1. LIVE IN THE MOMENT – Portugal.The Man (2)
2. ONE FOOT – WALK THE MOON (1)
3. PAIN – The War on Drugs (3)
4. SOBER UP – AJR ft. Rivers Cuomo (5)
5. I ONLY LIE WHEN I LOVE YOU – Royal Blood (6)
6. SAFARI SONG – Greta Van Fleet (8)
7. KINKY – Oli Barton & the Movement (4)
8. SCARY LOVE – The Neighbourhood (12)
9. WITHOUT YOU – Disciples of Babylon (7)
10. PASSION – AWOLNATION (11)
11. LOS AGELESS – St. Vincent (13)
12. TWO HIGH – Moon Taxi (15)
13. ALL ON MY MIND – Anderson East (16)
14. SIT NEXT TO ME – Foster the People (14) 21st week on list
15. HAPPY HOUR – Weezer (18)
16. WORLD GONE MAD – Bastille (19)
17. RX(MEDICATE) – THEORY (9)
18. ANGELA – The Lumineers (10)
19. NO ROOTS – Alice Merton (17)
20. RUN FOR COVER – The Killers (N)
Followers of my blog know I like featuring indie artists and bands, as I want to give them exposure and help them gain new fans. Another recent find is REBELLE, a wonderful band from Quebec, Canada who describe themselves as “Filthy with a beat, but really, really sweet.” Their melodic, aggressive sound immediately grabbed my attention and had me returning to their music again and again.
Based in Wakefield, a small town 20 minutes north of Ottawa, REBELLE consists of siblings David (guitar, lead vocals) and Rylee Taggart (synths, backing vocals), Ryan Wiles (bass, guitar, backing vocals), and Joey Kane (drums). In November 2017 they released their debut EP Hide, featuring three fantastic tracks.
The title track “Hide” opens with Rylee’s sharp, menacing synths, then a scratchy guitar riff takes over, backed by Ryan’s throbbing bass line and Joey’s pounding drums. The tempo is broken at intervals by a screeching guitar, followed by an assault of David’s shredded and distorted riffs in the chorus and outro. His vocal gymnastics are quite amazing, going from smoldering to falsetto as he snarls the lyrics warning someone who’s deceived him: “Hide your head in the sand and stay out of my sight I told you. You’re walking into trouble. Cause I’m a creature lurking in the night, I’m behind you. You better run and hide.”
“Shoot Me Down” really showcases the band’s skill at writing great melodies, as well as their strong musicianship. The guitar work on this track is stunning, and once again, David’s vocals are sublime. But it’s on the third track “The Rapture” that REBELLE really show us what they can do. Blistering riffs of gritty guitars, heavy bass and tumultuous percussion set the tone for the hard-hitting song. David defiantly challenges those stoking fear of impending apocalypse: “They say today we better change our ways. Won’t make it through tomorrow. There ain’t no other fate. No no, hey hey, this ain’t gonna ruin my day.” The music explodes as David wails “So you call this the rapture!” There’s some tasty guitar noodling in the bridge, followed by a reprise of the scorching instrumentals. The sharp, otherworldly synths that opened “Hide” close out “The Rapture,” bringing this marvelous little EP full circle. Though it’s short, the three songs sure pack a punch. My only criticism is that I wish there were more of them!
They’ve just released a dark new video for “The Rapture,” containing footage from the 1924 German silent film Die Niebelungen: Siegfried. David told the webzine Soundfiction that “The Rapture is weird and ambiguous, but suggestive. Mildly post apocalyptic, yet medieval.” Have a look:
I love REBELLE’s music and hope they bless us with more songs very soon. To learn more about them, check out their Website
For those of you in far eastern Canada, you can see them play at the following shows:
Alternative indie rock band The Only Route (also known as T.O.R.) play some of the most exciting guitar-driven rock I’ve heard recently. These guys kick ass with searing, razor-sharp riffs, thunderous percussion and addictive melodies. Formed in late 2016, the Lowestoft, UK foursome consists of Ryan Redwood (vocals, guitar), Robby Hodgey (guitar), Andy Kirk (bass) and Phil Dann (drums).
