Klara Goliger from Gothenburg Sweden can be categorized as alt-pop, but be careful, because that generic categorization doesn’t do justice to the massive musical influences at work here. From jazz to classical, pop to Avant-guard, alternative to rock, and if there’s an in-between genre, it’s there as well. Enter One Day (heard here), a completely enthralling musical piece from Klara’s new LP, The Piano Chair (November 2022) – featuring nine wonderful tracks that can stand by themselves, or together. One Day’s beautiful jazzy piano plays well with Klara’s…
Read MoreWith a little staccato intro and a perfect sing-along melody, EUT’s Step By Step (seen/heard here) is a whole lot of fun! It’s the first single to be released for their upcoming LP, Be My Reactor, which will also be the Dutch five-piece band’s first self-produced release. Based on what I’m hearing here, they know how to produce their own work, which is a welcome change from the over-produced releases Vodka has heard in the recent past. To be sure, Step…
Read MorePrepare to be mesmerized! Weyes Blood has a beautiful alto voice! As ballads go about feeling desperate loneliness and not knowing what to do, you can’t do better than wanting to listen over and over again. As Vodka was writing this review, I listened twice in quick succession and then pre-ordered the CD. I must have more of this wonderful voice! It’s Not Just Me, It’s Everybody (heard here) is striking, in melody, in the lyrics, in…
Read MoreIf I had to guess, I’d say that Lia Rye is still searching for a magic formula for her all-genre music. Fever Dream (seen/heard here) is the title track from her new EP and it is fascinating! The EP itself doesn’t feel cohesive as far as musical sound is concerned, but the use of multi MIDI melodies that juxtapose against each other (such as those in Fever Dream) playing minor-key against major-key, provide for a unique sound and drama that kept Vodka listening to the end…
Read MoreJust a little bit bluesy, Vodka newcomer Emily Henry’s wonderful The Sound suffers just a tiny bit from some instrumental over-production, particularly later on in the track (somewhere around 1:58). It wasn’t bad enough that it meant that I could forgo reviewing this little gem, however. I’m always a little put off when the music is pushed too far forward or too loud in the mix. That’s what volume controls are for, but luckily Emily Henry’s vocals are strong and shine through clearly, so she gets a pass-this…
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