Beat is powered by Vocal.
Vocal is a platform that provides storytelling tools and engaged communities for writers, musicians, filmmakers, podcasters, and other creators to get discovered and fund their creativity.
How does Vocal work?
Creators share their stories on Vocal’s communities. In return, creators earn money when they are tipped and when their stories are read.
How do I join Vocal?
Vocal welcomes creators of all shapes and sizes. Join for free and start creating.
To learn more about Vocal, visit our resources.Show less
D.L. Byron is back with a four-track EP of music that sounds like it came straight out of the 80s. Byron’s vocal style is vintage 80s; his songs are intriguing and catchy. Byron is a talented indie music artist.
Satori is described as “edgy and rockin’” in the press release—a fitting description. The album name is a Zen Buddhist word, meaning “sudden awakening.” He chose this title for specific reasons and is actually working on a memoir explaining what he’s gone through in life. In Shadows of the Night, he plans to discuss life, as well as sex, drugs, and rock n’ roll. It ought to be a good read.
The music on Satori is something else. Each song has a bit of a different feeling and vibe to it, even though Byron’s vocals continue to have that 80s feel throughout all four songs. It’s a great little collection of songs—it’s a perfect collection for rock lovers. It’s a mellow, comfortable, adult contemporary rock.
“No. 1 God” has a peppy beat that will stick in your head. The solo on this track has a new age feel to it. It makes you want to meditate and pray. That seems fitting for a song with such a title, and appropriate considering the album title as well.
“Rehearsing for the Future” is a foot tapper. I may as well have been walking to it the way my feet moved while this song played. “I’m having a conversation with myself.” I’m not entirely sure what this song is about, but I really liked it and felt like it spoke to me on some deeper level. I always feel as though the things I am doing today are a preparation for tomorrow, so essentially I am rehearsing for the future—right? Either way, I dug this song right up until the end, then it lost me. Byron ends the track with some really weird, and uncomfortable, distortion. I think I get what he was trying to do, but I definitely didn’t like it. But that’s OK because it was short lived—and now we’re on to the next song!
“All Fall Down” has lyrics about ancient prophecies, so I instantly liked it. It has a great beat, just like the previous songs. It expresses Byron’s songwriting and lyric writing talents.
“Everywhere I Go” is the last track on the album. It combines kind of an 80s synth sound with a country sound. It’s a lot country, actually. The country sound emits from the guitars. I dig this combination. It’s such a creative and clever song. Byron’s vocals on this one make me think of the late, great Tom Petty. I think this is my favorite track, and I’d love to hear more like this from Byron.
For some reason, after listening to this EP, I have The Monkees “(I'm Not Your) Steppin’ Stone” stuck in my head. That’s OK because I LOVE The Monkees. It might just be that the beat of these songs lend their sound to great music like this, and even The Beatles. It's well-made music with a story and lots of emotion. Check Byron out on SoundCloud.
This future flashback collection of wannabe (and doing it well) 80s tunes was brought to you by the good people of Whiplash PR & Marketing.
If you like this music review, please take a moment to check out some more of my reviews of awesome tunes here on Vocal and on Side Stage Magazine. I have new reviews up almost weekly. You’ll find an array of musical genres covered, so you’re bound to find something you like.