The other day, while listening to the weekly Tweetcore Radio Hourmusic podcast, hosted by the inimitable Marc Schuster and available on the Audio Mirage Studios blog and elsewhere, one of the songs he played immediately jumped out at me. It’s not often I stand up and take notice when first hearing a song, but this one hit me right between the ears. At first, it sounded like it might be an old Oasis song I’d never heard, but I knew that couldn’t be right, as Marc plays only newer songs by lesser-known independent and unsigned artists. It turned out to be a song titled “For Us All“, by British artist AsgardRaven. With a name like that he sounded vaguely familiar, though I couldn’t quite remember where or when I’d learned of him. After doing a bit of digging, I found the interview Marc did with Asgard two years ago for his own blog Abominations, which I’d read.
With a name inspired by Norse mythology, Asgard Raven is the musical moniker of Joe Bickerton, a singer-songwriter and musician based in the southwest London suburbs. Drawing from an array of influences, including punk, rock, blues, folk and indie, as well as the music of some of his favorite acts like Midnight Preachers, Black Rebel Motorcycle Club, Embrace, Puddle of Mudd and the aforementioned Oasis, he plays a “melodic-anthemic” style of alternative rock reminiscent of 90s brit pop and rock, or as he put it in his interview with Marc, “anything with guitars in it to be honest“.
According to his bio, Joe learned to play guitar in the 1990s while posted in Cyprus during his time in the army. Inspired by Oasis and motivated by his distaste for radio music, he took his guitar everywhere, covering 90s classics all over the world while on deployments. During the early days of Covid lockdowns when he had plenty of time on his hands, he picked up his guitar again after a long hiatus, and began writing and recording songs inspired by his life experiences, “reminiscing on memories that we can all relate to“.
Raven records his music at Sunrise Sound Studio in Hampshire, where it’s produced by his frequent collaborator Marc Burford, of British rock band Echotape, and mixed by Mat Leppanen at the Animal Farm studio in London. He’s also had support from legendary Oasis manager Alan McGee, mentoring him around the direction of the project. He released his outstanding debut single “Until Another Day” in September 2021, and has followed with three more singles, his latest of which is “For Us All”, which he released on March 22nd. (He’s also uploaded an extensive number of excellent demo tracks worth checking out on Soundcloud.)
Raven calls “For Us All” “an energetic rock’n’roll song highlighting the challenges, barriers and loneliness people can often face when trying to get on in the world, especially if they don’t conform to the ’norm’. It looks at how we can’t always see when people are struggling, and how by being there we can support those we care about.” The song opens with a wonderful stomping drumbeat, which is soon joined by melodic rhythms and vibrant, multi-layered guitar work by Raven and Burford, featuring a lush array of reverb-soaked jangly, grungy and acoustic textures, accompanied by a driving bassline and outstanding drumming by Nathan Read. And not only does the music seem to channel Oasis, Raven’s vocals even sound a bit like Liam Gallagher’s here, his strong British accent shining through as he offers support to a friend who’s struggling: “The world can be a lonely place sometimes. And no one can see the pain behind your smile. Come on my friend, lean on me. Take my hand, let it all be.“
I like pretty much everything I’ve heard by Asgard Raven, and I think “For Us All” is his best song yet. I’m confident we’ll be hearing lots more great music from this talented artist.
Austin, Texas-based duo MISSIO have been one of my favorite acts ever since I first learned about them and their music back in 2017. I love their uniquely eclectic sound that’s an arresting blend of alternative rock, electronic and hip hop, and have written about them several times on this blog. Three of their songs – “I See You”, “Underground” and “Can You Feel the Sun” – have reached #1 on my Weekly Top 30, and now their darkly captivating “Time” joins that esteemed group by ascending to the top spot on my latest chart. The gorgeous song will be included on their forthcoming fifth album I AM CINCO, an epic work scheduled for release on May 3rd. I love Matthew Brue’s distinctive tenor voice, which sounds especially vulnerable and heartfelt here. And the complexity of their arrangements, combined with intricate instrumentation, always makes for an exciting listen. The simple but profound lyrics touch on anxieties over some of the issues facing our current world and society, with MISSIO reminding us that “time goes wherever you are, now, in each moment” and to “live like it’s your last because you’re not guaranteed a tomorrow.”
In other chart highlights, “Overcompensate” by twenty one pilots inches up a notch to #3, “Kool Aid Blue” by Canadian band The Sylvia Platters moves up one to #6 and “Murder On the Dance Floor” by Australian duo Royel Otis advances three spots to #7. The dreamy “Everything We Need” by electro-rock duo Mojave Grey enters the top 10 at #10.
Two songs make their debut this week. The first, and long overdue, is “Capricorn” by New York City-based indie rock/art pop band Vampire Weekend, entering at #29. I love frontman Ezra Koenig’s pleasing drawl, that lovely piano riff and the gnarly cinematic chorus. The poignant song, described by Alex Hudson of Canadian music webzine Exclaim! as being about the “aching, unavoidable melancholy of growing old and discovering that adults feel just as powerless as kids do“, is from their fifth studio album Only God Was Above Us, which dropped April 5th.
Entering at #30 is “Creatures in Heaven” by English indie/psychedelic pop/rock band Glass Animals. Like the aforementioned Vampire Weekend, their music is hard to classify, as both bands incorporate a myriad of genres and styles into their sound. The song is the lead single from their forthcoming fourth album I Love You So F***ing Much, scheduled for release on July 19th. In an interview with Consequence Sound, band frontman Dave Bayley – whose singing voice I adore – said the song is about “a moment in time, having the capacity to be enormously formative and life-changing.”
