SRM-- In Transition

"In Transition", the 18 track offering of a madcap mix of progressive rock, humor, soundtrackery, and ambience, somehow manages to gel together and form a cohesive glimpse into the brain of its creator (whom I imagine/hope to be a bit of a mad scientist) Steve Morton, aka SRM. 

First track "Smells Like Pork (Tastes Like Chicken)" is completely, fearlessly irreverent and absurd, flaunting flashy synths and samples of dogs barking and flatulence. It serves as the album's advice to its listeners to prepare for a strange variety of tracks.

Second track "American Idyll" encompasses an entirely different feel and mood-- it's dominated by wonderfully twangy electric guitars and a tapping bass, which lends itself to a shuffling, gritty Americana tone.

Track three, "Progress and Livers" is charmingly reminiscent of 1980's prog rock. A snappy synth and picky guitars are laid over a quick drum beat, making it a fun, danceable piece. 

Downshifting in tempo, "Fishfin" is a much softer, more somber experience. Moody percussion and chiming synths dominate, and woodblocks add a unique touch. The track is aptly titled: it's at once smooth and sleek with all the prickliness of scales. Following up is "180", which is made up of grungy, bass driven guitar tones and insinuatory vocals, making it the darkest track on the album.

Abruptly, SRM switches gears into "Really Cheesy Theater Theme", a track which is indeed as its title suggests-- cheesy surfer punk soundtrack music that sounds right at home in a beach party film. The track is so strangely placed that it fits right in, a delightful shift back into the bizarre. 

Standout track "Anna" returns to a twangily tuneful jazzy guitar and scratchy synths, peppered with Latin percussion. The piece breezily sways and crackles with magnificent vivacity.

"Trippin'" is slower in tempo and dominated by bass and hushed cymbals. The voice samples are at turns poignant and sardonic: "We assure ourselves that our destination will be Heaven", "I'm having the most perfect hallucination!, "Please help me. I've taken LSD". They lend a surreal quality to the atmosphere of the piece, proving that SRM can be thoughtful without taking himself too seriously.

It gears us up for track nine, "Sorry Danny", driven by a tuba-like tone, and it's a rollicking, fun dive into SRM's soundtracking forays. "Headlong" features whirling, gyrating synths and knocky percussion and is  a perfectly fitting mood piece for building suspension, and "Luncheonette of Death"'s flashy telephone synth is interwoven with piano-like pizzazz, adding a sort of smiling tension to the mix. 

Twelfth track "'Jasper did once, but he don't no more'" is another notable departure into more serious territory: it's tough, punchy, percussive, deep, and shifting-- another standout track.

"Midnight Tarmac" is a more traditional electronic piece-- lively, bouncy synths and a snappy bass dominate. It's light cheerfulness is balanced by the following track "'Here they come!'", an appropriately ominous mood creator. 

"Snouts in the Trough", an interpolation of chimes and humorously clever synths, marks a return to SRM's zesty and playful tone, while "Sunset" is more relaxed and ambient, using a humming, organ-like synth and a tiptoeing bass in a gradual crescendo of sound. 

Seventeenth track "Iron Lung Blues" is disquieting at first, and then bluesy as labored breath transitions into a decidedly high energy track that cheerfully bounces along, merrily poking fun at smokers.

Final track "Smells Like Pork (extended dance remix)" is a fitting conclusion to the album. It remains faithful to the original version, but showcases more bass and instrumentation, all the while still remaining as wonderfully weird as before.

All in all: SRM proves that he's versatile and capable of wearing many hats: some silly, some serious. Many of the tracks here are outstanding, and the whimsical, fun ties that keep the album together are strong. Everyone is sure to find at least a few tracks to their liking, even the poppies, and giving the full album a listen through is well worth it, just to witness the dazzling spectacle that is SRM's instrumentation.

Available at SRM's website, free download. Also available on CDBaby, physical copies for $6.00, downloads for $5.00. 

Kadaj Da Kid-- Portrait

While Kadaj Da Kid primarily describes himself as an instrumental hip-hop artist hoping to pass on beats, his tracks on his latest album "Portrait" are strong enough to stand on their own.

The first track "Violet Eye" opens with a rolling, soft electric guitar-like synth, augmented by a quiet bass; these sounds provide a frame for the laid back yet soft beat. 

Deeper and more brooding than the first track, "Eternal" has a sense of quickening in its midlevels by using a looping synth that spirals around the central beat. The track manages to sound minimalist yet rich, allowing listeners to focus on the patterns that emerge.

Third track "Frozen" is almost orchestral, with a lilting guitar, light piano chords, and a light piccolo sound, punctured by an occasional electric guitar. The beat is deep and laid back, and is well complemented by the bright tones. Kadaj Da Kid holds onto the mood with the next track: marked by a handdrum-like beat, "Pearl Swan" is a mysterious, well syncopated track that incorporates the sounds of light, floating synths, keys, and a rolling percussion. 