Photo by Inallhonesty Media
They released their awesome debut single “Nothing Less,” in early 2017, followed by “Phil’s Place” and “Hesitation,” both stellar, hard-hitting tracks. Now, in 2018, they drop their fourth single “Made,” and it’s a real banger.
The track blasts through the gate with a frantic onslaught of wailing guitars, hammering drums and a pulsating bass line. The guys shred and distort their guitars nearly to the breaking point, seemingly intent on blowing out our speakers and eardrums! Ryan sings about the dream of making it big in one’s profession. He explained that for the band, the lyrics mean “we were made for being out there playing live, and if it turns bad, we can always erase it and start again.”
You set the tone for tonight’s events And we’ll be setting the pace the rest of your life What if it takes a turn for the worst? We’ll set fire to all that you were Yeah you were made, tonight’s events Yeah you were made, tonight’s events Yeah you were made for dickin’ around For dickin’ around Yeah you were made Well it’s reasonably frightening to get to the future Well imagine the feeling of lying on the grass Looking up to the sky and saying you’ve made it I say we’ll do it It’s bound to happen
The tempo slows halfway through with just thumping drums and bass, but the brief calm is abruptly shattered by a series of piercing guitar chords before ramping back up with a barrage of screaming guitars for a dramatic finish. These guys can rock, and I’m certain they’ll make it big!
Anca is a lovely young indie singer/songwriter from Sydney, Australia who released her equally lovely debut EP Tomorrow in Sight in December 2017. She writes heartfelt lyrics based partly on her own personal experiences, and sets them to delicate piano-driven melodies. She played piano and drums on all the tracks, with assistance from Ian Craig on guitar and JimmyJay Lovelace on bass.
Her folk-pop music style contains elements that at times remind me a tiny bit like Jewel, yet sounds totally fresh and original. In her bio info, Anca shares her feelings about the EP: “This is my debut EP of the best songs I wrote before turning 21. Recorded on the piano I grew up with, I am incredibly excited to share the music from this period of my life. After the release of this record, tomorrow is in sight with my adult songs coming next year!”
Opening track “Trainwreck” sets the tone with a sweet piano riff and gently strummed electric guitar creating a mood that’s soothing, yet lighthearted. ANCA’s delicate vocals are enchanting as they skitter across the soundwaves. She explains the meaning of the song and its charming video:
“Trainwreck is a song where I am laughing at myself for how terrible I am when it comes to dating. The particular story starts with me starting to see a guy and things going really well until we hang out and I have a few too many and make an absolute idiot out of myself. The video definitely goes overboard – I didn’t really break a glass in the original but the catastrophe level was pretty close! But hey, if you can’t laugh at yourself then what can you do? At least one of us found it funny!“
On “Red Flags” Anca muses on whether she should open herself up to a possible relationship: “I could be wrong, maybe I should let you in“, yet she has reservations, afraid of being hurt: “Red flags run from my eyes. I know it’s hard to see when you’re so high.” The track features a beautiful little guitar riff, accompanied by subtle piano and gently pummeling drums.
“Learning to Let Go” has her coming to terms with the pain caused by a failed relationship and moving on: “Learning to let go was the hardest thing I’ve ever known.” Continuing on that theme, Anca closes the door on any hope of a reconciliation on “Talk About It.” “Why don’t you run away. I don’t know why you want to talk about it. I know why I don’t want to talk about it. You’re not gonna change my mind.” And though the song is clearly pop-oriented, her vocals at times have a bit of a hip hop quality in their cadence.
Anca turns somber on the haunting “Hey Anna,” addressing the pain and despair of someone having the unattainable goal to be perfect: “Hey Anna, get out of my head. You made your point, I heard what you said. / What the mirror shows, is someone I don’t know. You know I’d give anything to be perfect.” But then she sings an emotional tribute to the strength and inspiration she gains from her grandma on the folk ballad “Nana’s Song.” “When I’m with you, I don’t have to be afraid. If I cry, you chase the monsters away. When I’m with you, I don’t have to wear a mask. If I tried, you see right through it anyway.”