TIME – MISSIO (2)
MY GOLDEN YEARS – The Lemon Twigs (1)
OVERCOMPENSATE – twenty one pilots (4)
NEON PILL – Cage the Elephant (3)
DILEMMA – Green Day (5)
KOOL AID BLUE – The Sylvia Platters (7)
MURDER ON THE DANCE FLOOR – Royel Otis (10)
LUNAR ECLIPSE – The Vaccines (6)
I’M IN LOVE – Jelani Aryeh (9)
EVERYTHING WE NEED – Mojave Grey (12)
DIAMOND AND THE MISSING SON – Unquiet Nights (8)
GOOD PEOPLE – Mumford & Sons, Pharrell Williams (15)
FIND MY WAY – Ships Have Sailed (11)
ICE CREAM (PAY PHONE) – Black Pumas (16)
DARK MATTER – Pearl Jam (17)
WANTING AND WAITING – The Black Crowes (18)
DON’T FORGET ME – Maggie Rogers (19)
BEAUTIFUL PEOPLE (STAY HIGH) – The Black Keys (13)
THE GLASS – Foo Fighters (20)
THOUGHTS I HAVE WHILE LYING IN BED – The Maine, Beach Weather (22)
Musicians and bands continue to reach out to me with their music at an unrelenting pace, which means it’s time for another Fresh New Tracks installment. Today, I’m featuring four songs by artists who are all new to me (in alphabetical order) – Australian singer-songwriter Karen Harding, English folk artist Mock Deer, English rock duo Popclaw, and Welsh electro pop-rock duo The Vanities.
KAREN HARDING – “6 Feet Off The Floor”
Karen Harding is a singer-songwriter based in Melbourne, Australia who’s released an impressive number of excellent singles since 2021, beginning with her lovely piano ballad “I Didn’t Realise”. Her vibrant, emotive vocal styling has been favorably compared to artists like Sarah McLachlan, Eva Cassidy and Ella Henderson, and her songs have earned her numerous accolades, including the 2021 Bendigo Bank-sponsored Radio Eastern Songwriter Talent Show, being nominated as a Top Ten Winner at the World Songwriting Awards in September 2021 and Best International Artist at Crags Radio Independent Artist Awards in February 2022. She considers her music, which she records and produces by herself, “a tool for therapy and personal growth”.
Today, Karen drops her new single “6 Feet Off The Floor“, her 18th overall thus far, and the third from her forthcoming album Behind the Mask, due out later this year. About the track, Karen says it’s “a pop song of positivity and optimism, about moving forward and past our worries, and rising up just a little so we can look down on those things we spend so much time dwelling on in our thinking.” It’s a pleasing, contemplative song with sublime piano keys and delicate synths layered over a gentle percussive beat. Karen’s clear vocals are comforting as she sings “When I was six feet off the floor, all of those problems seemed so small. And in the grand scheme of it all, I found a higher place to explore.”
Mock Deer is the music project of singer-songwriter and musician Ricky Damiani, who’s spent much of his life in North Wales and Manchester, but is now based in London, where he’s become heavily involved in that city’s independent music scene. He’s toured extensively throughout Europe and shared the stage with such artists as Brent Cobb, Sam Brookes, Simon Joyner, The Burning Hell, Nadine Khouri and Curtis Eller. His sound can generally be described as folk/singer-songwriter with elements of alternative rock, and he’s released a fair amount of music over the past 12 years, including his debut album The Art of Loneliness in 2020, several EPs and numerous singles. He’s also composed original music for TV and theatre.
His powerful and haunting latest single “Harbinger“, released on April 4th and the lead track from his forthcoming EP Pilgrims, was a forgotten demo he’d written several years ago that he rediscovered while doing what he referred to as “some digital spring cleaning” during the pandemic lockdown. Re-hearing the song with a fresh and very different perspective than when he’d originally written and recorded it, Ricky liked the rawness of his vocals and decided to keep the original take for the final recording, which also includes Mat Martin on lead guitar, Jayden Pegler on bass, Will Inscoe on keyboards, Aaron Carpenter on drums, Matthew Herd on saxophone, and Lola Hepper on backing vocals. The track was produced by Scott Fitzgerald, who also produced his album, and mastered by John Nicholls. The poignant lyrics touch on his personal struggles, and learning to let go of painful experiences and appreciate the good things in his life: “And what’s to do. What do I have, I have you, I have love. Have so much I’m grateful of…” The striking photo for the single cover art, taken by Andrew Gale, is of female bodybuilder Stubbs Performance.
Popclaw is a rock duo from Southeast England comprised of singer-songwriters and musicians Dan Lawley and Chris Bird. Formed in 2022 through a shared love of Nirvana, Red Hot Chili Peppers and The Ramones, the guys live two hours apart but have never met each other in person, consequently have only worked remotely thus far. Since December 2022, they’ve released seven singles (plus two remixes), their latest of which is “Liar“, which dropped March 17th.
Chris wrote the opening riff in 2011 while at Uni, but sat on it for nearly a decade until resurrecting the track during the pandemic lockdown in 2020, at which time his friend Simon Hunt, of the English rock band Elmo Blatch, wrote lyrics to go with it. Popclaw says “Liar” is a punk inspired song that’s “mainly about people that lie very frequently and badly, [and] could be about an ex partner, friend, someone you work with or even a politician.” The song is a rousing garage rock banger, with roiling, fuzz-coated grungy riffs layered over a thumping bassline fortified with smashing drumbeats. The aggressive vibe nicely complements the biting lyrics calling out duplicitous liars who drive us crazy. The cover artwork for the single shows a man’s pants on fire.
