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Ghost Robot Ninja Bear is Oscar Albis Rodriguez and friends - in the live spectrum that is. Recorded, Rodriguez can be dubbed a one man band. The Singles EP is a little sample of the variety and depth he is capable of.
This four track release begins with a hard hitting guitar riff setting the trend for many to come, both intricate and catchy, which follow in the next 12 and a half minutes. At times, Rodriguez is joined on stage for such captivating hooks by Rachel Rubino (Bridge and Tunnel), among others. However, when listening at home or in your car, the only assistance had was that of several producers including, Ali Hassan (engineer for Bouncing Souls and The Loved Ones). “One Pedal To Another” introduces Rodriguez’s gruff, yet polished vocals, applying to the genre overlap of indie/punk rock.
“Blood The Tango” shows a punchier side of Ghost Robot Ninja Bear that will certainly leave one foot tapping and humming the melodic yet slightly post-hardcore influenced track. “Staring At The Clocks” gives a pop-punk element to the EP, displaying Rodriguez’s flowing diversity in what is the strongest track on the EP.
Leaving a grungy impression in contrast to the previous track, “Carousel” reminds the listener as the release nears finish that no two songs sound the same, especially when surprising growls are used half way through the track.
The Singles EP is refreshing in the sense that it’s comforting to hear a release that differs from song to song, avoiding staleness, the trap that many bands in the genre subconsciously fall into while creating, even on an EP. Creativity is not lost.
Cincinnati’s Mixtapes provides snippets of adolescence and angst in the form of compressed guitar riffs, direct lyrics, and modest dual vocals. The simplicity of their eleven minute EP Hope is for People is like a snapshot of youth, with the title track acting as its anthem, chanting, “Let’s cut the bullshit and get to living.” This theme continues through the rest of the EP’s six song tracklist, making it easy to listen to a few times through before the melodies and simple guitar parts begin to blur together loudly and passive aggressively in an altogether effective manner. The very forthcoming approach employed by Mixtapes is an echo of punk rock predecessors Blink 182 with a little sprinkle of vocals reminiscent of Kimya Dawson on top. The acoustic track “Where I Live” takes a softer turn, ending the album on a somewhat peppier note. If you aren’t the kind who enjoys rough vocals and uncomplicated lyrics, Mixtapes may not be the band for you. But if, like me, you’re looking to forget adulthood for a few blissful moments and remember simpler times through simple songs, look to Mixtapes to guide your way.
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