It’s an uplifting finish to a fine EP that takes us on Anca’s journey of self-discovery and life lessons learned. I hope she delivers on her promise of new music very soon.
DENSE is an awesomely talented psychedelic garage rock band hailing from Leeds, England. In March 2017 they released a mind-blowing debut EP Third Eye, which I reviewed and you can read here. They’ve now returned with a new single “Irreversible Knot,” and it’s fantastic.
Their unique psychedelic garage rock sound is at once retro and futuristic. They claim as their inspiration such bands as Wand, King Gizzard and The Lizard Wizard and Queens of the Stone Age, but I also detect hints of 60’s Yardbirds and early 80’s Billy Idol. If I had to put a label on their music style, it would be ‘industrial surfer metal rock.’ DENSE consists of Charlie Fossick (Guitar/Vocals), Dylan Metcalf (Bass) and Sam Heffer (Drums). Charlie also produces, mixes and masters their music. Despite their youth, their intense music style exhibits an impressive maturity and density – implied by their name, perhaps? – that would be expected from a more seasoned band. Of course, based on the photo below, they still retain a playful sense of humor that would be expected from a group of young guys.
“Irreversible Knot” opens with a grainy echoed synth chord, then an ominous rapid surf guitar riff and buzzing bass line enter the scene, propelled by a tapping drumbeat. Just as we’re becoming mesmerized by the hypnotic beat, we’re hit with a thunderous barrage of fuzzy distorted guitars steeped in reverb, Sam’s wildly crashing cymbals, and Dylan’s heavy throbbing bass. Charlie’s echoed, distorted vocals go from sultry drones to savage wails, while he shreds and distorts his guitar even further, creating a trippy, psychedelic wall of sound.
Halfway through the track, things calm down to just echoed synths and throbbing bass, then with a scream from Charlie, a cacophony of distortion comes crashing back like a tsunami wave. A second lull occurs three quarters of the way through, with a final return of heavy chaotic sounds. This back and forth ramps up the song’s tension to the breaking point, clearly with the aim of tying us into irreversible knots. The track is so delicious that, even at over four minutes long it seems over in an instant, leaving me craving more.
No Mind State is an alternative rock band from Oslo, Norway, and they’ve just released a brilliant new single “Fodder of Galaxies.” The single follows up on their superb debut track “Hold Me Back, I’m Leaving,” which I reviewed last month. The band plays high-energy melodic rock, bombarding our ears with thunderous riffs, heavy bass lines, and speaker-blowing percussion. Making all this great noise are Henrik Posèbo Sørebø (Guitar, lead vocals), Vetle Berthelsen (Lead Guitar), Vegard Tveito (Bass, backing vocals) and Christian Gathe (Drums).
“Fodder of Galaxies” is awesome, and I like it even better than their previous single (which I really liked a lot). It starts off with sounds transmitted by a space station, then a gradual building of synths accompanied by a jangly guitar riff, humming bass, thumping drums and crashing cymbals. The instrumentals ramp up as the song progresses, Henrik’s raw vocals becoming more impassioned as the music intensifies. Vetle and Henrik shred their guitars, Vegard’s bass gets heavier and Christian pummels his drum kit with abandon. Halfway through, a brief but stunning guitar riff is introduced, and the music continues building to a crescendo, raising goosebumps on this old body of mine. It’s a magnificent track!
