top of page
Search

David Kaufman Releases An Honest pop-Rock Record

The new album from David Kaufman delves headfirst into classic rock territory but doesn't really leave that pop sensibility behind. These songs definitely have hooks; they can be colorful, robust, and still absolutely rock out when they want to. This is a brilliant combination of contemporary songwriting, blended with alternative and driving rock that feels honest and at times, cinematic.


Right Here is a release that offers up songs from someone who brings a slew of influences to the table. You can hear a lot of these different approaches coming into play throughout the record's unfolding, and he's able to sort of Bend into different genres in different places.


The record kicks off with a track called "People Don't Talk", which certainly boasts a great drive. The percussion that sort of cuts through everything and pushes the song forward, but also features experimental effects on the vocals that feel almost futuristic but sort of classic at the same time.


To me, this is a pop-rock track that is a little outside the box, making it a bit more addictive but still catchy and with plenty of punch.


It's got some great vocal harmonies, and the chorus of the track is super memorable, flavorful, and has, again, this sort of classic catchiness that you get stuck on.


This is already the kind of chorus that bounces around in your brain for long after the song has ended.


It's also a great introduction to the record because you're getting some of the best staples that the album has right here on this first song.


Now, having said that, this is definitely a record you want to listen to all the way through, in one shot.


There are more than a few surprises around its corners, and it definitely feels good to soak all of that in.


"Whisper" brings in different instrumentation and a very vast undertone. This is what I mean by cinematic. Songs like this have a spaciousness in their underbelly, and he utilizes that to push the pop element to the forefront. It's really quite a genius way to put a song together, and he really makes it flow naturally.


I love how songs like this have that expansive and almost ambient feel, while it's still completely from start to finish.


Songs like "Together now" showcase a lot more of that pop tendency and put it right up front, utilizing some great keys and synthesizers to create thickness and melody. This is definitely a song that has some great layers to it, and also feels pretty filmic, coming through as a bit of a power Ballad of sorts.


One of my favorite aspects about songs like this is the backing vocals. This has some great backing harmony vocals that thicken up that chorus and make it feel almost doo-wop.


As I mentioned earlier, there are tons of influences the artist holds close to his heart and is not afraid to bring those into play whenever he wants.


This is pretty cool because it makes for an expansive record and branches out into different areas, while still staying pretty confluent or consistent.


I love the vibe this track gives off in particular. It sort of floats and actually invites you to float alongside it.


The song has an atmosphere all its own, and it feels good to sort of swim through it.


"Apologies" is definitely a vintage classic rock single. This was really brilliantly produced, and David was able to capture that vintage tonality amazingly. It's got effects on all the instruments along with the vocals, creating a bit of a psychedelic feel and reminding you of bands from the 60s and maybe early '70s.


"High School Virgin" blends more lush soundscapes, utilizing keyboards and synthesizers to create that full-bodied feel, but still flows like water and creates a soundscape that you just fall into.


You hear a lot of different vocal approaches on the record, and this is one of the songs that showcases how David can perform not just harmonies, but also where he's singing the same notes in different registers.


This makes the vocals come through uniquely, and I love how it feels listening to the textures of his vocals with the electronic instrumentation and natural ones.


It's such a cool combination of tones, and when they do come together, they click like puzzle pieces.


A lot is to be said about the mix of this record as well. I don't always touch on the mix of a release, but here I think that it's important because when David recorded the songs, it's the after-effects that really create certain Aesthetics.


Whoever mixed the record, if it wasn't David himself, obviously knew the mission.


Everyone was on the same page about building out that particular aesthetic and making it come through as intended. Throughout the release, you hear plenty of honesty along with pretty in-depth storytelling, all giving the record those layers it was meant to have lyrically.


What's cool also is that the music and instrumentation really create the right moods for a lot of those lyrics.


The album closes with the song called "I See Your Eyes", which features Connie Garcia, and she really brings a different element to the table here. Her vocals are bright and colorful, and the whole track is incredibly danceable, almost has a bit of a Samba thing going on, and I feel like it's an excellent way to close out the record.


This whole thing had loads of high notes to it, but all in all, it's the songwriting that really takes the cake.


Again, I would suggest jumping into this record in full if possible. The whole thing is 12 songs and almost 40 minutes in length.


So, it's well worth your time.


Take a deep dive into this album now, and see what it does for you.

Comments

bottom of page