Sonic Bloom – Tree No Leaves Plants Timeless Sound on ‘Prophet Holographic’ Vinyl Release

Bowling Green’s Tree No Leaves fuses eloquent rock, funk, world and jazz sounds on their latest album, “Prophet Holographic.”

Tree No Leaves is firmly rooted in the blossoming Bowling Green, Ohio music scene.

For more than a decade, the heavy psychedelic soul sextet has planted a series of studio and live album online releases for fans. Throughout their extensive digital catalog, Tree No Leaves fuses eloquent rock, funk, world and jazz sounds while maintaining a melodic and lyrical based center.

Last September, the band branched out with their first vinyl release of their latest studio album, “Prophet Holographic,” a retro seven-track album filled with vibrant, eclectic sonic foliage spanning multiple genres and approaches.

“This record was supposed to be a throwback to more of a live sound and have a bare minimum of post-production. The reverb on the record itself is the reverb from the recording studio. It was recorded at The Mohawk Studio, which is a beautiful 185-year-old church in Sandusky,” said Dustin Galish, the band’s vocalist, pianist, organist, synthesist and guitarist who initially started Tree No Leaves as a duo with wife Sarah Galish.

“All the real sounds you’re hearing were done there, so it’s not post-production echo or reverb. For us, that was kind of cool, especially because we were going to vinyl, and we had never done that before. We didn’t want to get too tricky with what we were doing for the mixing and mastering, so there’s a lot of traditional old school layering to get effects.”

Along with longtime bandmate, guitarist and organist Calvin Cordy, Galish wrote and arranged eight to 10 tracks for “Prophet Holographic” centered around rhythm and double percussion.

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Kim Richey Returns to Her Midwestern Roots for Tonight’s 20 Front Street Show

Kim Richey will perform tonight at 20 Front Street in Lake Orion with Jordie Lane and Clare Reynolds.

For Kim Richey, tonight will serve as a Midwestern musical homecoming of sorts.

The Nashville roots singer-songwriter, who originally hails from Dayton, Ohio, will perform tonight at 20 Front Street in Lake Orion with Australian singer-songwriters Jordie Lane and Clare Reynolds. It will be Richey’s second time performing at the 100-seat intimate acoustic music venue.

“I always try to do songs from all the records, at least one or two from every record. I’ll be playing a lot of stuff from ‘Edgeland,’” said Richey during a phone interview from Banff, Alberta. “It’s such a blast to sing with people who are great singers, so we have a lot of great harmony things going. Clare plays keyboards and percussion as well, Jordie plays electric guitar, and I play acoustic.”

Edgeland album artwork

On her latest album, “Edgeland,” Richey moves through the topography of life as a woman committed to following her music. She chronicles missed train rides, cautionary tales of dangerous love, potential new pathways and other self-discoveries on the 12-track Americana-infused project.

From the Buck Owens/Don Rich opening notes of “Red Line” to the Laurel Canyon lushness of “The Get Together” to the Dusty Springfield-inspired “Can’t Let You Go” to the somber “Black Trees,” Richey’s husky crystalline alto sweeps listeners up in a whirl along her heartfelt auditory journey.

“Once every few years, you pick a dozen songs or so for a new album,” said Richey, who’s also lived in Los Angeles and London. “I think those songs reflect where I was at the time while making the record, but I have a home now, so things have changed.”

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Spring Migration – Chirp Moves from Stage to Studio for Self-titled Debut Album, Hosts Release Party Tonight at The Blind Pig

Chirp has released their self-titled, full-length studio debut album today.

On their melodic self-titled, full-length debut studio album, Chirp knows how to magically capture and beautifully deliver the sweet, groovy sounds of spring.

Today’s release of “Chirp” celebrates the Ann Arbor funk, prog rock and jazz fusion quartet’s creative migration from improvising on the stage to nesting in the studio.

“Those songs turned out how we really envisioned them because we were able to take a long time to plan everything out as well as record and mix,” said John Gorine, Chirp’s drummer. “When we play those songs live, we know what we want to do, but it’s different when we have a lot more time to plan certain things out and just get what we want out of those songs.”

As a follow-up to last year’s “Live at Ann Arbor Summer Festival” release, the new studio album’s nine genre-hopping tracks take listeners on fleeting sonic journey filled with upbeat, danceable mind trips to “Dickerville,” “Greener,” “Planet Groove,” “Cozy,” “Pig Beach” and other joyful auditory destinations.

