by Jane Lambert

“Crash Course Vol. 2: Tickets To Dreamland” – A Deep Dive into Animals In Denial’s Revolutionary Sound

Christian Imes, the mastermind behind Animals In Denial, epitomizes the transformative power of music in both personal and artistic realms.

Through his candid revelations, it’s clear that music is more than just a career for Imes. It is a lifeline, a profound means of communication, and a canvas for expressing the depths of his soul.

The evolution of his song “Inside of Me” from a love song to a dedication to music itself underscores his deep connection to his art, using music to articulate emotions that words alone cannot capture.

Imes’s journey is marked by the unique way he uses music to communicate, likening himself to BumbleBee from Transformers, expressing emotions through melodies and lyrics rather than spoken words. This approach has not only defined his relationships but also helped him navigate complex emotional landscapes, as seen in his poignant interactions with his mother through songs like “Disarm.” Music has been his voice, his therapist, and his saving grace, especially as someone on the spectrum who finds verbal communication challenging.

In the brand new album, “Crash Course Volume 2: Tickets To Dreamland”, Animals In Denial takes the unique sound to new heights.

Embracing technology, Imes integrates AI into his music production process, viewing it as an invaluable tool rather than a threat. His innovative use of AI for mixing, mastering, and even generating musical ideas shows his forward-thinking approach, proving that technology can enhance creativity rather than hinder it. This pragmatic view of AI as a team member has streamlined his production process allowing him to achieve a polished and professional sound more efficiently.

Drawing inspiration from iconic bands like Nine Inch Nails, Depeche Mode, and Smashing Pumpkins, Imes has meticulously crafted a sound that is both nostalgic and forward-thinking. His music embodies the self-sufficiency and innovative spirit he admires in these bands, from using drum machines unapologetically to creating dynamic guitar-driven compositions. This deep dive into their work has not only shaped his musical style but also fueled his passion to inspire others through his creations.

“The way I integrate it is to keep it natural and to treat it like a member of the team. I have used it for all of the cover art for the Revisited Series, as well as mixing and mastering for this series of releases. I tend to start with a base mix and have the AI take a listen and make suggestions. It’s really like having mixing and mastering engineers in the room with me from demo to finished product. It has made finishing much faster and we don’t have to take 15 mixes out to the car to check only to still not be happy. It tends to be only one or two mixes now and mostly being the first round through the AI. I have just recently started letting AI suggest a part for a song. So, I’ll have it generate a base beat, or a bass line and/or drone type of texture. I may elect to tweak it or add to it, but it’s something to trigger a response from me. I’ll then just build and build like I do with anything else. I would do this same kind of thing with a Kaos pad, or a sequence on a synthesizer. It’s really not so different from hiring a session musician to play something you’re directing them to play, as you can also direct the AI to play as you want it to.“

As the newest entry in their “Revisited” series, “the album “Tickets to Dreamland” immerses its listeners in a rich and layered musical sound that melds hypnotic melodies with innovative production techniques. Sophisticated mixing which makes use of dynamic shifts in volume and texture, creates an engaging listening experience. Tracks “Inside of Me” and “No Enemy” epitomize this approach, balancing intensity with subtlety and captivating listeners with their intricate soundscapes.

Imes’ own songwriting journey began with personal experiences, evolving from tales of past relationships to exploring a myriad of subjects that affect and intrigue him. This fearless exploration into various themes has allowed him to write over 100 songs, each reflecting a piece of his life and thoughts.

Collaboration has also played a crucial role; his long-standing friendship and collaboration with Steven Seibold of Hate Dept and Pigface shows his willingness to learn and grow from his peers. This partnership has not only enhanced his production skills but also opened new creative avenues, blending industrial sounds with diverse musical elements.

Looking ahead, Imes remains committed to keep developing his music with a distinct approach. With plans to release more music through the Revisited series and new projects, his creative journey is far from over. His dedication to reviving live performances, despite logistical challenges, underscores his passion for connecting with audiences directly. Additionally, his side projects, MOD CON and The Search Merchants, Imes enjoys exploring diverse genres.

