Tim Tracks - OTIS VCR

[Double-track - Hardcore Punk]

OTIS VCR on CLM Live [7/02/2023] (*photo by* *Korey England*)

In the land of waving wheat and decaying waste sites, something has been developing in the underground: a passionate, tight-knit array of artists, organizers, fans, and friends, coming together in Oklahoma, under the banner of hardcore music. From thrash to death metal, hardcore, grindcore, slam, etc. — makers and lovers of heavy music unite in OKHC (Oklahoma Hardcore).

With such a wide scope of styles in the mix, well-crafted songs are a must-have for bands to stand out amongst the noise; last year saw high-caliber releases from OKHC heavy-hitters Sledge, PeelingFlesh, and Bashed in (to name just a few).

After their own 2023 debut EP Instant Gratification snatched attention with an electrifying combination of punk rock elements with hardcore beats and breakdowns, OTIS VCR has carried that momentum with persistent performing: concerts in and out of state, festivals, and even a CLM Live session.

Tim Tracks is the first music release from the OKC five-piece to follow their debut — snapping with a renewed ferocity as now the band’s teeth have been cut, and also their style a bit more refined.

The two new singles (produced by Riff Room Recordings) feature slightly darker progressions and a dense sonic tonality; the roomy drum kit sounds, combined with the lift of distortion and fuzz on the guitars and bass, give an expansive feel to the mixes, rendering their sound larger - and heavier - than ever.

Both tracks - “Sunken Place” and “Bitter” - feature blazing guitar riffs over straightforward, slamming beats, shredding fills into heavy drops, and kinetic structuring on top of the breakneck tempos; only ever pulling back to emphasize a breakdown or riff. Vocalist Jon Lee’s performances are engaging; aggressive but dynamic, expressive but focused when they stab through the center.

Keenly capturing the raw, impassioned energy that continues to spark interest in OTIS VCR, Tim Tracks is a solid stepping stone for the band, as they look to carry on the torch of OKHC.

Nothing Has Stood Out So Far - greyland

[EP - Alternative Rock]

Under an uncertain winter, young Tulsa band Greyland has quietly released a beautiful and subtly haunting alternative rock EP.

In Nothing Has Stood Out So Far, its three tracks blur together in melancholy musk; slow, heavy-hitting drums and smooth bass tones underpin its often distant guitars and weary vocal melodies.

Extended instrumental sections allow emotions to be explored thoroughly, and the songs are composed thoughtfully, allowing the dynamics to expand and contract naturally (and effectively).

The opening song “Drawing Flowers” exhibits these qualities to arresting effect, when the gloomy, grungy rock of its first section falls away before some spoken word over soft, twinkling guitar — almost as delicate as the titular flowers: “Without storm, there is no spring / Believe in me, as I believe too.”

This emotion spills over and culminates into a climactic post-rock section, where the drums play a heavy, steady waltz as distortion swells and the vocals repeat with increasing intensity - “Push me out / And breathe in deep / This broken fence / Is all of me” - before again falling into a gentle vamp of the same progression at the outro.

The following song “Griever” is a more straightforward alternative rock cut, dealing with the dissonance of living (or trying to live) a peaceful existence in an imperialist nation.

The tempo is slow but determined, marching on to deliver its message, embedded in a mix of electric and acoustic guitars. Between explosions of distortion and washed cymbals, downcast vocals cry, “How much child have you lost / And how much can I become?”

“Spider Bite” clocks in at over 8 and one-half minutes; an ambitious but powerful closer. On the third and final song, the band shifts through several differing dynamic segments, while continuing to build off of the melodic and tonal concepts from the previous two tracks, giving the project a surprisingly cohesive sonic spirit — even as it continues to reach further away, into the distance.

I Crave Peace - Metra

[Single - Pop]

As moody background synth swims to the surface, Metra’s voice rises to the top — crystal clear, consistent from the first note to the last on her latest track.

“I Crave Peace”, the Oklahoma artist’s fourth single to date, is a mellow but moody pop song about struggling to let go of, or separate yourself from, someone who doesn’t treat you right.