Chirp does their share of genre-hopping by blending catching progressive rock, funk and jazz originals with majestic reinterpretations during their high-energy, dynamic shows. Though their music incorporates many technical, well-crafted elements, they’re committed to grooving with a solid, dedicated fan base.

For dedicated Chirp fans, the album is a direct sonic flight through their eclectic catalog without any layovers or turbulence. While hearing “Chirp,” listeners travel smoothly through a series of glistening grooves, riffs and beats eloquently condensed into a brilliant studio package.

“You want to trim the fat a little bit, even though most of the songs are on the longer side of what people are used to hearing. I’d say the average song length on the album is five and a half minutes while our average live song length is between eight and 10 minutes,” said Jay Frydenlund, Chirp’s guitarist and vocalist. “As a songwriter, for me, it’s always difficult figuring out what we want to cut down and how we want to cut down the length of a solo section or maybe take parts out.”

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Double Bill – Sylvania’s TwinPfunk Delivers Vibrant Harmonies, Covers for Ohio, Michigan Audiences

TwinPfunk’s Steve Wherry, Dave Pfenning, Mike Gramza and Mike Pfenning

Two and a half years ago, Dave Pfenning and Mike Pfenning doubled down on their music to form TwinPfunk.

The Sylvania fraternal twin brothers formed the all-eras classic, alt and indie rock quintet to share their mutual appreciation for Pink Floyd, The Beatles, Dave Matthews Band, Pearl Jam, Jack Johnson, and The Head and the Heart with growing Ohio and Michigan audiences.

“That’s the charm of TwinPfunk, we’re just a couple of Sylvania kids who love playing music and have a really good time with it,” said Dave Pfenning, TwinPfunk co-frontman and guitarist. “I think people really appreciate the stripped-down, authentic and organic approach we take with our music.”

That organic approach started in high school when the Pfenning brothers sang in school and church choir and learned about classic rock, alt rock and grunge from their older siblings. Dave Pfenning soon picked up the acoustic guitar while older brother Mike Pfenning (he was born three minutes earlier) gravitated toward bass.

“Our older siblings laid the foundation for what we’re playing today,” Dave Pfenning said. “They also helped us discover the beauty of four-part harmonies, and that’s a dominant part of TwinPfunk’s focus today. It sets us apart from other groups in Toledo.”

By 2016, the Pfenning brothers had three vocalists, including djembe player Steve Wherry, but needed a fourth to round out their sound. Together, they discovered veteran blues musician Mike Gramza, a Sylvania vocalist and harmonicist who plays with the Toledo-based, all-genre trio Last Born Sons.

“I play a little guitar, I play ukulele, I can get around a little bit on the keys, but I love harmonies. I just love to sing, so I think that’s one of the strengths of the band,” Gramza said. “We have some really strong vocal harmonies, and Dave is one of the best vocalists in this area that I’ve heard.”

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Musical Conversations – Talking Ear Speaks Progressive Jazz to Midwestern Audiences

Talking Ear plays progressive jazz to Midwestern audiences. From left: Ben Rolston, Ben Maloney, Dan Palmer, Estar Cohen and Travis Aukerman.

As a jazz quintet, Talking Ear blends original compositions with improvisation to musically converse with a growing Midwestern audience.

Their progressive jazz speaks volumes through the band’s live performances and their self-titled debut album, which features eight beautiful tracks draped in smooth vocals, soft pianos, crashing cymbals, rhythmic basslines and breakout guitar solos.

“Talking Ear was formed as a way to push each other because we all felt that connection of wanting to become better musicians and break through personal barriers together,” said vocalist Estar Cohen. “I think the way we carry along some of the jazz tradition is by continuously trying to be creative and finding our own voices.”

Along with Cohen, the band’s other four members, Travis Aukerman (drums), Dan Palmer (guitar), Ben Maloney (piano) and Ben Rolston (bass), have found their own musical voices through years of academic study, professional training, composing and performance.

As accomplished jazz musicians, they communicate mainly through improvisation. Collectively, they’ve taken a “Talking Ear” approach to their music – listening is how they ultimately share ideas and respond to one another.

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