Skip to main content

Sky Orchid - Oculus (2017)


Written by Pamela Bellmore, posted by blog admin

“The River” opens Sky Orchid’s first release with a subtle statement of intent. Vocalist Gabriel Traknyak and an arrangement enveloped with a powerful sound and potent dynamics establishes Sky Orchid’s sonic and musical identity in an emphatic way, though they reveal different sides as their debut Oculus progresses. “Sneakers” is the first hint they possess a rare versatility. Brothers Gabriel and Daniel Traknyak are the sole movers behind this band and their multi-instrumental talents are responsible for every note you hear. Even on a recording, however, they demonstrate an obvious chemistry with one another that should make longtime fans and followers of this style wonder what they can accomplish live with these songs if they can find like-minded musicians. There’s a muted, nuanced quality to “Sneakers” quite unlike what we hear with the first song, but they share essential similarities. Sky Orchid claims a stylishness all their own early in this release and everything bears a distinctive touch.

There’s a more pronounced cinematic edge to “In the Fire (Pt. 1)”, but the song is reminiscent of the wide screen and impassioned style the duo shows with the album’s first song. It’s a lyrically exceptional tune, as are all of the songs on “in the Fire (Pt. 1)”, but the crowning jewel with this cut and others is Gabriel Traknyak’s singing. He has an emotional depth rare to singers in the pop rock vein and the duo’s modern song still shows a total command of essential fundamentals. The acoustic guitar dominating the song “Wildfire” has a direct melodic quality inviting listeners into the song and Gabriel Traynyak’s singing envelops the arrangement with a dim, midnight mood full of improbable soulfulness from this style of music. Sky Orchid plays with tempos on “I’ll Stop the World (Pt. 2)” to excellent effect, but the bulk of the performance is built around Daniel Traknyak’s precise, powerful drumming and the steady energy he sustains from the first. It’s the most full out rock track thus far on the album and one of its most successful overall.

“Lex” achieves a level of intimacy surpassing earlier songs and it comes primarily from another stellar Gabriel Traknyak lead vocal. His songwriting partnership with his brother is, undoubtedly, one of the key strengths the duo exhibit with Oculus, but Gabriel has the added opportunity of standing out as one the best vocalists of his generation. His unique fusion of feeling and power comes through in every line. “Breathe Easy” cops a light reggae feel alongside their usual pop rock inclinations. It’s the oldest song on the album, dating back seven years, but the brothers sing and play it still with unabashed glee and confound expectations when, near the end, the song takes on a furious near hard rock attack.  The album’s final song “Fortify” is a smooth, artfully turned final curtain for Oculus and Gabriel Traknyak imbues it with one of his most upbeat, inspired vocals. Oculus’ ten songs reveal Sky Orchid to be a band with potential depths that they’ve only begun to explore, but it’s a fine release nonetheless.

Comments

Popular posts from this blog

Black Note Graffiti - Volume II: Without Nothing I'm You (2017)

OFFICIAL: http://blacknotegraffiti.com/ FACEBOOK: https://www.facebook.com/BlackNoteGraffiti TWITTER: https://twitter.com/blacknotegraffi Written by Raymond Burris, posted by blog admin The second full length release from Ann Arbor’s Black Note Graffiti, Volume 2: Without Nothing I’m You, is an eleven song collection that positions this (then) four piece to rise several more notches in the world of indie rock. The band, furthermore, crackles with the potential to take their act far outside the warm but relatively narrow confines of the indie scene. Rock and its musical progeny may swim upstream commercially in our modern music world, but what that means is that the limited room for viable acts culls the fat off the genre and those who boast marquee status truly deserve it. The band’s talents are considerable – musically, vocally, and lyrically. The growth they’ve exhibited since their 2013 debut is surely the result of the inherent talent they’re dealing with, but it

Joshua Ketchmark - Under Plastic Stars (2017)

OFFICIAL: http://www.joshuaketchmark.com/ FACEBOOK: https://www.facebook.com/josh.ketchmark Written by Jay Snyder, posted by blog admin From the opening, gentle strum the heart-warming, tumbleweed kicking love song, “We Were Everything” and culminating in the rhythmically pulsating, winding electric guitar leads and spitfire soul vocals of closer “The Great Unknown,” it’s clear that Joshua Ketchmark has arrived.   Hailing from his humble beginnings in Peoria, Illinois and eventually carving a path to every big-time music city in the USA (LA just to name one of many places), Ketchmark is now twelve releases strong in a music career that spans too many genres to count.   Though he primarily operates in old school folk, country, pop and r & b, he also branches out into rock, blues and delicate balladry whenever the mood strikes him.    After the fiery lead-in of “We Were Everything,” Joshua switches into ballad mode with quiet acoustic guitar, deeply mixed and lay

Yam Haus - Stargazer (2018)

OFFICIAL : http://www.yamhaus.com/ FACEBOOK: https://www. facebook.com/yamhaus TWITTER: https://twitter.com/YAMHAUSBand Written by Raymond Burris, posted by blog admin Yam Haus’ debut album Stargazer begins in rousing fashion. The title song opens the album with a short flurry of synthesizer sounds before shifting into stomping guitar and drum driven verses. The slashing guitar work gives the song a great deal of bounce while the drumming contrasts that with straight forward power and Lars Pruitt’s smooth, gliding vocal tone provides the finishing touch for the track. The lyrics don’t remake the wheel or aspire to poetic excellence, but they are a cut above typical fare in this style. “West Coast” has a much more retro slant than the title song, definitely recalling the 1980’s moreso than recent history, but it never looks back to that music too reverentially. The production distinguishes this song, like it does the album across the board, and has a physically engag