THE VANITIES – “Just Passing Thru” feat. Bob Fitzgerald
The Vanities are an electro-rock duo from Cardiff, Wales comprised of Rhys Bradley (vocals/guitar) and Adam Hill (bass guitar/synths). With a combined love of 80s synth-pop and 90s grunge, they formed in 2001 and released their debut EP Space Tourist a year later. They followed with a few more EPs and singles throughout the 2000s, then nearly ten years would pass until the release of their debut album 2001 in late 2021. In 2023, they released “Private Army”, a hauntingly beautiful song inspired by the Russian invasion of Ukraine that marked a notable departure from their signature 80s sound. Now they return with a new single “Just Passing Thru“, a country and gospel-tinged song that’s another significant departure from their previous sound.
The song is a heartwarming sermon on love, loss and the importance of living life to the fullest, written by Rhys and produced by Al Steele. Rhys has a beautiful singing voice, but for this single he decided to have award-winning country music artist Bob Fitzgerald sing the moving lead vocal, along with stirring backing vocals by The Epoch House Gospel Choir. The musicians playing on the track include Reggie Duncan on the gorgeous pedal steel guitar, Adam Hill and bass, Gareth Jones on piano, Jon Martin Skauge on acoustic guitar, and Chris Barber on drums. The release includes an AA side remix by South Wales producer Jammy of an alternate version of the song sung by Rhys. Those two, as well as the version sung by Rhys, are included in the release available on Bandcamp. The video, featuring vintage early 1960s footage of happy family memories and driving trips, courtesy of Retro Vision Archives, brings the song’s poignant lyrics to life.
Here’s the song with the two alternate versions on Bandcamp:
Today I’m pleased to present American singer-songwriter and actress Jill Jones, who’s had a storied and challenging life and career. Born in Ohio, she relocated in her early teens to Los Angeles with her mother, who married Fuller Gordy, the brother of Motown head Berry Gordy. Her mother came to manage soul/R&B singer-songwriter Teena Marie, who was signed with Motown Records at the time. When Jill was 15, Teena asked if she’d be interested in singing backing vocals for her, which led Jill to begin her professional career as a backup singer. Three years later, in 1980 when she was 18, Jill met Prince when Teena became the opening act for his Dirty Mind Tour.
Prince loved her voice, and eventually asked her to become one of his backup singers. He invited Jill to the Sunset Sound recording studios in 1982 to sing backing vocals for several tracks on his album 1999, where she was credited under just her initials J.J. She also was featured in the music videos for “1999” and “Little Red Corvette”, then joined the tour for 1999 as a backup singer with Prince’s side project Vanity 6. After the tour, she moved to Minneapolis and became Prince’s on-and-off again girlfriend. He even wrote about her in a song “She’s Always in My Hair”, the B-side of his 1985 single “Raspberry Beret”. From 1983 to 1987, she recorded backing vocals for Prince-produced albums by Sheila E., The Time, Apollonia 6 and Mazarati. (Wikipedia) Jill also had a bit part as a waitress in the 1984 film Purple Rain, as well as in the 1990 sequel Graffiti Bridge.
In 1987, Jill released her debut self-titled album Jill Jones via Prince’s Paisley Park Records label, featuring songs written by Prince. The lead single “Mia Bocca” became a top 10 hit in Italy, and though the album received positive reviews from critics and was generally well-received in Europe, it was not a commercial success in America. In early 1989, she went to London to record demos for what was to be her second solo album on Prince’s Paisley Park label, but she and Prince disagreed on the direction of the album, and it was eventually shelved. By that time, their relationship had deteriorated; in recent interviews, Jill has stated that Prince had suggested she get a boob job and plastic surgery to make herself look more like Danish actress Brigitte Nielsen, which needless to say, really pissed her off.
Though she remained under contract with Paisley Park Records until April 1993, Jill worked on other projects with such artists as Ryuichi Sakamoto, Ronny Jordan, Todd Terry, Chic and Sinead O’Connor. She later released more solo material under her own name, including two more albums, Two (with musician Chris Bruce) in 2001 and I AM in 2016.
Fast forward to the present where Jill, along with the help of Scottish musician Neil Billinness, have resurrected those demos recorded back in 1989 and bundled them into her fourth and latest album The London Sessions, released on April 15th via Neil’s NERO record label. While Jill had long wanted to get her long-lost songs out into the world, it wasn’t until Neil contacted a friend of his in London who happened to be working in the studio where Jill recorded her demos, and managed to procure a cassette of the tracks. He says “This is an absolute passion project for me, and a dream come true to be making this project happen.”
For her part, Jill had a lot to say about the project: “Releasing old demos from nearly 35 years ago has been a poignant journey into the past for myself. Its a reflection on the evolution of my artistic identity. These unreleased recordings capture a pivotal moment in my life and career, showcasing the determination to carve out a distinct persona separate from the influences of collaborators like Prince. The music from this era serves as a time capsule, offering a glimpse into my musical headspace at that time, my creative process, and the emotional landscape that fueled the work.
These demos are a unique and intimate manifestation of Chris Bruce and I’s initial sketches of my musical vision for my second album on Paisley Park Records. In our collaborations, the process of crafting these demos took on a special significance. Chris’s impact on our collaborative work cannot be overstated. His dedication to the craft, coupled with a humility that is rare in the spotlight-driven music world, is a testament to his character and the depth of his artistry. Together, we forged a musical partnership that goes beyond the surface, creating songs that resonate with a profound honesty and authenticity. Chris’s influence is woven into the very fabric of our compositions, making him an integral part of the creative alchemy that defines our collaborative efforts.