Keep up to date with Animals in Denial here:

Website // Facebook // Instagram // TikTok // Spotify // Soundcloud // Apple Music // YouTube Music

12.17.23

by Jane Lambert

San Francisco’s Beloved Crooner Russ Lorenson Dives into the Holidays with the Release of “Standard Time: Live in New York.”

Renowned as “San Francisco’s Favorite Crooner,” Russ Lorenson has emerged victorious over cancer, showing his dedication with the release of a never before heard live jazz-cabaret album, “Standard Time: Live In New York.”

Published under the independent label LML Music, Lorenson celebrated the album’s launch on December 4^th at The Triad Theater in New York, presenting an exceptional line-up of singers including Billy Stritch, Mary Foster Conklin, Lennie Watts, Jennifer Roberts, and #1 Billboard Artist Spencer Day. All proceeds from the event were to support the American Songbook Association.

A devoted advocate of The Great American Songbook, Lorenson has charmed audiences across the United States and Europe with his rich tenor and warm charisma. With three critically acclaimed albums under his belt, including two Christmas albums still enjoying a heavy radio rotation nearly two decades later, Lorensen faced a life-altering diagnosis of HPV-positive tonsil cancer in 2021.

Overcoming this health challenge through early detection, he now finds himself in remission. While cancer may have taken his ability to sing, it hasn’t silenced his voice. With deep gratitude and a renewed purpose, Lorenson is channeling his creative energies into various projects, including reintroducing his back catalog, a children’s book inspired by his fan-favorite holiday track “Jingles, The Christmas Cat,” and notably, his first album in 8 years, “Standard Time: Live in New York.”

“Standard Time: Live in New York” offers a captivating glimpse into Lorenson’s live performances at the iconic Metropolitan Room in New York, recorded in 2008. The album demonstrates Lorenson’s vision that The Great American Songbook continues to evolve, featuring a “modern classics” program of songs.

Throughout his musical career, Lorenson masterfully interprets a range of compositions, from a haunting rendition of Lionel Richie’s “Hello” to heartfelt performances like “How I Will Say I Love You,” “Diamond In The Sky,” and the beautifully nostalgic “It’s Raining Memories.” Each track carries versatility and a deep connection to jazz’s profound history.

“Raise the Roof” stands out as a dynamic and energetic musical piece, crafted by composer Andrew Lippa. Infused with a lively, rhythmic melody and spirited jazzy undertones, the song radiates infectious enthusiasm.

“Standard Time: Live in New York” serves as a seamless bridge between the classics of the past and the potential classics of the future, influenced by contemporary greats like Michael Feinstein, Harry Connick Jr., Tony DeSare and John Pizzarelli.

Reflecting on the album, Lorenson remarks:

“Many have deemed that The Great American Songbook is going extinct. But in 2008, I saw it differently. I put together a show of “new standards,” demonstrating that songs with soul and depth were still being crafted. My show, “Standard Time,” was a tribute to love and relationships, shedding light on the fresh pages being added to The Great American Songbook of the New Millennium.”

Beyond the album, Lorenson has exciting plans, including a series of children’s books, starting with his Christmas book in 2024, and other special offerings. His career, and music, have been fuelled by his desire to leave a lasting, positive legacy, and these future endeavors show this lasting commitment.

Standard Time: Live in New York” is a reminder of the timeless appeal of classic song-writing and performances. Lorenson invites listeners to embark on this soulful musical expedition, rekindling their love for The Great American Songbook’s perennial charm, while embracing the promise of tunes that resonate with today’s audiences.

“While initially recorded with the intention of a 2009 release, this album of songs from the sorely missed Metropolitan Room nightclub had been shelved. But now, 15 years later, these rediscovered gems validate my belief: many have indeed evolved into the new generation’s standards.”

Standard Time: Live In New York was co-produced by René Wieland, Dutch music producer, engineer and radio host of The Great American Songbook Radio Station.

Listen to “Standard Time: Live in New York” on Spotify.

Stay current with Russ Lorenson on his website, and follow him on Facebook and Instagram.

Subscribe to his official YouTube channel to watch the latest videos.

