Tiny Boats – No Tiny Feat


Over the last couple of weeks, I’ve been digesting the album “The Broken Vessels” from a new group called “Tiny Boats”. It’s been a somewhat humbling, stupefying, and inspiring experience, and by the time this review is done, you’ll understand why I chose those words.

When I review an album, I lean not only on my perspective as music lover, but also on my experience and insight as a songwriter, musician, music producer, and audio engineer. Perhaps that makes me more critical, as I tend to analyze the album rather than simply listen to it, but I find it actually helps me better understand the artistry and effort behind each project.

The first few seconds of this album made me nervous… as I heard a simple acoustic guitar part, drenched in an infinite sea of reverb I braced myself for the worst…. Oh please, don’t let this be painful to my tender ears!!! And then…just a couple of seconds into the song – I found myself completely entranced in the music. But, more on that later….

This album is hard to describe, but it is a fantastic blend of styles, ambitiously produced, with songs that have been crafted by lyrical and musical artisans – leaving them with a level of depth and artistry that is sorely lacking in so much of the cookie-cutter music that is popular today.

This may be the first album from Tiny Boats, but it is actually not the first time that the members have worked together. Jason and Jesse previously worked on a number of songs under the name of Herod the Fink. I don’t know why they chose to work under a new name on this project, but it was a good choice, as Tiny Boats reflects a maturity that leaves the old “Herod the Fink” tracks sounding pretty amateurish by comparison. This album represents a new beginning for them – not because they have abandoned their “old” sound, but because they have perfected it and taken it to an entirely different level.

Stylistically – where to begin? American and European folk, rock, pop, indie rock, even a little country and punk… somehow all rolled together in a fairly dramatic, sometimes theatrical format. At times they sound very “retro”, as if they were straight out of the early days of rock, and at other times they sound very progressive, even reminiscent of rock legends such as Rush. Still other times they flirt with modern pop rock sounds that typify bands such as Imagine Dragons, and still other times they bring to mind the quirky folk inspired sounds of Midas Whale.

The album production seems thoughtfully done, with layer after layer of sounds alternating with stripped down, intimate sections of music. The songs are dynamic from start to finish, and the fusion of many styles keeps the project interesting from one song to the next.

While some songs are certainly stronger or more enjoyable than others, I didn’t really feel that there were any “fluff” songs on the album – each song seems to hold it’s own. The first song on the album – “Burn in the Sun”- is a fantastic song that provides a very strong opening to the album, and quickly makes my favorites list. Next up is “Being and Doing” which brings to mind the “Rush” sound I mentioned previously. Midway through the album, the song “I Built These Walls” borders on chaotic at times as they push the boundaries of their eclectic style, starting with a slow, intimate, and produced sound and then working their way into a high speed, less polished “garage band” type of sound and then alternating back and forth several times between these two incredibly different styles. Strangely enough, they seem to do it with ease. As they dive into “We Waited for Sunshine” they give off a retro vibe reminiscent of the late 50’s and early 60’s. Skipping ahead to “Polaris”, they have a melancholy sound that is very sparse at some times, and richly layered at other times, with a creative approach to the production that helps it stand out on the album – this was definitely another favorite of mine. The album ends with “Broken Vessels” – a fast paced song that seems to blend folk and punk, a sound that is certainly a big part of their “signature” sound.

I mentioned earlier that my attempt at reviewing this album left me humbled, stupefied, and inspired. The stupefied part is that there is so much to say about this album that I’m at a loss for words. How do I communicate the interesting blend of styles? The very dramatic and theatrical moments in their arrangements? The way they effortlessly shift between a stripped down and intimate feel and a highly produced, layered feel? The genuine songs that are not written from formulas, but are written from the heart? I can only say – give it a listen.

As for being humbled, I sincerely am. Frankly, I was not a huge fan of “Herod the Fink”, (sorry guys!) and despite Jason’s long history with music and recording, my impression is that he is still a relative newcomer in the world of recording and producing. I’m humbled because his production work certainly doesn’t sound like that of a newcomer at all, but that of a seasoned pro. The passion and honesty of the songs are not lost in the production: at times, I can hear the little “human” elements in their performances that come from real musicians, which I truly enjoy. Clearly, as musicians and also as a production team, Tiny Boats is not afraid of blazing their own trail and doing so with style.

But mostly, I’m inspired. In this day and age of “bubble gum” pop, and cookie-cutter production, Tiny Boats offers a refreshing experience that draws on great musical inspirations from the past, and packages them boldly, with a modern sound and style all their own. With a fairly average voice, a home studio, and a band made up of only 2 people, Tiny Boats has created something special – not with gimmicks, but with good writing, good production, and obvious passion.

