Fuzzy, Catchy Rock & Roll
Guestroom Records – August 4, 2017
Cereal Glyphs’ self-titled record was one of my favorite that came out in 2015 – Andy Myers did a great job blending super-catchy riffs and melodies with an energetic, DIY aesthetic. The Second Hand finds Cereal Glyphs fleshed out into a larger band, adding a little more edge to the sound, while maintaining a knack for catchy rock.
“Get Up” opens the album with lots of energy as Myers sings “I’m never hurried, I’m never worried – I’ve found another way” – warped guitars plunge behind things during each chorus. My favorite of the album is the ultra-intense “I Wanna Be Your Hand,” which finds the band unified in rhythm and force during each chorus, and is all but guaranteed to get stuck in your head. “Passion’s Not Enough” was released early from the album – it’s driven by a heavily overblown bass, and carries with it a great amount of momentum throughout the song.
Many of the songs on the second half of the album are taken from Cereal Glyphs, and when you listen to the original right next to its remake, you get a real sense of the extra edge and heft on The Second Hand. “The Well” is one of the more mellow tracks on the album, but still feels a lot fuller and weightier than its original recording. “Count the Night” was my favorite on Cereal Glyphs, and it’s one of my favorites here, too – it opens with a dramatic pairing of low, whirring synths and guitar before it takes off a full speed. “Dead Beat” is even faster, and benefits quite a bit from the noisy fullness of a larger band. Closing the album is “Belly of the Snake,” a track that starts off as the most mellow and psychedelic of the album before it takes off for a high-speed outro towards the album’s end.
Those that heard and enjoyed Cereal Glyphs should really like this – it’s every bit as clever and tough to get out of your head, but a noisier band adds some intensity that makes this album even more fun than the last. The Second Hand has a huge amount of energy and momentum – each song moves seamlessly from section to section, and it doesn’t waste a single moment.
Tracks I Liked: Get Up!, I Wanna Be Your Hand!!!, Passion’s Not Enough!, Count the Night!!, Dead Beat!!, Belly of the Snake!
Ben Southworth – August 13, 2017 – Post Road
Self-Released January 6, 2017
Cherry Crush’s first release, DEMOS, came out nearly two years ago, experimenting with different approaches to their sound. Since then, the band has solidified their sound into something more instantly recognizable as their own – Turning is a testament to this. The tracks here are compact and flooded in grungy guitar chords, chugging basslines and drums, echoey lead guitar, with reverby vocals placed prominently in front. “How it Goes” starts the EP with this sound, as vocalist Drew Slone sings “I can’t seem to find the way how to make it on my own … I guess that’s just how it goes.” My favorite on the EP is “Made in America,” whose chorus “made in America, born with a loaded gun … think I’m the only one that matters” has been rattling around in my head over the last week. The EP’s title track, “Turning,” is the shortest of the bunch, and another of my favorites – the lead guitar imitates the lonely lyrics “broke into your house last night … I don’t wanna die alone.” The EP’s six songs span just twenty minutes, but further establish a strong presence for the band’s sound and lyrical tone – those that liked DEMOS should enjoy Turning as well – it’s a very strong, concise, great-sounding release.
Tracks I Liked: How it Goes!, Made in America!!!, No Control!, Turning!!
Ben Southworth – January 15, 2017 – Kenwick Place
Fuzzy Poppy Rock
October 16th, 2015 – auralgamiSOUNDS
Cereal Glyphs is the product of Louisville’s Andy Myers – a series of ten songs written, recorded, and performed only by him. Reading through some stuff written on this album by the talented and prolific folks over at Never Nervous, there were a lot of comparisons of this project to the sound of Ty Segall, and I think that’s definitely an apt description. My own interpretation was that it comes in sounding a lot like something influenced by John Dwyer and his projects, Thee Oh Sees and Damaged Bug – maybe with some Stephen Malkmus thrown in too. The album is spilling over with a thoroughly DIY aesthetic, but for all the grunge and fuzz, the album is equally full of pop sensibility, catchy hooks, and creative melodies. The guitar imitates and acts as counterpoint to the vocals at several points throughout the album – a technique that I’m particularly a sucker for, and something that serves to add a significant amount of depth and craft to the music. If you’re wanting something a little more laid back, you can try songs like “Siren Stalker” and “The Well.” Need a little more intensity? Take a listen to “Dead Beat,” “Count the Night,” or the 30 second “Gralehaus Fried Chicken” (these three songs make up the middle of the album, and are all spectacular). Cereal Glyphs might seem like a pretty unassuming album at first glance, but it is certainly a really good one – I’ve enjoyed listening to it every single time I’ve gone through it as much as I did the first time. Congrats to Andy on recording something this great as a solo project, and to auralgamiSOUNDS for yet another killer release.
Tracks I Liked: Siren Stalker!!, Instagram!, Dead Beat!, Count the Night!!, Belly of the Snake!!, The Well!
Ben Southworth – November 20th, 2015 – Park Avenue