Music Reviews<\/b>
\nby Kent Manthie<\/i><\/p>\n
The Key Party: \u201cHit or Miss\u201d (no label)
\n You know, listening to certain CDs is a lot like getting high for the first time: according to urban legend, no one ever really gets \u201cstoned\u201d their first time smoking pot. Similarly, when I hear a brand new disc of totally new stuff it often times comes off flat, it leaves me cold even. But then there are two things that can happen: if I listen to it at least once or twice more, maybe three at the most, there will come a point where I\u2019ll suddenly click with the music as a whole, through the gateway of one particular song, or \u2013 more precisely \u2013 a particular hook or riff or a solo or the way it ends; whatever it is, that\u2019s the catalyst that spurs me on to really love it. Now, if, on the other hand, I\u2019m on my fourth or fifth listen and I am not excited about it but at the same time I don\u2019t actively dislike it then it will probably not get listened to anymore after that and I\u2019ll chuck it in with the rest of those like-minded CDs.
\n The Key Party is somewhat of an iconoclastic outfit. They don\u2019t have any normal, faddy, trendy slick pop-oeuvres in their music. It is basically the brainchild of one Darren Gaines, from New York City. Gaines and a bunch of friends made \u201cHit or Miss\u201d, their debut opus, by recording it around the country in places such as: \u201c\u2026living rooms, bathrooms and bedrooms in Manhattan, Brooklyn, Washington D.C. and Jacksonville, FL\u201d, according to the back of the CD sleeve.
\n The lyrics are a mish-mash of mad poetry, beat writing and pop-intonations. The music is a great thing to listen to. It\u2019s a bittersweet, alt-pop s\u00e9ance with a tinge \u2013 just a tad \u2013 of country in there somewhere, mixed in with the rest of the gumbo, with a hearty sprinkling of Leonard Cohen and Tom Waits and maybe just a drop of Lou Reed.
\n Songs I really dig on this CD are: track #14, \u201cMonday Morning\u201d; track #11, \u201cManhattan Song\u201d; track #9, \u201cPolice KDM\u201d; track #10, Sideshow\u201d and lastly, but not least (the last cut), track #15, \u201cTo Begin Again\u201d. Like a lot of other good stuff out these days, there is no label involved here, at least not yet \u2013 but you can check out more about them at their website and on My Space, which is, I believe, owned by that foul, evil Rupert Murdoch\u2019s News Corp. (son-of-a-bitch): http:\/\/www.thekeypartynyc.com & http:\/\/www.myspace.com\/thekeypartynyc – KM.<\/p>\n
Zen Boy & Karma Girl: \u201cWho They Are & How They Came To Be\u201d (no label)
\n So, who the hell needs a record label anymore these days? Obviously not these two, who\u2019ve managed to put out a slick CD all by themselves and if they\u2019re any good, word-of-mouth praise will follow accordingly \u2013 voila!
\n Zen Boy & Karma Girl is a folksy duo who is either from Alpha Centauri or Hollywood. I was kind of taken aback when I put the CD in the player and out came this really light, acoustic folk music. The first two tracks were kind of all right, but as it went on, starting with the corn-pone \u201cThere Won\u2019t Be\u201d, it got pretty unbearable for me, not being much of a Peter, Paul & Mary fan and I never liked the Kingston Trio either (but my mom loves \u2018em). So, don\u2019t let the tight pants fool you, they\u2019re folkies in disguise. You can check out their website for more info: http:\/\/www.zenboyandkarmagirl.com \u2013 KM.<\/p>\n
\u201cOther Songs and Dances Volume One\u201d \u2013 (Backlight Records)
\n Smooth, baby; dig it. Backlight Records has come out with a sampler of twelve \u201csmooth jazz\u201d tunes, also known as \u201cLite Jazz\u201d or what I think is more honest: \u201cJazz Manqu\u00e9\u201d \u2013 the syrupy white-boy stuff a la Kenny G, the poster boy for \u201csmooth jazz\u201d \u2013 it is really the Muzak of today, the stuff you hear in 7-Elevens, at Baker\u2019s Square for coffee and pie, in the dress shop or at the mall. It isn\u2019t bad music, it has a kind of \u201csmooth\u201d quality to it, it\u2019s fluid and very ambient too, I mean, it literally melts into the woodwork (ok, well, not literally\u2026).