After a fire in my home, my manager Roger Davies flew me to London and arranged for several musicians to work on production for the demos Chris and I had created in California. One notable departure from the Prince-produced sound is evident in tracks like “White Dogs,” a song that bears the weight of a personal and harrowing experience. The haunting melody and gothic undertones encapsulate the pain and anguish I felt when returning home to the aftermath of a devastating fire. The ruins and ash served as a stark backdrop to the heart-wrenching discovery of my beloved white dogs amidst the rubble. This traumatic event became the catalyst for a new artistic direction, as these demos (The London Sessions) came on the heels of this crushing experience.
I am providing a musical journey but also a narrative of resilience, independence and transformation. It’s an exploration of my attempt to navigate through personal tragedy and channel those emotions into a distinctive and evocative sound. As listeners delve into these archival recordings, I hope to give the listener a unique opportunity to connect with me on a deeper level, to take the listener back to the genesis of a musical rebirth born from the ashes of personal devastation.
Neil has been an unwavering pillar of support throughout my career, a steadfast ally who played a pivotal role in breathing life back into my stalled artistic journey. His unyielding belief in my work and his ability to see beyond the shadows that surrounded me were instrumental in revitalizing my creative spirit. In moments when the industry had cast doubt on my potential, Neil emerged as a beacon of light, offering encouragement and unwavering support.
The depth of Neil’s support became particularly evident when he spearheaded the resurrection of the London Sessions. Understanding the struggles and challenges that had plagued my career, he took it upon himself to champion this project, infusing it with renewed energy and purpose. His dedication to bringing my music to a wider audience and his commitment to revitalizing my artistic voice were nothing short of transformative.
There have been times in my journey where music, once a steadfast companion, felt like the ultimate betrayer. The music business, with its intricacies and demands, has a way of testing one’s resolve, and I discovered, perhaps painfully, that I just didn’t have the stomach for it. The industry’s pressures, the compromises demanded, and the constant struggle for visibility often left me feeling disillusioned and disheartened.
Music, the creative process, once a sacred space where emotions and melodies intertwined, became overshadowed by the harsh realities of the business side. The paradox between artistry and industry created a dissonance that echoed through my soul, leaving me questioning my place in a world that seemed more focused on charts and sales than the emotional resonance of the music itself.
Discovering that I didn’t have the stomach for the music business was a profound realization, one that forced me to reevaluate my relationship with my craft. Ultimately, I had to acknowledge that my passion for creating music could not surpass my intolerance for the industry’s pitfalls and people I simply couldn’t stand. In this realization, there was a sense of liberation, a reclaiming of the authentic essence of my artistry without the burden of conforming to external expectations. Neil helped me to have a bit of fun again, without the burden of recording labels, jesters, sycophants and strawmen.”
OK, let’s get to the album. It opens with “Unattainable Love“, a sleek, joyously upbeat dance-pop song that would feel at home on Janet Jackson’s Rhythm Nation 1814. The lyrics speak to Jill’s penchant for becoming romantically involved with guys who were exciting but not right for her, or else couldn’t commit to a long-term relationship (been there, done that!): “Oh, you and I are the same kind. We run from those who try to tame the fires. It’s either hit or miss, I find it hard to remiss. Unattainable love.”
On the more introspective “Living Legend“, Jill touches on how the desire for fame drives a lot of people – in her case she’s referring to the music industry, but it also applies to other areas of the arts, sports, business and politics – to do things that aren’t always so savory or admirable, not to mention also being shallow and phony. “I want to live forever. I want to be a living legend. You know what that means.” The song has a cool, almost jazzy vibe with even a touch of progressive that makes for an intriguing listen, and Jill’s colorful vocals remind me a lot of Teena Marie’s here, as well as on some other tracks – a good thing, as I loved the late artist.
“Long Time” touches on the disappointment she felt when discovering that men she cared deeply for didn’t support her in return. Jill said in an interview that the song was inspired by Joni Mitchell’s song “Man To Man”. Over a head-bopping yet breezy synth bass groove, she croons “Ooh I tried to keep this love alive, but you treat me like a fan./ I need to find a man who understands my body.”
The dark and sonically fascinating “White Dogs” helped Jill come to terms with the heartache of losing her two beloved dogs in the house fire, and in a sense represented the end of her Prince era. The song has a more rock-oriented/techno vibe evocative of some of the great songs of the 1980s, with mysterious industrial synths, edgy psychedelia-tinged guitars and sharp percussion. Like the heavier instrumentation, her soulful vocals here are fantastic, packed with a raw, unbridled passion that elicits chills as she sings “Suicide or survival, I’m alone either way./ Oh I turn my back, and now you’re gone away. Some said I loved you too much. I guess I did.”
The influence of both Prince and Teena Marie can be heard on the lighthearted and funky “Some of Us“. I love the lively, skittering dance beat, super funky guitars and spirited piano keys, accompanied by Jill’s sassy vocals as she playfully croons “When kitty wants to roam, there’s no control. It’s irresistible.” “Red” is a solid rocker, featuring an aggressive stomping beat overlain with swirling orchestral synths and resonant guitar notes that I can’t properly describe, given my almost total lack of musical knowledge, other than to say they’re great. Jill says the lyrics speak to working through life’s challenges, and navigating the many minefields of the music industry and the duplicitous people in it: “Don’t know how much more can be tolerated. The threshold of pain has gotten to the limit. Why can’t you taste the venom on my tongue?/Red’s the color that I feel.”
Things end on an upbeat note with the delightful ear worm “Tango“. The song has a joyous Prince feel, with twinkling synths, jaunty guitars and exuberant horns layered over a sensual and funky bass groove. Jill’s lilting vocals are sexy and playful as she sings “Thought I heard a tango in the restaurant, baby. It was my favorite song. When we met the atmosphere was sexy, baby. Knew it wouldn’t be too long.” I think it just might be my favorite track on The London Sessions.
