“Preternatural Dreams”: A New Level for Matthew Shadley Band
Voxwave magazine - album review
Helena Lynch - June 11, 2025
Well, friends, fasten your seatbelts! We’re diving headfirst into the depths of a brand-new, intriguing release. Remember how just recently I told you about “Shaka” – the album by Matthew Shadley Band that practically teleported me to sun-soaked surfer beaches? Well, forget everything you knew about them up to that point! Or at the very least, get ready, the band has once again outdone themselves. Today in the spotlight is the freshest of the fresh, the majestic “Preternatural Dreams.” So, let’s take a closer look at what the guys from Matthew Shadley Band have prepared for us this time. The album was recorded right in the heart of the Outer Banks, in a seaside studio. And you know what? That sea salt seems to have seeped into every note – though not in the way you might expect. This isn’t the familiar Brauer who lulls us into dreamy beach reveries or makes our feet dance to a raucous rhythm.
Here, the guitars step into the spotlight, setting the tone for the entire album. There’s a subtle, barely noticeable – but damn well palpable – shift toward hard rock that pushes the boundaries of everything Matthew Shadley Band has done before. Matthew, as always, is a one-man orchestra. Once again, he’s taken the lead, juggling instruments like a seasoned magician. But he didn’t do it alone! He brought in a whole lineup of talented musicians – both seasoned pros and indie gems. And the most touching and, in my opinion, very important element – his two daughters also took part in the recording. That adds a special warmth to the album, you know? The first glimpses of this musical feast came with the single “So Far Behind,” released on April 11. Then, on May 26, “My Sunday Song” followed. And now, the full album is finally here – uniting 10 tracks into one cohesive whole.
It all begins with the upbeat and warm rock tune “My Sunday Song.” Right from the start, it’s clear: the guys are in top form, playing with richness and confidence. The guitars are thick, the vocals surprisingly balanced, and the rhythm section – drums and bass – works with precision and clarity, like clockwork. A great opening that immediately sets the tone. The second track, “Hard to Be,” is pure groove – a vibrant funk-driven engine, powered by the bass. The whole thing radiates energy; the delivery is crisp, clean, and seamless. This is the kind of music that makes you move. And if “Hard to Be” is an open dance floor, “Go Down Easy” pulls you in a completely different direction – like someone just unearthed a dusty treasure chest from the ’90s, generously seasoned with grunge. It’s rough-edged, atmospheric, its rhythm hooks you in and doesn’t let go until the very last chord.
As the album’s crowning moment, “Enigma Four” is an instrumental giant that guides you through four entirely unique music worlds. First, a powerful, muscular rock anthem: guitars roar, drums thunder. Then everything softens, but not for long. The sound veers into a funky corner, where the groove is thick, like good butter. And the finale brings back rock, classic, familiar, and fully present once again. Next comes the single “So Far Behind” – skillfully structured, with bright layers of sound interwoven with fresh energy. The pauses function almost like lines in a dialogue with oneself. And of course, the key ingredient is Matt Brauer’s voice it gives the song that emotional depth you just can’t pull away from.
“Catching On“, originally a song by Son Volt, turned out particularly well. The original has raspy, somewhat dusty guitar riffs and lyrics. But in Brauer’s version, it feels like the track went through a storm – becoming more intense, darker. He carefully wove in new sonic layers, added depth, yet never lost the alternative country soul that made the song so beloved in the first place. The title track, “Preternatural Dreams,” is a story stitched from memories, reflections on mortality, and that faint, barely traceable desire to fix everything, to cleanse, to begin again. The arrangement is magnificent – the layers of sound shift from soft and delicate to suddenly crashing in waves of tension. According to Matt, this song is the heart of the album. “White Lie” is a meditative and partly confrontational take on the secrets and denial that surround addiction. The intro is subtly melancholic, but soon percussive elements and piano spread out across the channels. A guitar floats above it all, guiding the flow.