Download and stream his music on Spotify, Apple Music and YouTube music.

About Russ Lorenson

Since making his breakthrough club debut in 2005, Russ Lorenson has solidified his standing as one of the foremost interpreters of jazz standards in the San Francisco Bay Area. Whether gracing the stage of a grand concert hall or engaging an audience in the more intimate setting of a cabaret, Lorenson’s singing prowess shines.

Drawing comparisons to the likes of Tony Bennett, Mel Tormé, and Chet Baker, his voice is both memorable and savored, earning him the title of “San Francisco’s Favorite Crooner.”

Lorenson’s musical finesses has not gone unnoticed. Downbeat magazine hailed him as “a showman of taste and discretion,” recognizing his sophisticated command of musical language. The Los Angeles Times commended his “supple voice and strong sense of characterization,” noting his ability to infuse each song with depth. The San Diego Union-Tribute praised his “relaxed, easy deliveries,” deeming them natural and heartfelt. In simpler terms, the Coronado Journal deemed him nothing short of “irresistible.”

12.23.22

by Jane Lambert

The Dorons Share Their New Alternative Rock Album, ‘The Doronic Verses’

The 4 piece Providence, Rhode Island-based alternative rock band The Dorons, have just released their debut contemporary rock album, The Doronic Verses.

The Rosenfield family makes up The Dorons, features mom Janice on drums, dad Norman on lead guitar, older brother Aryeh on bass, and younger brother Yosef on lead vocals and guitar. The band came together back in 2017 when Aryeh, then a music major in college, had a senior recital and decided to recruit his family to play with him for the occasion. Mom and dad had retired as performing musicians, previously vets of the ’80s and ’90s Boston alt-rock scene.

The music of the Dorons evokes contemporary folk-rock, singer-songwriter, and alt-rock styles with searing lead guitar playing, impassioned vocals, sage and sensitive lyrics, earworm hooks, and a stirring acoustic-rock foundation. Their songs also contain nuanced rhythm section interplay. The band’s evocative name is fascinatingly layered. It references the Doors and the bittersweet minor scale, the Dorian mode, plus it hilariously rhymes with “morons.” Additionally, the word “dor” in Hebrew means “generation,” which speaks to the multigenerational nature of the band.

The Doronic Verses is a tight 11-song album of carefully crafted contemporary rock, shaded with singer-songwriter intimacy, country flourishes, and blues-rock urgency. The acoustic-rocker song “This New Poison” is a freshly penned original written by Yosef and Janice, and it boasts a Greta Van Fleet-esque swagger, replete with smoldering bluesy lead guitar. The catchy pop rock tune “Not the Usual Fare” features acoustic guitar layered with chiming electric guitar, along with overlapping “call-and-response” backing vocals. “I wrote that song years ago about my brother, who was autistic, during a time when society and the medical profession didn’t understand the condition. He was a beautiful soul and loved music, and he ended up being institutionalized,” Janice says.

Connect with The Dorons via:

Website / Instagram / Facebook / Twitter / YouTube / Spotify

11.29.22

by Jane Lambert

South Africa’s Bad Knights Share Their New Alternative Rock Album

Bad Knights are the South African alternative and soft rock band making waves with their poignant debut album Letters to Everybody.

Bad Knights draws upon life’s raw, messy, and beautiful tales that reveals what we can see in ourselves, that epitomize the human condition in all its brilliance and with all of its flaws. Any story worth telling has both its monsters and its miracles, its joys and its sorrows – a perfect dance between becoming and overcoming. “We long for stories that bring us hope, the ones that remind us that our dreams are powerful and that instill within us the courage to keep moving forward,” shares the band.

Letters to Everybody encapsulates the depth and complexity of human nature and our existence. Lead singer and dummer, Stig, delivers a soulful and Bruce Springsteen meets Eddie Vedder-esqe vocals over blues licks and rising organ choruses with droning synths and explosive drumbeats amid sparkles of angelic backup vocals.