It’s a shame these songs haven’t seen the light of day until now, but as the old saw goes, better late than never. Thank you Neil and Jill for finally bringing them to life for our enjoyment, as The London Sessions delivers 25 minutes of auditory bliss.
I think “My Golden Years” by The Lemon Twigs is a perfect power pop tune, and I just can’t get enough of it. Consequently, it remains at #1 on my Top 30 for a third week. Aiming for the top spot, the hauntingly beautiful “Time” by MISSIO slides into second place, while twenty one pilots‘ “Overcompensate” moves up a notch to #4. Entering the top 10 at #9 is the delightful dance-pop song “I’m in Love” by San Diego singer-songwriter Jelani Aryeh, followed by the equally delightful “Murder On the Dance Floor” by Australian guitar-pop duo Royel Otis, jumping six spots to #10.
Two songs make their debut on my chart this week, the first of which is “Mustang” by Kings of Leon. While I’m a pretty big fan of theirs, this song took a while to grow on me, as I initially found Caleb Followill’s screaming vocals a bit off-putting. “Mustang” was the lead single from their forthcoming ninth studio album Can We Please Have Fun, scheduled for release on May 10. Entering at #30 is “Two Sweet” by Irish singer-songwriter Hozier. Shockingly, the song debuted at #5 two weeks ago on the Billboard Hot 100, and currently sits at #4, a major feat for an artist like Hozier in today’s streaming-dominated chart. My guess is that the song must have gone viral on TikTok. In any case, it’s another great song by this talented and beloved artist, so seeing it ranked so highly on the Hot 100 is a welcome sight indeed.
MY GOLDEN YEARS – The Lemon Twigs (1)
TIME – MISSIO (3)
NEON PILL – Cage the Elephant (2)
OVERCOMPENSATE – twenty one pilots (5)
DILEMMA – Green Day (4)
LUNAR ECLIPSE – The Vaccines (9)
KOOL AID BLUE – The Sylvia Platters (10)
DIAMOND AND THE MISSING SON – Unquiet Nights (9)
I’M IN LOVE – Jelani Aryeh (11)
MURDER ON THE DANCE FLOOR – Royel Otis (16)
FIND MY WAY – Ships Have Sailed (12)
EVERYTHING WE NEED – Mojave Grey (13)
BEAUTIFUL PEOPLE (STAY HIGH) – The Black Keys (6)
BLUSH – Vazum (7)
GOOD PEOPLE – Mumford & Sons, Pharrell Williams (15)
ICE CREAM (PAY PHONE) – Black Pumas (17)
DARK MATTER – Pearl Jam (18)
WANTING AND WAITING – The Black Crowes (19)
DON’T FORGET ME – Maggie Rogers (22)
THE GLASS – Foo Fighters (23)
LOVIN ON ME – Jack Harlow (14)
THOUGHTS I HAVE WHILE LYING IN BED – The Maine, Beach Weather (24)
It can be argued that modern technology is both a blessing and a curse, but certainly one redeeming aspect of it is the ability it affords for different musicians located halfway around the world to come together and collaborate in the creation of a song. As a shining example of that synergy, I bring you “Adrift“, the wonderful new single by American rock band Voodoo Planet and Australian singer-songwriter and multi-instrumentalist Mikey J.
Based in DeSoto, Missouri, a small city approximately 40 miles southwest of St. Louis (where I lived from 1995-2011), Voodoo Planet formed in 2010, and consists of John Gilbert on guitar & vocals, Ed Henry on bass, guitar & vocals, Adrienne Myers on keyboards & vocals, and Patrick Myers on drums & vocals. Their eclectic sound draws from a wide cross-section of genres including garage, alternative, grunge, punk, psychedelic and experimental rock, country, folk, Americana and pop.
They began releasing music in 2013 with their self-titled EP Voodoo Planet, followed by their live EP Bookstore Sessions in 2017. Several tracks from both EPs were later included in their full-length album Ripsnorters, released in early 2020. Some of the tracks were inspired by the stories of real historical figures like Lizzie Borden and the radium girls, women factory workers who contracted radiation poisoning from painting watches with luminous paint containing radium. After a bit of a hiatus, they came roaring back in early 2023 with “Bewitched” a song touching on the sad tale of Bridget Bishop, who was persecuted in the Salem witch trials. Since then, they’ve dropped several more singles, their latest of which is “Adrift”, their collaboration with Mikey J.
Mikey J (aka Michael Johnson), who humbly refers to himself as “just a dude who loves music“, is a prolific singer-songwriter and multi-instrumentalist from Melbourne, Australia. Inspired by some of the great songwriters of the past, life experiences and his family, his songs are a mix of rock, blues, folk, funk and indie influences, all of which he performs and records in what he calls his simple setup at home. He’s been writing and recording music since his teens, releasing his first self-titled EP in 1999 at the age of 17 with his then band Blue Tracer. In 2011, he released a solo album Happy “六” Anniversary, inspired by and dedicated to his wife Ella. Nearly 10 years would pass until his next release ISO-Inspiration, an album inspired by the Covid lockdown, in October 2020. Since then, Mikey J’s been on a creative tear, dropping five more albums, as well as numerous singles.
Described as “an acoustic seafaring-themed song about lost friendship“, “Adrift” is a bit of a stylistic departure for both Voodoo Planet and Mikey J, with a mellower, more contemplative feel than their typical, more rock-oriented sounds. For the track’s recording, John Gilbert played acoustic guitar & percussion, and sang vocals, Pat Myers played bass, drums & percussion, Adrienne Myers played piano & keyboards, and Mikey J played cello. The track was co-produced by John Gilbert and Ed Henry, and mixed and mastered by Ed.