\n On \u201cOther Songs and Dances Volume One\u201d, there are highlights from such Lite Jazz stalwarts as Duncan Sheik, Jeff Dueck and Matt Singer. Put this CD on next time you have a dinner party, it\u2019ll be the right soundtrack.
\n Pretty much every major city around the U.S. has a \u201cSmooth Jazz\u201d station, just like KOOL Oldies stations are like a franchise around the country too, so you\u2019ve no doubt been in contact with the aforementioned stylish people. If you\u2019d like more information on this compilation or other stuff from Backlight Records, check out http:\/\/www.backlightrecords.com \u2013 KM.<\/p>\n
Kelly & David: \u201cAs the Twilight Auguries\u201d (no label)
\n This is the stuff of which daydreams and reveries are made: \u201cAs the Twilight Auguries\u201d is a blissed out acoustic CD; a bohemian folkie set. These two kids put together some mellow-as-hell, ethereal acoustica that is a little folksy, I\u2019ll admit, but it is a very cerebral folksiness, a brilliant set of lyrics and simple guitar pluckin\u2019 \u2013 it is a perfect way to unwind after a long, hard and stressful day.
\n Kelly Martin and David Jones hail from Los Angeles and they bring that big city, urbane wittiness to their craft; think of Neil Young in the late 60s, David Crosby, Brian Wilson, John Phillips, that is the legacy of L.A. that these two are following quite well.
\n It\u2019s hard for me to pick any favorites here, at least now, ask me again after I listen to it a bunch more times, but for now all the songs just sort of melt into each other, they all sound so good, I don\u2019t have any complaints, really. The lyrics are sublime, never forced; the music is quite good; understated melancholia, beautifully demure. But \u201cAs the Twilight Auguries\u201d rises on the strength of the vocals, the words are what stand out; it isn\u2019t about virtuosity or sonic intensity, it\u2019s about singing songs. In that regard, Kelly & David have pulled it off, this thing works.<\/p>\n
Patrick Cornell: \u201cThis Much is True\u201d (no label)
\n On \u201cThis Much is True\u201d Patrick Cornell wows us, the general public (that\u2019s me & you, baby) with some punchy rock riffs and slick chokehold hooks. The first cut, \u201cDies Irae\u201d is a classic example of what I\u2019m talking about: it has an almost anthemic refrain, it\u2019s a tight-fisted set of riffs that grab you by the lapels as soon as you hit \u201cplay\u201d and throttles you until you submit to it!
\n Yet, I don\u2019t know why the major (pimp) labels aren\u2019t yet all over Cornell like cheap suits. Just wait a little while and Patrick will be getting solicited like a two-dollar whore on Sunset [Blvd] after 2 am. P.C. has a plaintive wailing voice that at times reminded me of Jeremy Enigk, late of Sunny Day Real Estate, a great, great band that burned brightly and then burned out as quickly, but I digress\u2026
\n For me, this much is true: I like his voice, I like the jingle-jangle guitars and the mod-lyrics and the oh-so-cool way he has about that undercurrent of madness in check by an iron will.
\n It has become rarer and rarer these days for a CD of new music to even interest me, much less make me shake and shiver. It\u2019s like, for every 10-12 CDs there is maybe one decent one and an even wider ratio for getting stuff that is really outstanding, so you\u2019ll have to forgive my occasional lapse into cynicism. I see no reason to make any cynical barbs here.
\n I hope that this CD, \u201cThis Much is True\u201d is not just a fluke; I hope there\u2019s something here on which to hold; something I can look forward to: we\u2019ll see\u2026check him out at http:\/\/www.myspace.com\/patrickcornell – KM.<\/p>\n
Rockosaurus Rex: \u201cThe Big Bang\u201d (Huge Wonder Records)
\n It\u2019s a \u2018Huge Wonder\u2019 that I\u2019m reviewing this silly thing. I guess it is something for those rock & roll kiddies \u2013 like I was when I was little. I suppose I would\u2019ve jumped up and down on my parent\u2019s bed while jamming to this when I was 3 or 4 years old if this were around in \u201874 or \u201975.
