New Tunes from Cait Brennan, Eclipses For Eyes, Baseline and More

Cait Brennan – “Bad At Apologies”

Can we just talk about Cait Brennan for a moment? I mean her debut album had me reeling last year, it felt like 1970′s AM Rock comfort food for my soul through every track. Debutante was a showcase for her as an artist, but especially as a songwriter. Flash forward through a decade of anyone else’s life experience, compressed into a rollicking year in her life and she presents her audience with Third. Don’t worry, her second album is coming, after this one, it’s quite a story. That said, Third is a landmark achievement, a masterpiece as far as I’m concerned and I’ll be playing an eight month game of “Can anyone actually top this album?” with it. The songwriting chops that she alluded to on her debut have been pressed to their true beautiful potential on this one. She had the right musical partners, the right studio and the right songs for the album, which coalesced into a downright magical beast. “Bad At Apologies” was released just ahead of the record and shows Brennan with Fernando Perdomo at Ardent Studios doing what they do best. Everyone I know that’s listened to the record has a different favorite single and this is the first of many videos, I’m sure, but the truth is, by the time you get to the middle of the album you realize that every single one of these songs could stand on its own, but it’s too fantastic of a journey not to enjoy them all gathered together. Flawless.


Eclipses For Eyes – “Left Of You”

Eclipses For Eyes is getting set to release their Polaris EP and I’ve been meaning to talk about “Left of You” for a month or two now. I was touched when I saw the lead singers post about the meaning behind the song and was immediately drawn back to the music. Lexi Salazar mentioned that it concerned her brother’s suicide and when you tune into the lyrics with that in mind they take on a completely different tone than you would first suspect. I played it for a friend and they thought it was about missing a lover or partner, rather than a loved one who has passed. The song is a blistering, frenetic arrangement that cross pollinates more genres in four minutes than you can count and Salazar’s vocals are the key instrument providing the desperate emotion behind the words and music. With the release of their third record since their inception, the question that looms over Eclipses For Eyes is not “will they get big?”, but rather “how big will they get?” I have a feeling that the seven songs found on Polaris will answer that question, possibly with droves of fans screaming for more. Be sure to catch Eclipses For Eyes at The Rebel Lounge on Friday, April 28th where they will release Polaris alongside American Standards releasing their record. The dual release show will have support from Paranova, Amor, Havana and Teammate Markus.


Baseline- “Forfeit”

Baseline are a young up and coming crew that is one of the highlights of the burgeoning (pop) punk scene blooming here in the desert. Straight out of Mesa, Michael Schuster (Vocals), Gianni Jinks (Guitar/Backing Vocals), Shawn Sass (Bass), Michael “Slack” Cully (Guitar/Backing Vocals) are Baseline. Last year they released the fantastic Not In The World, But Inside My Head EP which was essentially their greeting card for the world and “Forfeit” was the grand finale of that five track debut. It’s difficult not to get hyped by their infectious, confectionary punk when you’re flying on the audio alone, but add the obligatory concert video to it and it adds up to a further adventure in seat dancing and adrenaline pumping ascension. I’ve seen them twice and the video pretty accurately depicts the youthful vitality and frenetic energy that’s present when they’re on stage. Baseline are key players in this young punk crowd and it’s a crowd that’s getting big enough to hold our own damn Warped Festival here that’s locals only. If you didn’t catch on to their record last year, I’d highly recommend checking it out. It’s perfect for the Summer months ahead, like nearly all pop punk is, whether you’re skating, swimming, or just hiding inside, I’d advise that you throw some Baseline into your seasonal soundtrack and blast that shit loud enough for the neighbors to hear.


Scattered Melodies – “Djamgo Mando”

Though I begged them for more, there are only three songs on the new Scattered Melodies EP Acoustics, Vol. 1, but they are three stunning acoustic renditions of previously released songs in their catalog. Two of the tunes (“Desert Drive” and “The Jury’s Out”) hail from 2014′s Summer Sampler EP, which may be why I’m wanting to spotlight the quirky madness that is “Djamgo Mando”. It hails from their first album A Collective Ageement. I missed out writing about the original version, but nevertheless the wonderful funky percussion and that damned hypnotic banjo keep me coming back to this one again and again. Also, of the three this is the most fun with Laura Hamlin providing intoxicating lyricless vocals, while Jake Johnston, Josh Montag and Jack Howell set to rapping at one point. Speaking of points, one I would like to make is that Scattered Melodies draw on the desert vibe here, and on the other two from the EP–it’s become something I can practically taste in certain local music like Treasurefruit, Ruca, The Lonesome Wilderness to name a few. I don’t know what accounts for it, I just know it when it’s there. This is acoustic desert rock and I can feel the heat on my head as this song takes me out to the sagebrush, with a Beck like hip hop touch to it to boot. Keep your ears peeled for Vol. 2 and be sure to check out the entire new EP on Spotify.


Genre – “Ode To The Comments Section”

Hey, didn’t you just talk about Genre a couple weeks ago? Yes, yes I did and honestly, if the lyric video and the song itself weren’t so fucking good, I’d probably wait a few more weeks. But I didn’t, because I couldn’t with this unexpected tune from the Genre boys. Lyrically, there’s nothing unexpected actually–it’s the same insightful wry commentary on society that’s become their specialty, but musically, well it’s a whole damned different beast. Now to be fair, it’s not that they don’t sound like themselves, but they’re not getting pigeonholed with raging screamers and they are absolutely extending their songwriting horizons. Perhaps that’s why I like it so much, just when you think that you’ve got Genre pegged between a Beatles shirt and a weepy omelette, they pull something like this out of the air. Not only is the music damn fine and slightly (maybe not so slightly) psychedelic, but the lyric video raises the bar once more on lyric videos. Granted it may end up sounding dated once the apocalypse hits, but for now, while we have social media and indeed comments sections, this is spot fucking on. There’s a nice touch of politics and social awareness, which is their modus operandi, but it’s more tongue in cheeky, than soapbox preachy. The video and song seem like the entire band got into Captain Squeegee’s kool-aid and I’m just digging the results.