A clever touch of charm is added by “High Times” – a ballad that explores themes of blind conformity, artificial glamour, and social detachment, where everyone is a performance unto themselves. Brauer digs through layers of self-deception – through “entangled movements of lies,” where we fool ourselves into thinking we’re moving forward while we’re really just drifting away. The album closes gently and expressively with the instrumental composition “Coda“. Originally written for an independent film, it finds its voice for the first time right here. Brauer plays everything himself, from piano to strings, adding subtle, almost invisible percussive strokes. Unlike the rest of the material, “Coda” sounds like a pause, a distant look back, it’s not about words, but about the feeling that everything has already been said, and now it’s time to just listen to the music breathe.
The album “Preternatural Dreams” is consistently solid from start to finish, yet each song stands out distinctly. Matthew Shadley Band has managed to preserve that rebellious, unconventional, “not like the others” sonic signature, and at the same time, without losing its character, subtly bring it to a refined sound. That is true craftsmanship. The result is a genuinely strong and cohesive album.
Mimicking a dazed and half-awake vocal, “My Sunday Song” kicks the new album into gear akin to the morning mind after a wild night out — the tune’s playful theme. “Take me / Shake me / Mama, wake and bake me,” Brauer calls over electric piano and tasteful organ licks. Distorted guitar solos grant a depth to the track that swells the accompaniment to its glimmering whole.
“Go Down Easy” gives 90s grunge a modern run for its money, and the eclectic riffage is enough to get you listening again and again. Stops and starts carry the song through different moods, combining the grit with the glamor. Each instrument pays its unique ode to the timeless genre twist, taking over the soundscape subtly but sonically complementary.
Released as a well-suited single this past April, “So Far Behind” gleams instrumentally behind reflective lyricism, taking on the challenge of meeting one’s own expectations. Keys carry the track with a ragtime-adjacent swing, as Brauer sings “The lowest lows / And the highest highs.” Co-written by Brauer and Bevin Blankenbeuhler, the jam is a revised revamp from its days on stage in 2007.
The title track, “Preternatural Dreams,” captures its motif superbly, searching for something just out of reach in its lyrics, but nailing its mystic musically. Astrological nostalgia buds through the tone-shaping cracks, with reverberating timbre seeping from shimmering guitar drones that glide over the song’s completeness.
Shying from social media, trends, and promotion gimmicks, the Matthew Shadley Band exudes that lived-in, worked for passion and determination. Mastered by Abbey Road’s Alex Wharton, guitar-driven Preternatural Dreams testifies to the infectious nature of good old rock music, something to and from the soul.
Shadley has one theory which Alt77 embraces – what else sounds better than a distorted six-string guitar? Not much, and it’s with what the “Prenatural Dreams” album begins and ends.
Not a lot! Take, for example, the opening track, “My Sunday Song.” A no-frills tune about wasting away the weekend with a pleasant high and a nice melody ringing in your ears, Matthew Shadley Band speaks the language of many modern-day people.
It’s a strong, familiar garage-rock riff leading the charge for the retro-sounding “Hard to Be.” And grunge dynamics and witchy visions are what help “Go Down Easy” flow so nicely.
And while it may sound like The Matthew Shadley Band merely know how to cleverly manipulate guitar riffs and shape them into songs, a careful listen will reveal great knowledge of pop music history. The “Prenatural Dreams” record is a walkthrough of a fascination with 60s pop-rock, 90s grunge, blues and jazz.
It’s why the piano lines and the expressive bass lines are so attractive on the mellow “Engima Four.” It’s the reason why the acoustic-guitar-based soft-rock of “So Far Behind” avoids becoming dull or predictable.
Where does it all leave us? On a journey with a confident, easy-to-like band that manoeuvres easily through musical styles. But don’t take it all too seriously! That’s the last thing that the Matthew Shadley Band would like you to do. Even the moodier pieces, “Prenatural Dreams” and “High Times” contain enough hopefulness to let you walk away with a smile. If you can’t trust a good guitar riff, what else can you trust?
The album opens with My Sunday Song; all shimmering guitars and a mellow pulse, like the opening credits to a better version of your life. It’s contemplative without dragging. Think early Wilco, but less sad cowboy, more thoughtful guy outside a library.
“Catching On” follows, jangly and tightly arranged, toe-tapping without ever tipping into cloying. It strikes that rare balance between accessible and actually good; catchy, but with intention.
The title track, “Preternatural Dreams,” is where things get deliciously hazy. It’s all atmosphere and memory, like Brauer opened a soft-focus portal to a dream and just floated through it. Not background music; more like mindspace music. And it rewards repeat listens like a vending machine that forgot how to stop giving.