\n Rockosaurus Rex is a one-joke band: they take a bunch of old standards of kiddie fare that all of us remember from our childhoods and they turn them into fast, furious punk rock versions. What a riot, hahahaha. A few examples of this kind of kitsch gone wild: \u201cSkip to my Lou\u201d, \u201cPop Goes the Weasel\u201d, \u201cPolly Wolly Doodle\u201d, Three Blind Mice\u201d, \u201cItsy Bitsy Spider\u201d, \u201cThis Old Man\u201d and \u201cWiggly Woo\u201d. Uh\u2026 what do I say? I mean, I didn\u2019t like these songs when I was a child, I was into the Rolling Stones, big time, so although it\u2019s a little funny to goof on them, by doing irreverent rock-tinged covers. The thing is, is that it\u2019s a little too long. I mean, sure it\u2019s a cute gag, but there are 21 songs on this CD and I\u2019m sure it\u2019s not that un-obvious that this kind of schtick wears thin way before you get to the end. I mean, really now; c\u2019mon, dude, gimme a friggin\u2019 break! Then again, if you have a kid who thinks it\u2019s a hoot, the advantage of so many cuts is that it\u2019ll be that much longer before it ends and the kid starts it over and over and over \u2013 the way children are wont to do; http:\/\/www.hugewonder.com \u2013 KM.<\/p>\n
Podunk Nowhere (s\/t) (no label)
\n Podunk Nowhere is a duo consisting of Heather Marie who sings with a most beautiful voice and Johnny Janiga on guitar, which means that we\u2019re talking acoustica here; simple, stark and marvelous craftwork.
\n Heather Marie has a heavenly voice that transcends any amount of instruments that could\u2019ve been playing in the background; it\u2019s no wonder that a guitar is the only accompaniment \u2013 it\u2019s all that\u2019s needed. She takes things from aria-like elegance to a countryish swagger, to a soft songbird and back again. Her graceful chanteusicity (to coin a word) has an operatic shimmy that reaches and reaches then dips down, down to a stillness that is dying to get loose and then it does and a cathartic wail will emanate above the tension that has built from the slow, quiet, steady strumming of Mr. Janiga\u2019s guitar, speaking of whom, he is no slouch himself, musically, a fine counterpoint on both acoustic and electric guitars.
\n I can picture the two of them together on a stage in a dark, cavernous club somewhere in the city, captivating the audience with a hypnotic reverie produced by their sweet music. To see, read and possibly hear more about Podunk Nowhere, check out their \u201cMy Space\u201d page at: http:\/\/www.myspace.com\/podunknowhere – KM.<\/p>\n
Boys Like Girls (s\/t) (Columbia Records)
\n I don\u2019t know how I ended up with a CD on Columbia Records. They should know better than to suck up to me for a review. I have nothing but utter contempt for corporate muck. Anyway, Boys Like Girls have this self-titled major label debut and it is a showcase of modern rock in the vein of the \u201cNice Guy Band\u201d, you know: a combo of young, suburban middle class white boys who have just barely escaped the clutches of childhood. Now they\u2019re out on their own and making something of this rock and roll thing that their moms have indulged them in for the last ten years in the form of rides to and from piano lessons, buying them instruments, giving up her quiet household into a rock & roll party pad and making sandwiches and cookies for all the friends that come over for jam sessions.
\n Anyway, that sort of sums up the pathos comprising this eponymous CD; I wouldn\u2019t be at all surprised to hear this on one of the modern rock radio stations around town. In fact, I rather expect it to be pushed hard by a big outfit like Columbia Records – the recent settlement between the Justice Department and Sony Music Corp. (parent of Columbia) just goes to show that Payola is alive and well in this slave new world of ours.
