High Bias is the label name that John Davis (of Superdrag, Epic Ditch, The Lees of Memory) uses to release various recordings coming straight out of his Yamaha MT-4X four track. As he puts it, “No packaging, no mastering, straight out the back for your enjoyment.” While that’s not always true, it does set the tone for what to expect sonically.

Or does it? As with the latest release, a multi-layered country affair entitled “That Ain’t Fair,” there’s a complexity to these songs despite the simplicity of the recording technique. The age old adage that limitations breed creativity seems to prove true here.

But enough about the recording – what of the song itself? It does a wonderful job of showcasing Davis’ guitar prowess and his ability to leverage his voice in both vulnerable and lonesome ways. It’s stylistically Classic not only because of the slide guitar but in lyrical content. When he croons “I don’t care if I never go back there, cause there’s a lot to lose and lonesome blues everywhere” you believe it.

The releases from High Bias are never on a schedule and inconsistent in the genre they explore, which is exactly what makes them so enjoyable.

The 7″ split between B|_ank and R. Stevie Moore functions as an exercise in meditative practices, albeit from rather adverse approaches. It also serves as a nice primer introduction to the two outfits general styles.

The B|_ank track, “split|side|mono”, is a slow assault on the senses. That’s not meant offensive as that’s the intent of the track. It starts off silently and creeps along until an outburst of droning feedback hits; as if the sound equipment has gone awry and is bursting forth in ever-building waves of degradation. By the 7-minute mark, it’s devolved into near squelching modem sounds. The brutality can be transfixing and overwhelming but provides an odd clarity in forcing you to focus on only that.

“Walker Waltz” from R. Stevie Moore on the flip side is quite the opposite, as there’s a lulling quality to the combination of bass line, swirling keyboards and persistent, almost tropical, beat. When a handful of subtle conversational samples come in around the 3 minute mark, it feels like you’re just some observer of time and space along for the ride. All that is to say, it provides a wonderfully floaty feeling.

If you’re really pushing it, Christmas Music has an acceptable shelf life of Thanksgiving to December 25th. Any time listening to holiday music beyond that and you’re an insane person. Fortunately, at the time of this posting we’re still inside that window.

Musician Seth Timbs (likely often known for his band Fluid Ounces) has latched on to that sane window of time by releasing his two-song EP Bellyful of Christmas right in the sweet spot – early December. If you haven’t been listening to it for the past few weeks, we’re sorry to just now bring it to your attention but better late than never.

The title track is a fun upbeat number filled with flourishes of instrumentation including Timbs trademark piano, some holiday bells, oooh’s and aaahhh’s and even a shredding guitar solo. Following along from there is a much more sombre number entitled “This Is Your Christmas Song” that functions as a properly subdued balance to the frolicking headliner. Timbs has always had a penchant for being able to indulge in the melancholy, which plays out quite well here.

It’s just two songs with a runtime of under 8 minutes. There’s only a week left that you can listen to this without getting judging looks, so indulge!

Despite being diagnosed with cancer in 2017, Michelle Sullivan is extremely busy. She’s released music as Sherbert, TV Sisters and Mini Meltdowns. Even with all that, she’s released two new songs as Michelle Sullivan and The All Night Boys, a digital single hinting towards a larger album entitled Expiration Date set for release in early 2019.

The two tracks – “Little Pink Room” and “Psychopharmacology” – are straight forward, catchy, rock songs delivered with an excellent, knowing, snarl from Sullivan. She cites The Replacements as a fundamental source of inspiration and motivation and it’s easy to see that influence shining through. Lyrically there seems to be plenty of references to Sullivan’s experience pushing through her cancer treatment but I could also be reading into it.

Surviving cancer is no small feat but surviving cancer and writing an entire album through the experience is even more impressive. Looking forward to the full album.