Thematically, Preternatural Dreams is steeped in memory, disillusionment, and a kind of hopeful melancholy. It’s the kind that only shows up after life’s early optimism has been properly sanded down by actual experience. It’s not naive, but it’s not cynical either. It occupies that rare emotional liminal space between resignation and renewal, where you’ve accepted that some things won’t turn out the way you wanted, but you’re still going to show up tomorrow and try again, because what else is there?
It’s an album about being older. Not old, just seasoned. It’s about looking back, not with regret exactly, but with that strange mix of warmth and ache that only comes when the past feels close enough to touch but far enough away to miss. It’s about realizing that disillusionment doesn’t have to mean disengagement.
There’s something quietly radical in how Preternatural Dreams handles these themes without descending into performative sadness or ironic detachment. It’s reflective, but also resilient. And in a cultural moment where sincerity often feels like a punchline or a trap, that’s not just rare. It’s borderline heroic.
Preternatural Dreams by Matthew Shadley Band is what happens when a deeply talented person stops waiting for permission, for a marketing plan, for a grant, for “the right moment” and just makes something. Not for virality. Not for TikTok sync deals. Just for the sake of the song, the sound, the feeling. There’s no branding scheme here. No algorithm-chasing hooks. Just craftsmanship and conviction and a healthy respect for the listener’s intelligence.
It doesn’t explode. It glows. It glows like a porch light at 2 a.m. after a long drive. Like the lamp beside your favorite chair. Like a memory you thought was gone, quietly returning unannounced. It’s not trying to sell you nostalgia, but it might sneakily remind you why you fell in love with music in the first place—before everything was playlists and products.
And that? In 2025? That feels almost revolutionary.
Matthew Shadley Band: A Journey Through Sonic Evolution and Timeless Melodies
September 3, 2024
Formed in 2003, the Matthew Shadley Band emerged from the vibrant Cincinnati music scene, led by the multifaceted talents of Matthew Shadley Brauer. An accomplished multi-instrumentalist with roots in several local bands, Brauer joined forces with guitarist and former college bandmate Jason Scherrer, assembling a temporary rhythm section to debut at the 5th Annual Harvest Moon Festival at the historic Southgate House in Newport, Kentucky. What began as a makeshift acoustic set would soon evolve into a formidable presence in the alt-rock landscape.
With Brauer on lead guitar and vocals, and Scherrer complementing his sound on rhythm guitar, the band solidified its lineup with Chuck Morgan on drums, Jason Peter on keyboards, and Tom Legg on bass. This permanent rhythm section marked the transition from folk-rock to a more dynamic, electric guitar-driven sound. Drawing inspiration from a wide array of influences—ranging from the melodic sensibilities of The Beatles to the rootsy vibe of The Jayhawks, and the raw energy of The Black Crowes—the band crafted a distinct identity that resonated with both critics and fans alike.
The release of ‘Five Easy Pieces’ in 2004 set the stage for an intense period of creative output and live performances. The Matthew Shadley Band quickly earned a reputation as “Cincinnati’s live show specialists,” a title bestowed by Jan Perry of The Cincinnati Post. Their live prowess was further immortalized with the 2005 recording of ‘Underneath the Red Light’, a live album captured at the House of Blues Madison Theatre. The band’s growing popularity led to performances at prominent regional festivals such as the Midpoint Music Festival and the Roots and Rock Festival.
However, as the band’s lineup shifted—with Steve Tertel replacing Legg on bass—Brauer found himself assuming bass duties following Tertel’s departure. Despite these changes, the band continued to push the boundaries of their sound, culminating in the 2008 release of ‘Summer Stone’. After this, the Matthew Shadley Band went on hiatus, with Brauer continuing to influence the Cincinnati music scene through various projects as a session musician and guitarist.
The band’s resurgence during the 2020 COVID-19 quarantine marked a new chapter in their storied history. Brauer, channeling the uncertainty and introspection of the times, began crafting new music, leading to the release of the single “Oh, Karen” in 2021. This was followed by the 2022 album ‘Emerald’, a project that signaled the band’s return to form with contributions from notable session musicians and former bandmates.