The biting lyrics speak to the evils of capitalism and greed, and the damage it’s doing to society and our earth:
What have we done We’ve reaped all that we’ve sown Still we crave for more Galaxy dust is what we’ll swallow next just to quench our lust Kill it faster – Grow more after Villainous grab it – Hold it, Suffrage – Boring Give me more How can you say, that your way’s any better? How can you know that we’re not just the fodder of Galaxies in my mind
1. ONE FOOT – WALK THE MOON (1)
2. LIVE IN THE MOMENT – Portugal.The Man (3)
3. PAIN – The War on Drugs (8)
4. KINKY – Oli Barton & the Movement (2)
5. SOBER UP – AJR ft. Rivers Cuomo (7)
6. I ONLY LIE WHEN I LOVE YOU – Royal Blood (9)
7. WITHOUT YOU – Disciples of Babylon (4)
8. SAFARI SONG – Greta Van Fleet (11)
9. RX(MEDICATE) – THEORY (5)
10. ANGELA – The Lumineers (6)
11. PASSION – AWOLNATION (12)
12. SCARY LOVE – The Neighbourhood (13)
13. LOS AGELESS – St. Vincent (15)
14. SIT NEXT TO ME – Foster the People (10) 20th week on list
15. TWO HIGH – Moon Taxi (17)
16. ALL ON MY MIND – Anderson East (18)
17. NO ROOTS – Alice Merton (14)
18. HAPPY HOUR – Weezer (19)
19. WORLD GONE MAD – Bastille (20)
20. I LOVE YOU BUT I’M LOST – Tears For Fears (16)
It’s always a pleasure to discover a new band or artist whose music I instantly love. Dancing on Pluto is such a band. Formed just a year ago and based in Grand Rapids, Michigan, they’re an alternative rock band consisting of four long time friends Chas (lead vocals), Josh (drums), Gilbert (guitar) and Ishmael (bass). Their fun, energetic music is a blend of their favorite genres, including rock, hip hop, R&B, synth-pop, shoegaze and grunge – to name just a few of the influences I detect in their eclectic sound. They released their debut EP Abandon Ship in 2017, featuring five awesome tracks that I highly recommend my readers check out. They’ve now followed up with a terrific new single “Feels Good” that immediately blew me away.
In an interview with the web magazine From the Depths Entertainment (which you can read here), the band explained the origin of their name, and what they want listeners to take away from their music:
“The concept, in short, is that Pluto is a planet of unexplored potential. It took until recent to even say it was a planet again. But Pluto is like our music. When you listen to our music, it is much like taking a trip to another planet. You are exploring the planet. But at the same time, you hear the song and they are jams. It makes you wanna dance, jam, tap your feet, or whatever. Thus, the name Dancing on Pluto. Our music is always changing and complicated because people, including us, are always changing and complicated.”
Well, complicated is a good thing when music sounds as good as it does on “Feels Good,” which Chas announces with a shout out at the beginning of the track. After a few seconds of tapping drumsticks, a barrage of shredded guitars ensues, along with Chas’ wonderful vocals that sound as smooth as John Legend one minute, then raw and loud the next. The tempo goes from a mellow, bass-driven groove while he croons “When you’re on your own, take time and deep breaths. And when you’re on your own…”, to a bombastic onslaught of more gritty shredded guitars with the refrain “…you’ll find out it feels good! It’s so good, right on! Get up! Go ahead, get down! Go ahead, right on!”
The track seems to end at around 2:50 with the line “I’m having a revelation. Maybe we’re better off alone in the night.” But after a couple seconds, the calm is shattered when Chas lets out a yell, and a barrage of wailing guitars rains down upon us before settling back down at the end. We’re left drained but totally satisfied by this fantastic song that’s candy for the ears.
I love Dancing on Pluto and cannot wait to hear more songs from this incredibly talented young band.
British singer/songwriter Richard Stone – who goes by the artistic name A Blue Flame –tells compelling stories about life, love, faith, loss and heartbreak through poetic, heartfelt lyrics and sublime melodies. And though he’s not as concerned about the music or sound of his songs as he is the lyrics, I think they sound just right. His songs reflect an eclectic range of styles from doo-wop and old-school pop to easy listening ballads, folk and rock. Plus, his smooth, clear vocals are pleasing to the ear and perfectly suit his thoughtful lyrics.
