New Music Review: Scott Reynolds’ Chihuahua in Buffalo

All images courtesy of Earshot Media

By Fábio Moniz

Scott Reynolds and his guitar mastery provide us with a new experience within the songwriting world. A mixture of bard-style song and spoken word kind of humor.

The songs are accompanied by a narration, too. The narrative happens with Reynolds’ narration, adding to the narration a narration. Inception? Humorous, indeed! Reynolds guides us through the songs, as a tourist guide would, stopping at each picture to make the best description for our ears to perceive the full picture, a colored one.

Humor, that’s right!

Many easter eggs are to be found in Scott Reynolds’ songs, which provide a richness that but only work as a spicy sauce on top of your already tasty meal, without taking any of its original taste.

Pretty catchy strumming.

Rhythmically, Scott Reynolds is able to seize us by the ears, having our heads moving pleasantly from one side to the other and back again, repeatedly. Each song sounds like a new dance, all of them danceable.

Clean sound.

The parody in the lyrics surprisingly contrasts with the cleanliness of the sound of the guitar’s strings’ vibrations. The sound is so perfectly recorded, and the equalization is so greatly done that every single note gets into our ears, and we can get to taste each frequency wholly. That is the magic of The Blasting Room and Reynolds’ friends and colleagues, Bill Stevenson, Andrew Berlin, and Jason Livermore.

Interactive stories.

Although these are Reynolds’ imagined stories, the way they are played provide us with the possibility to live them ourselves as if they were a product of our imagination. And it comes as bright as the first Spring sunrays. This goes hand-in-hand with his personality, where, as of young, Reynolds, “Was always drawing pictures to go with the imaginative stories I created.” Here, Reynolds draws the pictures with sound and words.

Indeed, Spring is here, Winter is gone, and the whole recording sounds like a great Summer album, to be played on loop in your earphones during Autumn’s rainy days.

Going through each and every track of this delicious album is no conundrum as Marie’s Eater Egged adventure. Reynolds leaves the door open for us to go inside his imaginative world at will.

Infinite social experiences, different and peculiar personalities, a world of fantasy. It takes not much until we are acquainted with the different people living in the neighborhood, and oh! do we want to stay here for the time being, until the “Dot” closes the album in the same fashion as a full stop.

Do not fall into Agoraphobia.

Even if the album may sound addictive, do not give up to playing it on your speakers endlessly, in idleness, spending all day listening to Scott Reynolds’ funny and pleasant melodies.

Fábio Moniz is a columnist for and may be reached at

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