\n Boys Like Girls have a kind of Jimmy Eat World sound to them, for lack of a better comparison, but you get the drift \u2013 \u2018nuff, said, huh? I guess this is the latest trend in the modern rock department, since it\u2019s now drifted to corporate serfdom. But it is tired and trite and you know, this fare was fresh-sounding for a few minutes a few years ago, like 2002 or so, but now it sounds formulaic, phony and you know, I don\u2019t trust any band that comes out of nowhere and signs with a major label; just where the hell did they come from anyway? I mean, what kind of person has a big goal of selling out and signing a contract and becoming a businessman for all practical purposes? If that is your goal you should just go to Wharton and get your MBA. If you want to make music to make music then a major label is the last thing with which you want to be associated. (http:\/\/www.boyslikegirls.com) \u2013 KM.<\/p>\n
Slowdeath: \u201cA Rising Tide of Anger\u201d (Moebius Palindrome Records)
\n On the long-awaited follow-up to their last album, \u201c12 Anthems\u201d, Slowdeath brings you \u201cA Rising Tide of Anger\u201d and believe me, it\u2019s angry! The CD gets going with a really cool opener called \u201cApocalypse Dub\u201d, a funky little instrumental jam that really pulled me in only to bait & switch me after two minutes when it went into the meat of the disc: the grungy, violent Manichean blobfest that took over. It\u2019s a veritable catharsis of major proportions \u2013 for both Slowdeath as well as the fans who listen to the CD.
\n Besides the opener, \u201cApocalypse Dub\u201d, check out \u201cRequiem\u201d, \u201cHelicopter Head\u201d and \u201cSlow Doom March\u201d for some good samples.
\n While the music is just a tad slower than your average Black Flag song, Slowdeath have a punk attitude, a DIY sensibility and they don\u2019t seem like a bunch of obstreperous, Young Republicans, which is what most metal bands are.
\n So, next time you have a big fight with your parents or your crazy volatile girlfriend (once again) flips out on you and you\u2019re all worked up afterwards, put this CD on and turn it up really loud and then you\u2019ll slowly have a release for all the rage burning up inside you. http:\/\/www.slowdeath.net \u2013 KM.<\/p>\n
Max Brody: Demo (self-released)
\n A former member of Ministry \u2013 ha! I\u2019ll bet he never even shot dope with Al Jourgensen! But seriously, I\u2019m happy that industrial music is still around after all these years; that metallic, dehumanized, repetitive drone and the sturm und drang of it all.
\n Anyway, I suppose one has to do what one has to do, n\u2019est-ce pas? Well, this 4-song EP demo thingy that Mr. Brody sent us is pretty cool, I must say. It isn\u2019t the usual banal garage band junk. I hope that there will be some follow-up to this little tease of a sample.
\n It\u2019s full of instrumental industrial stuff. It\u2019s not quite as hard-edged as Ministry, it\u2019s a decent little thing, though and I will say this: it\u2019s a good piece of stuff and I hope Maxie-baby makes more groovy stuff like this. My favorite tracks are the last two: #3 & #4 – \u201cFt. Lauderdale\u201d and \u201cBiloxi\u201d; but I like the first two tracks, \u201c$14 Meatball\u201d and \u201cOintment\u201d a lot too.
\n If you\u2019re feeling adventurous and want to hear something exciting and different instead of the same old crap rehashed again and again, you can have Max send you a copy for maybe $5 or something \u2013 I\u2019m sure you two can reach some kind of deal, right? Go to: http:\/\/www.stackedrecords.com and there you\u2019ll be plunged into a twisted netherworld of depravity, human bondage and CDs for sale at decent prices – KM.<\/p>\n
Michael Bernier (s\/t) and \u201cMichael Bernier & The Uprising Live at Phoenix\u201d (Evolvement Records)
\n Michael Bernier, a singer-songwriter who has an interesting set of tunes on his self-titled CD, where he plays acoustic guitar and sings \u2013 it seems like a pretty sparse soundscape but the songs have a fullness about them, they\u2019re very rich in texture and depth. While the music is acoustic, he\u2019s not a folkster; Bernier\u2019s more of a laid back, mellow, introspective emotive kind of expressionist, he\u2019s not pretentious, no gimmicks, just really honest, unobtrusive music to lounge around and be lazy to on a weekend afternoon at home. Songs like \u201cWillow Tree\u201d, \u201cNot So Sure\u201d and my favorite, \u201cPipe Dreams\u201d are surprisingly (to me, anyway) captivating. Just when I thought that the CD was getting too long, I sort of got my second wind, metaphorically, and it just kept getting more and more interesting, I liked it more the longer it went on. Sometimes a CD can go the opposite way, where I\u2019ll start out really digging it but then it goes on too long and after about six or seven good songs there are six or seven filler cuts. Kudos to Bernier for not running out of material and putting in filler just to make a longer CD; this is the kind of album that grows on you as you listen to it more and more.