The song is a melancholy but lovely folk ballad that tells the sad tale of a group of young men who go out on a sailing adventure that ends in tragedy. John’s beautifully strummed acoustic guitar, accompanied by Adrienne’s soothing organ riff and the sound of gently crashing waves, set a comforting tone for the song. But soon, Mikey J’s somber cello strings enter, injecting a palpable sense of tension and unease to the proceedings. John’s pleasing, low-key vocals convey feelings of resignation and sadness as he sings the bittersweet lyrics:
Signed up for a party, on a big metal ship Things got heavy, the boat began to tip, boat began to tip. As young sailors, we never learned how to swim, No hanging on, dear. The quicker to meet our end, quicker to meet our end. Tried all the knots, to find one that would hold, Hard to tie when hands and hearts grow cold, hands and hearts grow cold.
That storm came crashing in, we knew it had to end That storm came crashing in, we knew it had to end. The sea didn't take us that day The sea didn't take us that day The sea didn't take us that day Only one of us washed away, only one of us walked away..
Lost at sea, my friend, far away at the world's end Tied a string to all we held dear But sirens whispered in your ear, sirens whispered in your ear Things best unspoken, and floating debris, Best leave it all, and sink into the sea, sink in to the sea.
The sea didn't take us that day The sea didn't take us that day The sea didn't take us that day Only one of us washed away, only one of us walked away..
No wind in our sails, but we're headed home Might drown in a bottle, you never know Pray all you like, but keep rowing for shore.
The Bandcamp offering is an EP which includes the original song, along with two alternate mixes.
It’s always a happy day when my favorite Welsh songstress Caitlin Lavagna returns with a new song to grace our eardrums, and today I’m pleased to share her electrifying new single “Gold“. Her fifth in an unbroken streak of outstanding singles that began in 2021 with her wonderful debut “How Not To Start A Fight”, “Gold” speaks to, in her own words, “Changing the narrative, owning your feelings, being brutal and upfront, not taking yourself seriously and not catching feelings.”
I adore Caitlin’s vibrant and sophisticated vocal style and honest, relatable lyrics drawn from personal experiences and heartache, and have liked every one of her songs. In addition to “How Not To Start A Fight”, I’ve also reviewed “Night Bus” and “We Lost Track” (You can read those reviews by clicking on the ‘Related’ links at the end of this post.) Both “How Not To Start A Fight” and “Night Bus” appeared on my personal Top 30 chart, the latter spending 20 weeks and peaking at #2, and also finishing at #28 on my 100 Best Songs of 2023 list.
Photo by Akta Photography
Born and raised in the picturesque Rhondda Valley of South Wales with familial roots in Gibraltar, the multi-talented and lovely singer-songwriter, musician and actress has had a life-long love for music and the arts, with a special passion for percussion and drums, as well as singing and dancing. Her music and vocal styles are heavily influenced by some of her favorite artists like Sting, Biffy Clyro, Stevie Nicks, Florence Welch, P!nk and Adele.
In addition to writing and recording music, Caitlin is also an accomplished actress who’s performed in numerous stage musicals. Over the past year, she’s performed in the Rock and Roll Panto at Theatr Clwyd in North Wales, was invited to sing on Radio Gibraltar, and nominated for Best Female Artist at the Radio Wigwam Awards in London. She also performed in Turning The Wheel, a new musical by Kieran Bailey, and will be starring in the UK tour of Operation Julie, a prog rock psychedelic musical set in the 1970s and based on the biggest LSD drug raid in British history.
“Gold” was co-written by Caitlin and Otto Aday, and produced by Joe Rodwell. Though she often plays drums on her songs, for “Gold” they were played by Harry Ariyoshi-Pope. Caitlin recently shared her thoughts behind the song on Instagram: “This is my fifth single I have released as a solo artist. I wanted it to represent changing the narrative from being heartbroken to making a decision not to catch feelings in the first place. It’s sassy, quirky, fun and powerful. Beneath that though, it’s about being confident in making decisions for yourself and being honest about them. I added some Spanish into this track to honour my Gibraltarian roots. The phrase means ‘Life is simple, don’t complicate it’ and I think that’s a message I am taking into my life and therefore songwriting. I’m extremely proud and excited by this track and hope listeners can bop along and look forward to the many other tracks I have planned for release this year.“
While the song could be generally classified as pop, the brilliant arrangement features exuberant funk, jazz and trip-hop elements that make for a thrilling listen. I really love those wobbly, funked-up guitar notes and Ariyoshi-Pope’s spirited drumming. With her winning combination of colorful theatricality and powerhouse vocals, Caitlin lets loose with a bold and brassy delivery that occupies a sweet spot between sultry and playful, exuding a strong sense of unrestrained confidence as she sings “Gold that tastes like silver on my tongue. When all is said and done, this is only fun.” “Gold” ends with a self-satisfied laugh from Caitlin, leaving us utterly satisfied and more.
The marvelous jangle-pop masterpiece “My Golden Years” by The Lemon Twigs holds firm at #1 for a second week on my latest Top 30 chart. I love this song, and never tire of hearing it. “Neon Pill” by Cage the Elephant holds at #2 for a second week, after spending two weeks at #1, and the gorgeous “Time” by MISSIO inches up a notch to #3. Another wonderful jangle-pop/rock song, “Kool Aid Blue” by Canadian band The Sylvia Platters, enters the top 10. The biggest upward mover this week is “Murder On the Dance Floor” by Australian guitar-pop duo Royel Otis, jumping seven spots to #16.
For a second consecutive week, there are three new entries to my chart. The first, coming in at #28, is “Take It Or Leave It”, a melancholy but beautiful song by Sheffield, England-based alternative rock band Dead Slow Hoot, who’ve been putting out great indie rock since 2016. Next up is the delightfully boisterous “Good Times Go” by another English alternative indie rock four-piece, London-based The Kid and I, which I reviewed a few weeks ago. Bringing up the rear at #30 is the terrific “I’ve Got Loving For You” by Austin, Texas-based rock & roll band Bottlecap Mountain, which I also recently reviewedin a Fresh New Tracks post.
