Graves