Tiny Boats isn’t “just” an album, it’s art.

Learn more about Tiny Boats and sample their music at http://tinyboatsofficial.com

By Matt Mylroie of Driftwood Tide Music


Tiny Boats – No Tiny Feat

Saturday Night, Sunday Morning…

Linescratchers-Friendly Album Compilation Project Announced

Driftwood Tide Music has recently announced intentions to produce a 2 album set of music written and/or performed by LDS artists. One album will focus exclusively on gospel themes, while the other album will focus on secular music.  Basically, the goal is to showcase LDS artists in two settings, which are being loosely described as “Saturday Night” and “Sunday Morning”.   Linescratcher artists may find the “Saturday Night” album to be a great fit, and a great opportunity to showcase their talents.

Many artists lack the funds to do a full album, or even an EP, and produce it at a professional level – thus preventing them from having a decent product to sell, and material to promote themselves with.  This compilation will hopefully help mitigate this problem, while  showcasing talent, and providing opportunities.  These opportunities include being introduced to new fans, networking with other artists, improving your professional image, having merchandise to sell, and more.

All writers and performers need not be LDS to participate.   A song written by an LDS artist but performed by a non-LDS artist is fine, and vice-versa.  Bands need not be all LDS, but should have a significant LDS presence in the band.  These situations will be looked at on a case-by-case basis to see if it makes sense.

Ideally, this album will be mostly upbeat and energetic, but a solid ballad could be a welcome addition.  Even though this is considered secular music, the lyrics, music, and performance should still be  LDS friendly.. In other words, no off-color lyrics or themes, and no music that would be considered dark or chaotic.   Style wise, a fairly broad and diverse sound is desired, while still managing to have some cohesiveness by presenting a marketable sound that the Teen to Thirties crowd could enjoy.  Popular music in many variations is encouraged – rock, electronic, folk, dance, indie, singer-songwriter, indie-flavored rock, and even modern pop-country are all ok, so long as they can at least loosely fit in with or be associated with popular music.   In selecting the songs, extremes will likely be avoided in order to create an enjoyable collection that can garner wide appeal, while still attempting to create a diverse collection of music that will expose listeners to new sounds and styles.

This is a pay-to-participate opportunity, meaning that the cost of the CD manufacturing will be split among the artists.  The exact fee is yet to be determined but will be reasonable – an amount that could be easily met by simply selling a small portion of the merchandise that the artist will receive.  Driftwood Tide Music will handle the mastering at no additional charge to the artists.  For their participation fee, artists will get a stack of CDs and Download cards that can be sold directly by the artist for any amount they desire, with the full proceeds going straight to their pockets.   Artists will also get online sales through iTunes, Amazon, CD Baby, Spotify, etc.  Proceeds from online album sales will be managed by Driftwood Tide Music and will be divided among the participants. Artists are responsible to provide a high quality recording of their song(s) for the album(s). These can be produced in a personal or commercial studio as the artist deems appropriate.

If you’ve been holding off on putting out a professional release, or if you just need something to keep your fans engaged in between full album projects, this is a great way to get a professional product to promote and sell, and most importantly, to help keep your fans engaged while opening doors to a whole new potential fan base.

Production does NOT need to be done through Driftwood Tide Music in order to be on the album.  In fact, they stand ready to provide referrals to other producers, studios, engineers, songwriters, etc, who can assist you with your project.  Additionally though, they are ready and willing to provide recording, mixing, producing, or other services as needed.  It doesn’t matter if you record your project at home or in a big studio, so long as the quality is at a high level. You are welcome to use an existing recording already (please just be sure to provide the UN-Mastered original mix so that it can be remastered).

Hopefully, this will be an appealing opportunity that can help expand awareness of Linescratchers artists, and provide opportunities to create new fans, and have a high quality product to sell.   We hope to get at least one independent artist who is more well known and established to participate in the album project, in order to help increase the exposure and distribution of the albums.

While the “secular” album from the set is a pretty obvious opportunity, please don’t discount the “spiritual” album as a non-opportunity, as the hope is that this album will be pushing the limits of the “typical” LDS spiritual album sound & style a little as well, and may still be a good outlet for some slightly non-traditional LDS spiritual music.