MY GOLDEN YEARS – The Lemon Twigs (1)
NEON PILL – Cage the Elephant (2)
TIME – MISSIO (4)
DILEMMA – Green Day (3)
OVERCOMPENSATE – twenty one pilots (5)
BEAUTIFUL PEOPLE (STAY HIGH) – The Black Keys (6)
BLUSH – Vazum (8)
LUNAR ECLIPSE – The Vaccines (9)
DIAMOND AND THE MISSING SON – Unquiet Nights (10)
KOOL AID BLUE – The Sylvia Platters (11)
I’M IN LOVE – Jelani Aryeh (12)
FIND MY WAY – Ships Have Sailed (13)
EVERYTHING WE NEED – Mojave Grey (14)
LOVIN ON ME – Jack Harlow (7)
GOOD PEOPLE – Mumford & Sons, Pharrell Williams (17)
MURDER ON THE DANCE FLOOR – Royel Otis (23)
ICE CREAM (PAY PHONE) – Black Pumas (20)
DARK MATTER – Pearl Jam (21)
WANTING AND WAITING – The Black Crowes (22)
WATER UNDERGROUND – Real Estate (18)
LANDMINES – Sum 41 (19)
DON’T FORGET ME – Maggie Rogers (25)
THE GLASS – Foo Fighters (28)
THOUGHTS I HAVE WHILE LYING IN BED – The Maine, Beach Weather (29)
pMad is the solo music project of Irish singer-songwriter, multi-instrumentalist and composer Paul Dillon, a lifelong lover of music who’s been involved in songwriting and performing for many years. Based in County Galway, Paul was previously a member of the bands Starve the Barber and The Suicidal Dufflecoats, and currently a member of The Greeting, as well as his project pMad. Heavily influenced by some of his favorite acts like The Cure, The Sisters of Mercy, Sonic Youth, Suicidal Tendencies, The The, Arctic Monkeys, The Strokes and Tom Waits, his dramatic sound is an arresting blend of darkwave, post-punk, alternative and goth rock, with even a touch of indie metal thrown into the mix for greater impact. He’s also a strong advocate for social justice, emotional well-being and the environment, which he freely expresses in many of his songs.
Since December 2021, he’s released an impressive amount of music, including numerous singles, two EPs and two albums, his latest of which, I in Power, drops today, along with one of the album’s tracks “Missing“, which I’ll be writing about. I’ve previously featured him twice on this blog when I reviewed two of his singles, “Broken” and “Sisters”, the latter of which spent three months in my Top 30 and ranks #73 on my 100 Best Songs of 2022 list.
On “Missing”, pMad explores the human tendency to sometimes take our relationships for granted and not fully value people while they’re with us, only to realize too late how much they meant to us after they’re gone from our lives. He elaborates “pMad is about embracing the imperfect nature of existence and delivering powerful messages through music. ‘Missing’ is a reflection on the importance of cherishing relationships before it’s too late.“
The song kicks off with a somber bass groove accompanied by a rapid thumping drumbeat, which are soon joined by a jagged guitar riff and pMad’s haunting vocals. Eventually, the music expands into an electrifying soundscape of beautiful swirling guitar notes and sparkling synths, that ever-present dark bassline and gnarly guitar keeping the song’s overall brooding feel fully intact. His vocals become more fervent in the choruses as he laments “Nobody’s out there, Nobody’s waiting. Times are tough. It’s not just a hole in the ground.” It’s another superb single by this creative and talented artist.
The artwork for the single features an original painting by Lasma Dublane-Dillon.
And here’s the full album, featuring eight outstanding tracks, on Bandcamp. Besides “Missing”, other standout tracks for me are “Down” and “Opinion”.
So much new music, but only so much time to write about it all! That means it’s time for another installment of my Fresh New Tracks series. Today, I’m featuring new songs by four talented gentlemen – Scottish electronic composer, singer-songwriter and producer Neil Billinness, L.A.-based singer-songwriter and musician David Gergen, Philadelphia area-based singer-songwriter and musician Marc Schuster, and Tacoma, Washington-based psychedelic indie pop musician Soda Cracker Jesus. I’ve previously written about all four of them, though it’s been many years since I featured Neil B. and David G.
NEIL BILLINNESS – “Spring”
Hailing from Rosyth, Scotland (located on the Firth of Forth northwest of Edinburgh), is Neil Billinness, a singer-songwriter and musician who composes, records and produces electronic music influenced by 80’s artists he grew up with like Howard Jones, OMD, The Human League, Tears For Fears, David Bowie, Prince and Madonna. In December 2016, I featured him in an Artist Spotlight where I wrote a fair amount about him, but to summarize, he spent time as a member of a few rock bands beginning in high school, but later put music on the back burner while he built his professional career. Starting around 2011, he took up songwriting again in earnest and set up his own home studio, where he embraced sequencing, sampling and programming which enabled him to produce music more easily. He subsequently established an independent label NeRo Music with his life partner Robert, who tragically passed away suddenly the day after Neil released his single “Passing Thoughts”, in January 2016. He followed with a few more singles, and began working on a sci-fi concept album, but lingering depression over losing Robert, as well as a health event that resulted in the partial loss of his eyesight, caused him to shelve the project. He later compiled the demo tracks into an album Space Travels, which he released on Bandcamp in 2018.