Moving from cooler tones, fifth track "Postscript" features a bass vocal sample elevated by warm, appealing keys that is underscored by handclaps and a bass drum to round out the tone. "Dusk" has a similarly calmative resonance, featuring another bass vocal sample and a sturdy beat that pulses without disturbing the smoothness of the sounds. Nicely syncopated glitchy noises flutter around softly, infusing the track with a twinkling essence.

Track seven "Dawn" is fittingly energetic after the calm of "Dusk", with a sharply assertive electronic synth synching up with a strong, dominant beat, and  "Believe" returns to smoother grounds, but maintains a lively quality, melting beat with synth-trumpet-like staccatos and a humming loop.

The deep, bouncy bass of ninth track "Deja Vu" nicely mirrors the percussion, and the track cleverly creeps through its tones, showcasing organs, keys, and a hint of electric guitar. 

Tenth track "Cosmos" is a marked departure from the rest of the album, relying on ethereal electronic tones underwritten by a shuffling beat. 

Final track "The Dark Arts" features a vocal sample and a driving beat, making it the most aggressive and emotional piece on the album.

All in all: Kadaj Da Kid has made an offering of engaging, catchy beats and instrumentals. Even independent of vocals, Kadaj Da Kid's sounds showcase a talent for both variety and steadfastness, and the ability to create thoughtful, crafted foundations for hip hop instrumentals.

Available on Kadaj Da Kid's site, name your own price.

Alka-- A Dog Lost In the Woods

We wander into Alka's album "A Dog Lost In the Woods" with the first track, "Blueberry", a cheerfully ambling expedition that begins with a steady bass and a brightly syncopated percussion, and rounds out with a humming, dreamy treble.

The second track, "When You Abandon Your Youth", nicely commingles bass with charmingly messy synths, a jumpy percussion, and a twangy guitar. A faint melody tugs at the heart, but the upbeat walking tempo and the clever rhythms keep it from being drab or dark.

Track three, "Collocation", is a brilliantly ambient piece, with enchanting bell-like timbres and a deceptive beat. Alka is particularly exceptional at weaving percussive patterns that evolve and twist throughout his tracks, rather than relying on a change in melody in order to help his songs evolve from section to section.

The fourth track, "I Am a Wreck" begins with a throbbing, soft bass, electric noise, and whispers of high synths that round it out. A sudden shift into harp-like strings elevate the track from its bounciness. The following track "Lucent" has a harder appeal; it pulses rather than thrums. Synths grind and percussive elements pop against a deep bass. The track feels sensuous-- the sound textures are so rich that they're nearly tangible.

"Separate", the six track, opens with bells and faint, distorted vocals. The emerging pattern feels light and tuneful but balanced, and the vocals are eagerly received as an important part of the track, rather than a noisy distraction.

"Immolated" is the otherworldly combination of a tinny rhythm that's supported by a deep bass and gyrating trebles. The noises contract and crunch satisfyingly.

Particularly great moment: "Solip" feels distinctly metallic and schizophrenic, but it somehow manages to feel wonderfully weird and benign rather than menacingly alienating when Alka introduces an ethereal treble into the mix.

"Alpha Pilos" is a notable departure in tone from the tracks preceding-- funky synth that drives the track rather than the trebles or syncopating rhythms. The synth is a simple loop but manages to keep the audience captivated and grooving on it. Its upbeat synthesis of weird sounds is catchy and almost hypnotic, and the track transitions nicely into its segments without losing feel. Another personal favorite.

"Israel" combines a steady, hard beat with electric blasts and a  tinkly, music-box-like chime, and ghostly little harmonies flicker throughout. It's darker and more otherworldly, eerie piece that manages to keep from feeling alienating.

"What Will Become of Your High Existence?" marks a return to the earlier elements of the album, combining intricate rhythms with metallic elements, deep bass, and legato synths. This piece, however, feels a bit more serious than those preceding, and is an exciting and deep foray into sound.

The final track, "Sky, Face Down" is a mellow, shuffling piece sprinkled with bells and plucked strings The faint hint of keys is uplifting and serene, and the shift into an electronic blip variation peppers and livens the track. It's a fitting "zoom out" of the soundscapes that we've heard.

All in all: The changing percussive beats are sure to make any listener revel, and this album is a cheerful and complete enough synthesis of its elements to please even those who prefer pop. As an added bonus, listeners pick up on more fun nuances with repeat listens. It's a great album for active and passive listeners alike-- notice as much (or as little) as you like. 

Available on Amazon.com for $8.99 or on iTunes for $9.99. You can find more at Reverb Nation and Sound Cloud.