To be clear – this is not an official linescratchers sponsored project, even though we hope it will create opportunities for feature articles and music reviews on the site for those who participate, and more importantly – we hope it will help generate some great new music, and garner more attention for the site and for our collective efforts in showcasing some of the great LDS talent lurking in the shadows. All questions should be routed to Matt Mylroie / Driftwood Tide Music, either through the contact information on Linescratchers.com, or through the “contact” page at http://www.driftwoodtidemusic.com.

Matt Mylroie is a producer/engineer/musician/songwriter based in Florida, and a semi-regular contributor to linescratchers. 


Saturday Night, Sunday Morning…

Ready to Shake Things Up? Midas Whale!


It usually takes years for a musician to become an “overnight sensation”. Such is the case with Ryan Hayes, also known as 1/2 of the epic and eclectic duo “Midas Whale”, who recently exploded on the music scene thanks to their strong performances and witty humor on the hit television show “The Voice”.

I sat down with Ryan to find out more about him, and what comes next for the folk duo.

Linescratchers first became aware of you when you were part of the brother-sister duo “Sunshine Brady and the Moonlight Lady“. Tell us a little bit about this project – how did it get started? Did you record or perform or both, and what was the music like?

RH: Sunshine Brady was my first performance project. I have always been a writer of music or musician of sorts, but to stand in front of people and play was an entirely foreign thing that I wanted to try out. I recruited my sister Becca because performing solo is very lame in my opinion. She has a way of making people comfortable and that made performing very easy. The music was fun and folky and we were a hit in Rexburg in no time at all. I think a lot of people were drawn to what we did because we refused to take ourselves seriously. We never recorded, though some live recordings do exist if you know who to ask.

Was that duo your first serious effort with music? If not – where did you really get your start with music?

RH: It was my first effort as a singer, but no. I played the trumpet since I was 11 and I had been writing music on the guitar since I was 14.

You mentioned you think playing solo is lame…

RH: I always work in groups. Like I said, I think solo artists are lame. For me, I get much more joy out of hearing one of my songs sung by another person than I could ever get from singing it myself. Deep Love is a prime example of this. It has grown into a family of 40+ people with many moving parts and I am content just being a part of the motion rather than the star.

How did “Midas Whale” get started, how long have you been together, and where do you see yourselves going?

RH: Jon convinced me to form a duo specifically for the show in August of 2012, so this is a brand new thing. Jon and I have collaborated for several years on producing a rock opera I co-wrote with Garrett Sherwood called Deep Love. We thought that going on national TV would help us to promote Deep Love, and even though it wasn’t talked about on the show we have certainly given Deep Love a sure future by doing this.   Midas Whale itself was an instant fan favorite on the show and our untimely departure was a shock to the nation. We are now entirely devoted to keeping Midas Whale a household name and actively increasing our reach. We are hard at work raising money for an album (via Kickstarter) and planning for a summer tour.

You have a sound that is very original, and yet completely classic at the same time. Tell us a little about what music and what artists have influenced you.

RH: My sound probably seems original because I don’t listen to much contemporary music. If you were to listen to music from the early to mid 1900’s you might hear something familiar to what I write. I am a big fan of the piano plunkers like Hoagy Carmichael and George Gershwin along with singers like Bing Crosby and Yves Montand. The writing and singing style of those days appeals to me for its melodic value and as a result can’t stomach much of the rhythm driven music of today.

How has being on “The Voice” this year impacted you personally and professionally?

RH: It has been very nice to see the degree of personal pride my friends, family and acquaintances all take from it. Many people I know personally who have had it rough this last year have found strength and pride in seeing me on TV. It’s weird how that happens, but I know I would feel the same way if I had seen some schoolmate of mine doing the same thing. If I can be the means of raising someone’s spirits then it’s all worth it. Professionally I would say that this season of the Voice has marked me as a musician. Before, I would have hesitated to call myself a musician. Firstly, I am a working geologist and secondly I don’t see myself professionally in the same rank as people who have striven all their lives to master an instrument. THOSE are true musicians in my opinion. The reality, however, is that I think more about music than any other thing, and being paid to do it makes me qualified for the title. I have started calling myself a musician, and it’s beginning to feel less weird.

What was your favorite experience/favorite part of being on “The Voice” ?

RH: I would say the most amazing part of it all is becoming familiar with and close to all of the singers on the show. I feel like many of them are my kindred spirits and I can’t even imagine not knowing them. I made relationships with people there that I will keep for the rest of my life. Initially I thought that they would all be the reality TV type that are competitive and arrogant, but what I found was quite the opposite. They are some of the kindest, most genuine and talented people I have ever met. I know that I’ll be working with many of them for years to come.