More recently, Neil’s been working with singer-songwriter Jill Jones (who worked with Prince in the 1980s, including singing backing vocals on some of the tracks on his album 1999, as well as appearing in his movies Purple Rain and Graffiti Bridge), remastering and cleaning up the audio on tracks she’d originally recorded in 1989 into a new album to be released later this month. He’s also recorded and released some new material of his own, one of which is his latest single “Spring“, a dramatic electronic instrumental piece he released on April 1st. About the song, Neil explains: “This piece was written in the darkest of times eight years ago, when I was in a deep depression but starting to see light creeping into the darkness. It’s an instrumental piece, with some seemingly-random, cold electronic noises interspersed throughout. What they represent is for the listener’s interpretation. This track has a bittersweet memory, as it was a track that my dad heard and liked, before he passed away. My dad said things as they were and if he didn’t like something I’d written he would have no hesitation in telling me. But I remember when he heard this I could see him nodding his head and smiling, and he told me he liked it.” Well, I like it too, and despite its 7:25 minute run time, it doesn’t feel overly long. Though somewhat dark, it features a fascinating, almost otherworldly soundscape layered over a continuous pulsating beat, punctuated by spritely little flourishes and sci-fi sounds that served to lighten the overall mood of the piece.
David Gergen is another artist I wrote about several years ago, back in March 2018 when I reviewed his beautiful album The Golden Light. A singer/songwriter and multi-instrumentalist based in Los Angeles, David has been writing and recording music for nearly three decades, and including The Golden Light, has released 10 albums, two of which are experimental instrumental-only works. Like Neil above, David also suffered the terrible loss of his life partner Michelle, who passed away in 2015, a life-changing event that can’t help but have a major impact on one’s songwriting and music. Accordingly, he writes thoughtful lyrics about love, loss and renewal, which he delivers with warm, comforting vocals backed by sublime piano and guitar-driven melodies drawn from elements of alternative, indie and experimental rock, Americana and easy-listening.
On March 29th, David released “Into the Woods“, his first new single in five years. The song speaks of finding peace of mind and renewing one’s soul by getting in touch with nature and its healing powers. Anyone who’s ever hiked through a forest has experienced the beneficial calming effects that result from being in a serene and beautiful setting, leaving you feeling refreshed and even a bit more centered. Musically, the song is an agreeable blend of alternative rock and Americana, though David’s fuzzy electric guitars add an edgy vibe to the proceedings. His smooth vocals are both pleasing and commanding as he encourages us to seek solace and find healing in the woods.
MARC SCHUSTER – “Paul Giamatti (Is Everywhere Tonight)”
Marc Schuster is an insanely creative, multi-talented and very busy guy from the Philadelphia area who I got to know several years ago through blogging (he has a terrific WordPress blog called Abominations, where he writes about music and interviews indie artists). Not only is he an educator, author, literary critic and visual artist, he’s also a prolific songwriter and musician, recording both as a solo artist and as part of numerous music projects and collaborations with an ever-expanding roster of musicians. As if all that weren’t enough, he also hosts a weekly hour-long music podcast called “Tweetcore Radio Hour”, where he features songs by talented indie artists he’s met through Twitter (now X). I honestly don’t know how he finds the time and energy to accomplish all that he does!
Though Marc likes to experiment with different sounds, styles and textures, most of the songs he records as a solo artist have a delightful, indie bedroom-pop sensibility. Not only are they infectiously catchy, he has a wonderful knack for putting a youthful, often tongue-in-cheek perspective on everyday situations and problems many of us have faced at one time or another. His latest single, “Paul Giamatti (Is Everywhere Tonight“, is yet another lighthearted example of this. Marc explained his inspiration for writing the song: “I wrote it a few months back when, for no apparent reason, the thought occurred to me that it would be funny if Paul Giamatti had played George Costanza on ‘Seinfeld’ instead of Jason Alexander. That idea didn’t make it into the final version (it was in one of the verses that I cut), but the thought of Paul Giamatti showing up in unexpected places stuck with me, and soon I was imagining him everywhere.” The song has a breezy vibe, highlighted by cool piano keys and an infectious toe-tapping beat, and I love those horn synths in the bridge. James Lorino, aka Scoopski, sang backing vocals at the end of the track.
One of the more fascinating and flamboyant artists I know of is Soda Cracker Jesus, the solo music project of the wildly imaginative and enormously talented singer-songwriter and producer Regan Lane. Based in Tacoma, Washington, Regan has been actively involved in the Pacific Northwest music scene for 40 years, with his hands in many projects, including serving as front man and ringmaster for psychedelic punk-rock band Strangely Alright. He created Soda Cracker Jesus in early 2021 as a way of expressing his punkier power pop side, and has released an impressive number of singles, several of which I’ve reviewed (my most recent was for “Space Boy” last May).
His latest and twelfth single is “Asleep but Awake“, a collaboration with his friend Jimm Boudreau of The Dissonance Theory, itself a collaborative music project based in the Seattle area. Regan and Jimm co-wrote the music and lyrics, with Regan singing vocals and playing guitar, keyboards and strings, Jimm playing bass and John Hargis playing drums. The song is an alternative rock gem, with strong psychedelic overtones, and I love the intricate instrumentation and lush orchestration, not to mention Regan’s wonderful emotive vocals that always remind me of David Bowie. In fact, the song sounds like a long lost Bowie song from the late 70s. I may be off-base, but the lyrics seem to speak of letting go of unpleasant memories of past mistakes, and choosing to live in the here and now with a more positive outlook. “I don’t know if the stars will always shine. There’s a game I play while I’m lost in space. And I’m happy to be alive. This Is Dreaming. This Is Dreaming. And I’m Awake but I’m Asleep.” The colorful and trippy animated video was created by Regan/Soda Cracker Jesus.
ECLECTIC MUSIC LOVER 