In their debut 15 track first offering, that is as diverse in its genre as it is in its subject matter, Bad Knights presents something instantly gripping while remaining serious, mature, and refined in their expression. The tracks are thoughtfully worded, complex, and meticulously placed. Each component, instrument, and tone plays its role in bringing together a sound that keeps you hooked.

“I’ve played guitar for years, but have no formal music education really, couldn’t read music to save my life,” shares Stig. “I’ve seen more bars under broken neon lights in dodgy towns than I’ve seen bars on music score sheets. But I’ve always liked observing the world, sometimes writing about it, which naturally evolved into song-writing. Music, if anything, presented an avenue to explore a new form of storytelling.” His lack of any background in musical theory, allows for a more free-spirited, almost rebellious approach to song writing and gives Bad Knights it’s unusually unique, musical aura.

Connect with Bad Knights via:
Instagram / Spotify / Soundcloud

11.15.22

by Jane Lambert

‘Jill’s Psychedelic Sunday’ is Pulp Opera Songwriter Paul Shapera’s Best Yet

Paul Shapera is a pulp opera writer who’s albums span a 180 year period of his fictional city called New Albion. The fantastical story element of his work is what drives the popularity of his music. It’s reminiscent of the old school radio plays, but far more entertaining. “My work is very much like an epic science fiction book series, but told in highly emotive music, like an opera cycle made with various forms of popular music.”

Paul’s newest album, Jill’s Psychedelic Sunday, is a continuation of the character Jill’s story from previous albums, The Dolls of New Albion and The Post Human War series. Differing genres of each album represents a certain time and place within the 180 timespan. Jill’s Psychedelic Playlist explores the many sides of psychedelic music ranging from 60 psych folk to Floyd, 90s rave to jam bands, and creepy tech to Space Rock. Overall, we take a journey with Jill as she takes some sort of psychedelic as part of an initiation ritual.

What makes Jill’s Psychedelic Sunday so unique is that the story is non-linear, unlike Paul’s other albums. You can listen to any song and understand the story because it’s just snapshots of Jill’s wired mind. The spoken snippets in each song guide you so that the listener is never lost, no matter what song you listen to.

“This album more than any other in recent memory was made because it was the album I wanted to listen to,” shares Paul. “Other albums are the story I want to tell right then, or the music that I feel I need to express, or the style I most want to explore. This one was the one I just simply wanted to listen to.

Connect with Paul Shapera via:
Website / Instagram / Facebook / Twitter / YouTube / Spotify / Soundcloud

11.02.22

by Jane Lambert

The Progressive Rock Fusion Band Siren Share Their New Album ‘Beyond the Rainbow’

American band Siren has released their brand new album Beyond the Rainbow.

This is an album that you can truly become immersed in; raw, authentic, contemporary metal rock. The opening track “Lawless Life” starts with a progressive metal guitar riff. The lyrical “High Wire” and “Sympathetic Response” are more laid-back rock songs, written by Mike and Rob Phillips.

Many songs on this album are unexpected, in the sense that musically it is extremely tight and well written, as well as experimenting with different musical concepts. Siren have really gone the extra mile with this new release.

¨When we began writing Beyond the Rainbow, we would write as a group with the exception of ‘High Wire.’ ‘Empty Ocean,’ and ‘Sympathetic Response,’ which Mike and I wrote. Normally Mike and I will bring the songs to the band, and let them work out their parts. A process we have gone back to for our upcoming material, as it seems to work much better for the writing process.” – Rob Phillips

When Phillips had sought to reunite the band back in 2005 with drummer/engineer Mike Cupino, and a new musical direction, the band did release their first Siren album called “Don´t Mind”. It wasn´t until much later, as three new band members joined the group, that the musical sound developed even more.

Today, Siren exists with the same lineup as previous releases, except for the lead guitarist. Todd Grubbs replaces Leo Boland as the lead guitar, and brings a guitar virtuoso which really makes the band stand out with a progressive, fusion style.

The first track on the album, “Lawless Life” was released earlier this year as a single to much critical acclaim, together with a music video produced by Nathan Mowery. With influences such as The Beatles, Led Zeppelin and Foo Fighters, it is hard not to enjoy this eclectic blend of progressive rock.