\n So then I came across another CD of Bernier\u2019s: \u201cLive at Phoenix\u201d, which adds a group dynamic, as this time he\u2019s playing with a backup band, called The Uprising. The \u201cPhoenix\u201d of the album title refers to Phoenix Studio, where they recorded it \u2018live\u2019 as opposed to overdubbing one track at time (guitar, then bass, then drums, then vocals, then keyboards and so on). It\u2019s a smooth set – a leisurely romp of an album that does sound like a live event. It sounds like they could be jamming in some downtown bar, you know, the type: gentrified old building with exposed brick walls, high ceilings, a lot of space, like a giant loft, with an intimate, relatively low stage up front from where great music sometimes emanates. \u201cIn the City\u201d and \u201cPelican Song\u201d have a sort of jazzy ambience to them; they are mellow, but have a wry energy that envelops you like a leather blanket. Track 5, \u201cPick Up Pick Up\u201d is a funky, moody thing that really had me in thrall. \u201cAwaken Me\u201d, which has a bit of a country tinge to it and \u201cWillow Tree\u201d show off the vocal talents of Ms. Diane Proulx, who also plays keyboards on the record.
\n \u201cLive at Phoenix\u201d has a lively feel all the way through, it makes you feel like you know them a bit more intimately even though it\u2019s only a CD and you never have met them. OK, no, it\u2019s not that intimate, but it is fun to pretend so. Also, track seven, \u201cThings Have Changed\u201d is a fantastic meditation with a subtle groove.
\n I think that there is something to Michael Bernier and his bad self. Watch out for this troubadour to come to your town \u2013 I\u2019m sure you and your girlfriend will be wowed and you\u2019ll feel love in the air. For the lowdown on Bernier and company, check out the Evolvement website: http:\/\/www.theevolvement.com and visit Mike on his My Space page- http:\/\/www.myspace.com\/MichaelBernier (your welcome, Rupert) – KM.<\/p>\n","protected":false},"excerpt":{"rendered":"
Music Reviews by Kent Manthie The Key Party: \u201cHit or Miss\u201d (no label) You know, listening to certain CDs is a lot like getting high for the first time: according to urban legend, no one ever really gets \u201cstoned\u201d their first time smoking pot. Similarly, when I hear a brand new disc of totally new stuff it often times comes […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":["post-291","post","type-post","status-publish","format-standard","hentry","category-archive"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":643,"url":"http:\/\/reviewermag.com\/press\/2006\/03\/29\/issue-32-music-reviews\/","url_meta":{"origin":291,"position":0},"title":"issue 32 music reviews","author":"admin","date":"March 29, 2006","format":false,"excerpt":"Music Reviews for issue 32 (with one DVD review) by Vikkee Payge Tarantella Esqueletos This album is the band\u2019s first full-length album, and it\u2019s beautiful. The haunting fiddle playing by Kelly O\u2019Dea flows with the mournful melodies of lead singer Kal Calhoone like water. The album, sung in both English\u2026","rel":"","context":"In "archive"","block_context":{"text":"archive","link":"http:\/\/reviewermag.com\/press\/category\/archive\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":469,"url":"http:\/\/reviewermag.com\/press\/2008\/04\/22\/new-music-reviews-by-andrew-napoli\/","url_meta":{"origin":291,"position":1},"title":"New Music Reviews, by Andrew Napoli","author":"admin","date":"April 22, 2008","format":false,"excerpt":"http:\/\/reviewermagazine.com\/rvur38music-andrew-napoli-4-23.htmlNew MusicCD Reviews By Andrew NapoliCeleste Lear Looking Up from Under Water Celeste is the granddaughter of the man who invented the 8-track. She continues in this solitary tradition by handling nearly everything herself: producing, programming, playing guitar and singing. She puts her degree in sound engineering to work on\u2026","rel":"","context":"In "archive"","block_context":{"text":"archive","link":"http:\/\/reviewermag.com\/press\/category\/archive\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":211,"url":"http:\/\/reviewermag.com\/press\/2007\/01\/09\/music-reviews-afi-%e2%80%9cdecember-underground%e2%80%9d\/","url_meta":{"origin":291,"position":2},"title":"music reviews – AFI: \u201cDecember Underground\u201d","author":"admin","date":"January 9, 2007","format":false,"excerpt":"Music reviews, by Fabiola Beylouni: AFI: \u201cDecember Underground\u201d (Interscope Records) I vividly remember the earsplitting squeal of joy that escaped me when I heard the first radio single, \u201cMiss Murder\u201d. They were back. After a bit of a drought, AFI fans have been able to rejoice the band\u2019s reemergence on\u2026","rel":"","context":"In "archive"","block_context":{"text":"archive","link":"http:\/\/reviewermag.com\/press\/category\/archive\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":655,"url":"http:\/\/reviewermag.com\/press\/2006\/04\/12\/32-music-reviews-honey-pig\/","url_meta":{"origin":291,"position":3},"title":"#32 music reviews, honey pig","author":"admin","date":"April 12, 2006","format":false,"excerpt":"Music reviews by Kent Manthie, music authority guy Honey Pig: \u201cExactly As We Are\u201d (Demo) Three lovely ladies who are waiting for their big break to come in the field of acting, Honey Pig are an all-female country trio in the same vein as Dixie Chicks. But to their credit,\u2026","rel":"","context":"In "archive"","block_context":{"text":"archive","link":"http:\/\/reviewermag.com\/press\/category\/archive\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":471,"url":"http:\/\/reviewermag.com\/press\/2008\/04\/24\/471\/","url_meta":{"origin":291,"position":4},"title":"New Music - CD reviewsby\u2026","author":"admin","date":"April 24, 2008","format":false,"excerpt":"New Music - CD reviewsby Andrew Napoli::: Chuck Dukowski Sextet Reverse the Polarity \u201cDoes my life propel my country\u2019s evil?\u201d This question from the song \u201cThe Whole World\u2019s Evil Villain\u201d is one we all should be asking ourselves. And this CD is filled with nuggets such as this one. They\u2026","rel":"","context":"In "archive"","block_context":{"text":"archive","link":"http:\/\/reviewermag.com\/press\/category\/archive\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":647,"url":"http:\/\/reviewermag.com\/press\/2006\/04\/01\/music-reviews-issue-32-from-kristina-meek\/","url_meta":{"origin":291,"position":5},"title":"Music Reviews, Issue 32, from Kristina Meek","author":"admin","date":"April 1, 2006","format":false,"excerpt":"Music Reviews by Kristina Meek Desert Rust Cactus Music If the whole CD were like the easy, melodic, gathered-around-the-campfire-drinking-beers first track, Cactus Music would be quite an enjoyable little jaunt. Unfortunately, when Desert Rust picks up the pace and adds thin, strained-sounding vocals, the warm desert night turns ice cold\u2026","rel":"","context":"In "archive"","block_context":{"text":"archive","link":"http:\/\/reviewermag.com\/press\/category\/archive\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"http:\/\/reviewermag.com\/press\/wp-json\/wp\/v2\/posts\/291","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/reviewermag.com\/press\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/reviewermag.com\/press\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/reviewermag.com\/press\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/reviewermag.com\/press\/wp-json\/wp\/v2\/comments?post=291"}],"version-history":[{"count":0,"href":"http:\/\/reviewermag.com\/press\/wp-json\/wp\/v2\/posts\/291\/revisions"}],"wp:attachment":[{"href":"http:\/\/reviewermag.com\/press\/wp-json\/wp\/v2\/media?parent=291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/reviewermag.com\/press\/wp-json\/wp\/v2\/categories?post=291"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/reviewermag.com\/press\/wp-json\/wp\/v2\/tags?post=291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}