In my circles, people seemed pretty surprised and genuinely interested that a couple of young folkies were able to speak fluent Spanish with Shakira and that you had both lived in foreign countries.  Did this prove to be an opportunity to have conversations about the gospel, as part of your explanation of how/why you had these skills and experiences?

RH: Hardly. I don’t try to hide the fact that I am LDS, but I don’t try to advertise it either. When people would ask me how I learned Spanish I would simply say I lived in Ecuador, and that was usually enough for them. I am always excited to talk about the gospel but will only open up if I feel like the moment is right.

There were several LDS artists featured on “The Voice” this year…

RH: Yes, Ryan Innes and Amy Whitcomb were both on the show and I have grown rather close to both of them. Coincidentally we were all eliminated on the same week. I am so honored to have known both of them and we all plan to go on the road together this summer.

How has the public reacted to your music? Has the LDS Music community embraced you?

RH: I think the timing is perfect for our music. We are at the beginning of the new age of folk music, both nationally and internationally. Because of my lifelong love affair with the genre I feel somewhat like I do have something to contribute amid all of this. I feel right at home doing it. I think the LDS community in Rexburg stands very firmly behind us, but we’re working to win over Utah. We claim Rexburg because we met there, but the fact is we live and work in the Wasatch area.

I agree that the time is right for a new folk emergence – just look at the recent success of  groups like Mumford and Sons and others who have displayed clear folk influences in their music.  Even the commercially driven show American Idol produced a folk-flavored winner in 2012 with Philip Phillips. So – What is next for you?

RH: Kickstarter, then album/touring. We’re very hard at work to make sure this all happens.

Where can people find out more about you, buy your music, see your shows, etc etc etc?

RH: Follow us at https://www.facebook.com/MidasWhale and https://twitter.com/MidasWhale

and interact with us on our website http://www.midaswhale.com/

Midas Whale is in the last week of their Kickstarter fundraising campaign – if you enjoyed them and would like to support them, please act quickly to help make sure their album project becomes a reality.

Matt Mylroie is an independant music producer, audio engineer, songwriter, and musician from Tampa Florida and a semi-regular contributor to linescratchers.com.  You can connect with Matt via the contact info on linescratchers or at www.driftwoodtidemusic.com

Ready to Shake Things Up? Midas Whale!

Interview – Tristyn Elizabeth, a rising star in Austin

Deep in the heart of Texas is a town known for live music, cowboys, and the blues.  When I think of Austin, Texas, I really don’t think of pop music… until now.  Allow me to introduce you to Tristyn Elizabeth.  After a couple of years of paying her dues as a singer-songwriter at many of the open mic events in Austin, she has emerged from the studio with her first real studio effort, an EP entitled Kiss Me in the Rain.  Like a butterfly emerging from a cocoon, she has used her time in the studio to transform herself from a singer-songwriter into a more polished pop artist, without abandoning her roots.  I actually know Tristyn, after being in her ward for a couple of years in Georgia.  I recently connected with 21-year-old Tristyn to hear her story about her development as an artist.


How did you get started in music?

My dad is a songwriter/producer type as well and he’d always be writing or playing or talking music all the time. That was a huge influence all my life. I remember when Britney Spears and N’sync and Backstreet boys were  huge, I’d blast it in the living room and sing and dance to it with my siblings and imagine growing up to be a singer. I started writing sometime in high school. It started when I would listen to songs on the radio and it didn’t fit how I felt. There wasn’t a song I could sing from my soul I guess, I was in high school and I was dramatic. So I started writing music on my guitar.  All the songs I wrote were kinda bad and embarrassing. Over time they got better with re-writes and new life experiences. I wrote better ones when I went off to college. Also, when I was in high school  my dad would need vocals for various projects and songs and I’d record on those. That’s basically where it started. Continue reading “Interview – Tristyn Elizabeth, a rising star in Austin”

Interview – Tristyn Elizabeth, a rising star in Austin

An Interview With Myself – Matt Mylroie

Matt MylroieUpon hearing rumors that I had been working hard to wrap up an album project for December release, I decided to sit down with myself for an interview. Here are all the facts for our loyal Linescratchers readers.


Does your album project have a general theme?

To me, these are guitar-driven songs about life. They are real, they are raw, and they are relevant.  That’s pretty much the theme of the project.

