Suspect Press

Tag: Album Review

  • Album Review: Pueblo Escobar – Self Titled

    Album Review: Pueblo Escobar – Self Titled

    By Scott LaBarbera

    Pueblo Escobar

    Self Titled

     

    A few weeks back, I had a friend visiting from out of town (who used to live in Denver) and when I asked him what was on his itinerary for his trip, the first thing he replied was “I need to pick up the new Pueblo Escobar album.” The group features former members of Kingdom of Magic, Il Cattivo, Clusterfux and Git Some including frontman Luke Fairchild (who, after a brief hiatus from the Denver music world, is back with a vengeance). Their debut album, released by Sailor Records, does not disappoint, and if you are a fan of any of their previous projects you will hear the familiar influences of all four. A highlight of the album is the third track “The Forgotten Pugilist” which features a powerful bass line, heavy drums, great lead guitar riffs and the droney-yet-melodic power chords that defines the sound of these Denver-metal powerhouse musicians. I don’t consider myself the biggest fan of this genre, but some of my favorite local shows over the years have been by these guys’ previous bands, and judging from the recording of this album, I can’t wait for the privilege of catching Pueblo Escobar live this summer.

  • Album Review: Natalie Tate – Broken Open

    Album Review: Natalie Tate – Broken Open

    By Scott LaBarbera

    Natalie Tate

    Broken Open

     

    I fell in love with Natalie Tate’s angelic voice when I had the accidental privilege of hearing a friend /co-worker put the final touches on the mix of her debut album a few years back. Her latest album, Broken Open, is somewhat of a change from her previous (almost exclusively guitar-based) effort. While I enjoyed and appreciated the raw simplicity of her debut album, you can hear Tate mature as a songwriter on this new release. It’s hard to define what genre her music falls into on this album. Complex dream pop? She tastefully blends electronic beats, keyboards and lush vocals but stops short of the repeated chorus that you’d hear in the typical pop song. To be honest, I couldn’t help but be reminded a little bit of Maggie Rogers. Maybe if Pharrell had come to Denver and listened to one of Natalie Tate’s tracks she would be the one blowing up nationally, because she is certainly just as deserving.

     

     

  • Album Review: Ned Garthe Explosion – Flashlight Tan

    Album Review: Ned Garthe Explosion – Flashlight Tan

    By Scott LaBarbera

     

    Ned Garthe Explosion

    Flashlight Tan

     

    I was first introduced to Ned Garthe Explosion by Aaron Collins when I booked his band (A. Tom Collins) to play New Year’s Eve a few years back. Aaron   insisted that NGE open the show and I hesitantly agreed. They absolutely crushed it and ever since then they have been one of my favorite Denver bands to see live. Though a great live band can often be a disappointment in the studio—thankfully is not the case with NGE’s third album, “Flashlight Tan.” The opening track, “Smooth Escalator,” pulls you in with Ty Breuer’s funky bass lines, and the complex psychedelia of the title track immediately became one of my favorite songs of the year. In between, the record is filled with metal, punk, and power pop tracks, many of which reminded me of a more listener-friendly “Eagles of Death Metal.” Frontman Ned Garthe may not have the best voice in rock n’ roll, but he uses it with absolute perfection; and being surrounded by an all-star cast of musicians helped make this easily one of my favorite records of 2016.

     

     

  • Album Review: Joe Sampson – Chansons de Parade

    Album Review: Joe Sampson – Chansons de Parade

    By Scott LaBarbera

    Joe Sampson

    Chansons de Parade

     

    On the fourth track of Joe Sampson’s latest album, the celebrated Denver songwriter moans “I’m off to a land to sing all day, sing my baby, she’s gone away.” As dour as this lyric may come across, it created a landscape in my mind of a perfect Colorado summer music festival afternoon in a meadow, while me and my lady listen to Sampson croon his perfectly crafted songs in the background. And so it goes with this entire album; Sampson manages to subtly hypnotize you on each track using just his guitar and lush vocal arrangements (occasionally adding some well-timed drums into the mix). Any Denver music fan knows that when Joe Sampson is part of a project (whether as a member of Bad Weather California or collaborator with Esme Patterson and Nathaniel Rateliff) or releases his own music, it is going to be something worth paying attention to.