In 2023-24, the Matthew Shadley Band released two critically acclaimed albums, ‘1970 Something’ and ‘Shaka’, both of which garnered praise across indie music blogs and publications. Their latest single, “The Dawn Patrol,” continues to showcase the band’s enduring appeal, earning regular rotation on Jamsphere Radio.
Today, the Matthew Shadley Band stands as a testament to the power of musical evolution and the timeless appeal of well-crafted melodies. With their discography available on major streaming platforms and their influence still reverberating through the Cincinnati music scene, the Matthew Shadley Band’s journey is far from over—each new release adding another chapter to their ever-evolving story.
Matthew Shadley Band Returns with Poignant New Single: “Slipping Away" (Alternative Edit)
August 4, 2024
The Matthew Shadley Band, helmed by the evocative singer-songwriter Matthew Shadley Brauer, has carved an indelible niche in the alt-rock landscape since its inception in 2003. Emerging from Cincinnati, Ohio, the band swiftly captivated audiences with its raw authenticity and compelling live performances, earning the moniker “Cincinnati’s live show specialists” from the Cincinnati Post. Today, the band resurges with a fresh, introspective single, “Slipping Away,” a track from their latest album “Shaka,” now resonating across airwaves on Tunedloud Hit Radio.
The journey of the Matthew Shadley Band began with a constellation of talented musicians: Jason Scherrer on guitar, Jason Peter on keyboards, Tom Legg on bass, and Chuck Morgan on drums. Their debut album, “Five Easy Pieces,” released in 2004, set the stage for their relentless touring and electric live shows. The band’s dynamic presence at venues and regional showcases, including the prestigious Midpoint Music Festival, solidified their reputation and expanded their fan base. The live album, “Underneath the Red Light” (2005), captured the essence of their performances, offering fans a visceral taste of their onstage energy.
The band’s creative evolution saw Brauer taking on more instrumental roles, leading to the 2008 release of “Summer Stone.” However, after this period of intense activity, the band took a hiatus, allowing Brauer to explore new artistic avenues.
The resurrection of the Matthew Shadley Band in 2020 marked a new chapter. Brauer’s collaboration with diverse musicians reinvigorated the band’s sound, leading to the release of several notable works. The 2021 single “Oh, Karen” and the 2022 LP “Emerald” showcased a matured, introspective sound. In 2023, the band paid homage to its influences with the instrumental “Panorama” and a cover of Big Star’s “In the Street,” culminating in the critically acclaimed album “1970 Something” in July. This creative renaissance continued with the release of “Shaka” in May 2024, a nine-track opus that delves deep into the human condition.
“Slipping Away” is a standout track from “Shaka,” illustrating Brauer’s lyrical prowess and the band’s adept musicianship. The song navigates the tumultuous emotional landscape of infidelity, capturing the narrator’s struggle between ambivalence and pain. This alt-rock gem features an acoustic interlude that transitions into a powerful instrumental catharsis, embodying the turmoil and release of confronting betrayal.
Brauer’s voice, imbued with a haunting sincerity, guides listeners through the narrative, supported by a lush arrangement that balances introspection and intensity. The acoustic interlude serves as a moment of reflection, a calm before the storm, allowing the listener to breathe before being swept away in the song’s climactic instrumental surge.
The Matthew Shadley Band’s latest works have not only resonated with long-time fans but also attracted critical acclaim. “1970 Something” was lauded for its intricate storytelling and sonic depth, while “Shaka” continues to garner praise for its bold exploration of contemporary themes. “Slipping Away” exemplifies the band’s ability to blend poignant lyrics with dynamic musicality, securing its place in the annals of independent alt-rock.
As the Matthew Shadley Band continues to evolve, their music remains a testament to the enduring power of authentic storytelling and emotive expression. “Slipping Away” is a powerful reminder of the band’s roots and their unyielding commitment to capturing the complexities of the human experience. With their return to the airwaves and an ever-growing discography, The Matthew Shadley Band stands poised to leave an indelible mark on the music world once more.
For those yet to experience the evocative soundscape of the Matthew Shadley Band, “Slipping Away” is the perfect entry point—a haunting, beautiful testament to the band’s artistic journey and their unwavering dedication to their craft.