Continue reading “An Interview With Myself – Matt Mylroie”

An Interview With Myself – Matt Mylroie

The Aquabats – “Hi-Five Soup” Review

For a few weeks now, I’ve been listening to the latest effort from the Aquabats, and contemplating my critique. Having done a number of reviews and critiques over the years, this one has been the hardest, because it is such a unique project.    I have heard of the Aquabats but had never heard their music until now. So, rather than review this by comparing and contrasting it with past works, I am simply going to focus on this particular body of work.

So, to point out the obvious… this is not your “typical” band.  With their spandex “rash guard” super hero shirts and their anti-negativity helmets, they not only deliver everything you would want from a world famous rock band, but they also travel the planet in their highly customized Winnebego fighting crime, including notorious bad guys like  Gasface and  Kitty Litter.

Or at least that’s what I hear.

So, on to the music… It’s juvenile, cheesier than cheetos in nacho sauce, completely over-the-top, borderline ridiculous, and… FUN!     It’s actually refreshing to have something on my iPod that is fun, light-hearted, energetic, and full of satire. Continue reading “The Aquabats – “Hi-Five Soup” Review”

The Aquabats – “Hi-Five Soup” Review

Bill Dent – Guitarist and Collaborator

Need a guitarist or songwriting collaborator?

You may not have ever heard of Bill Dent, but if you’ve worked with him, you’ll never forget him.  Bill is truly one of the more talented people I’ve ever had the chance to work with.   I’ve been around a lot of amazing guitarists, and can attest that not only is he a great guitarist, he is a great musician – something many guitarists sadly lack.  He has such a great sensibility about his playing, covering a wide range of styles with ease.  He doesn’t settle for “what everyone else is doing”, and isn’t afraid to boldly try new things and push the envelope.  When many artists do that, they often end up getting critical acclaim at the expense of offending the masses, but in Bill’s case – he always seems to find just the right balance for each song and project.   As a result of this, Bill is an exceptional collaborator – bringing out the best in any song he touches, and any artist he works with.    He makes an ordinary chord progression become extraordinary, and a mundane melody become memorable. Continue reading “Bill Dent – Guitarist and Collaborator”

Bill Dent – Guitarist and Collaborator

Music Production and Sound Quality: Electric Guitars!

The thought of trying to condense some thoughts on getting the best possible guitar tracks into a single blog entry seemed almost overwhelming! So, I’m covering a few highlights on electric guitars in this installment and will hit on acoustics later. As with past articles, I’ll assume that many of the people reading this are involved in the recording and production of their own albums, and additionally, I’ll assume that there are non-guitarists and beginners reading, so I’ll build this from a  basic starting point. Continue reading “Music Production and Sound Quality: Electric Guitars!”

Music Production and Sound Quality: Electric Guitars!

David Archuleta – The Other Side of Down review

The Other Side of Down is the latest offering from LDS singer and American Idol alumni, David Archuleta.  Being LDS, a musician, engineer, and producer may qualify me to critique this album, but my greatest qualification might actually be that I am the father of 3 young girls who fit a significant demographic portion of his fan base.  Also,  I’ve had the wonderful opportunity to hear David sing live, in a very “up close and personal”, accapella performance  – so I’ve seen his talent in its most raw and simple form, and was eager to compare that to the production of his newest album.

David’s producers have tried to squeeze him into a radio-friendly, tween-compatible, pop format.   For the most part, they’ve succeeded, but stylistically this album feels just a bit “forced” at times.  Sure, it fits the format in many ways – catchy melodies, electronic beats, loads of synth sounds, lots of layering and production quality, and of course the terribly over-used “telephone” sounding effect on vocal delays and overdubs.   But there are noticable differences between this album and many of the cookie-cutter masses. Continue reading “David Archuleta – The Other Side of Down review”

David Archuleta – The Other Side of Down review

Music Production and Sound Quality: Start at the Source!

In my first article of this series I presented contrasting arguments on the importance of production quality, and the appropriateness of various levels/types of productions.   From that article, I hope we all came to agreement that many levels of production quality are appropriate, and that ultimately, knowing your audience and reacting to their needs is crucial.

As one of the stated goals of the Linescratchers site is to “raise the bar” of quality for our musical community, I will devote much of my articles in this series to improving the quality of our productions.  However, I will also continue to explore ideas related to all levels of production quality.   Please keep in mind that these articles are written to appeal to a broad audience and I can’t possibly write specifically to every genre, audience, and situation.   I’m just trying to give you some basic principles to consider. Continue reading “Music Production and Sound Quality: Start at the Source!”

Music Production and Sound Quality: Start at the Source!