Its sonic palette is tastefully concocted, consisting mainly of a series of synths - basses, pads, bells - as well as subdued but defined piano chords and smoothed-out drum sounds, which let the vocals take attention unopposed.

Despite the fairly reserved nature of the instrumentation, Metra’s vocal melodies and phrasing, along with solid layering, effects, and harmonic choices, make the presentation feel bold.

Even while appearing authoritative over the minimal instrumental, on the first line she immediately confesses she’s “terrified of the vulnerability.”

Metra does indeed show vulnerability on this track, as she reflects on her own missteps and regrets in the process of her mistreatment at the hands of this other person who “didn’t care to keep [her] feeling safe.”

The melodic progressions flow effortlessly into the chorus, where sustained 808’s give the chords a darker tint once the beat finally drops.

With head-nodding rhythms and a heady, filtered blend of scraping synths and dramatic harmonies, the track rides this energy level through another verse and chorus, when eventually Metra recognizes: “Why didn’t I just choose me? / Sacrifice my morals because I crave peace.”

Can’t Tell If I’m Joking - Burl

[Single - Indie Rock]

If your playlist is suffocating from a lack of levity, then Burl is the proverbial breath of fresh air. This five-piece band from OKC is surfing their own sound wave that is just as vintage as it is modern — serving a bit of psychedelia in their indie rock, with a side of experimentation.

Their latest single “Can’t Tell If I’m Joking” is casual and balmy; its catchy stepping vocal and key lines eager to strike up a conversation with the listener. Jangly guitar strumming and a chunky snare backbeat lay the rhythmic groundwork, while lead lines switch playfully between plucking guitars, warbly synths, and breathy saxophone, often in unison.

All these sounds co-mingle cleverly in production, complemented by naturalistic recordings, preventing the track from feeling too digital, despite the presence of considerable electronic elements; on the contrary, the track ambles along with an analog liveliness.

The fluctuation in vocal layering gives the words an elusive, crinkly chorusing effect as they playfully reproach:

Make up your mind
You get so worked up all the time
I told you it’s fine
But you can’t tell if I’m joking

interstate travel - Josh Fudge

[Single - Indie Pop]

What used to be one of OKC’s best kept secrets has been spilled — and since word got out about Josh Fudge, it spread fast.

A string of auspicious bedroom pop releases from the singer-songwriter back in 2020 soon skyrocketed him to nationwide tours with the likes of Bastille and Big Wild, major festival performances including Lollapalooza, and much more.

Though surely his recent showings have drawn on the strength of what was, up until this year, his most recent output, TECHNICOLOR - a 14 track full length album (Fudge’s second), including his hit song “FEEL LIKE” - released in September of 2022.

Now, currently on tour with Magic City Hippies, Josh has somehow found time to begin publishing new material — starting with a single, understandably titled “interstate travel”.

While containing many of the signature Fudge touches - funky, popping basslines; lush piano chords and synth timbres; airy and upfront vocals - this latest song carries a calmer sensibility, with the same colorful sounds. That might seem ironic, given the chaotic nature of tour life, or perhaps that is precisely the reason for it.

This somewhat softer approach to songwriting also lends Fudge’s melodic stylings and vocal character greater influence, both of which shine here as his words melt over the top of the warm soundscape.

A swaying mid-tempo beat, acoustic guitar and natural piano tones form the tonal floor, while a smattering of synths drift above and around; the chords and harmonics pleasant but not tranquil, barely concealing their burden of yearning as Fudge sings, “What’s the use in trusting myself, walking the line / Losing myself, wasting my time alone / Holding on to the things that I know.”

Roundup Rundown features standout singles, EP’s, or albums from the latest edition of Release Roundup - CLM’s monthly catalogue covering music in and around Oklahoma. Selections and writing by Roundup curator David Joachims.

Go here for the full list of releases from January 2024.

Roundup Rundown: 5 Standout Music Releases from January 2024

Release Roundup - February 2024

Release Roundup - January 2024