Following up on his phenomenal 2016 album What We’ve Become is All That Now Remains, which I reviewed, A Blue Flame dropped When Your Whole World Turns to Dust at the end of September 2017. (he does seem to like long album titles!) He takes a somewhat darker tone on this album; many of the song lyrics are sad or bittersweet, speaking to failed relationships, regret, or disillusionment with the state of things. And yet they’re lovely to listen to and never depressing, offering glimmers of optimism and hope.
He writes all his songs and plays guitar on all the tracks. He arranges them with assistance from Adam Ellis, who co-produces and also plays guitar. Other session musicians add their skills to the mix as needed, including Damon Claridge on drums, Andy Robertson on bass and keyboards, and Tony Robinson on keyboards and horns.
“Back to the Stars” kicks things off with a languid tempo that feels rather like a sad slow dance, as a somber trumpet takes center stage. Soft tinkling of piano keys, a lightly strummed acoustic guitar and gentle snare drums complete the music. With an air of melancholy in his voice, A Blue Flame croons a message of hope and redemption: “When your whole world turns to dust. And all that you’ve known lies shattered and torn in undiluted sorrow. Look at the sky up above and know that you’re loved. Look up and know that you’re loved. And we’ll go back to the stars.”
The sad theme continues with “We Feel Like We Feel,” a beautiful but wistful song with layers of twangy strummed guitars, organ and a soft snare drum. The poignant lyrics speak to a relationship in which the feelings that once drew them together have drained away, leaving them feeling emotionally empty: “Fleeting bittersweet memory. We found things that you can’t see. Every day we wake up wondering how the day starts. All we can feel is the cold of the steel in our hearts.” “Don’t Wait” is an uptempo pop tune with jangly guitar, piano and smooth trumpet. A Blue Flame urges us to not waste any more time clinging to fear, self-doubt and regret, and to just “Strip off, dive in and swim.”
One of my favorites is “21st Century Blues,” a catchy song with a hook that would make Burt Bacharach proud. Tony Robinson’s bold trumpet has a starring role, with keyboards, piano and guitar adding to the great instrumental mix. The lively rock guitar riff in the bridge gives the track an extra jolt of energy.
“The Future’s a Mystery” is a lovely little song about not worrying about what the future may bring, and just enjoying what we have now: “The future’s a mystery, let’s get on with living today.” A slow doo-wop beat and a beguiling trumpet are defining elements of the hopeful “A Better Way.” A Blue Flame advocates a solution for getting out of our funk: “All we need are easy days to chase the blues away. Let’s find a better way.”
One of the prettiest but also saddest tracks is “The Words Wouldn’t Form” a bittersweet song about feeling heartbroken over someone who’s left you for another. A Blue Flame’s doleful vocals convey a deep sadness as he sings: “I don’t know why I could not say goodbye. Darling I don’t know why the words wouldn’t form.” Musically the song features a gentle strummed guitar, lovely flute and xylophone, and the backing chorus is beautiful. A celtic-sounding flute and acoustic guitar are a sweet backdrop on “All We Need to Know.” The lyrics speak to the honest realization that a relationship was not going to survive. With a hint of cynicism, he admonishes us not to take life so seriously on the peppy “Everything’ s a Lie.” “There’s no need to cry when everything’s a lie. Nothing makes sense anymore. Show me the door.”
A Blue Flame rocks out on the next two tracks. “Empty Head” is a great, hard-hitting song in which he concludes that ignorance is bliss: “Nothing springs to mind. Empty head is here again.” The edgy “See What Tomorrow Brings” is terrific, incorporating touches of psychedelia and punk, and is a song David Bowie could have done. It features heavy guitars, bass and drums, and the distorted guitar riff at the end is awesome. It’s another of my favorites on the album.
The album closes on an optimistic note with “Love Will Set Us Free,” a beguiling song with a similar smooth, slow tempo as the opening track. The piano work is especially sublime, as are A Blue Flame’s vocals and the backing chorus. It’s a fitting end to a unique and wonderful album. His lyrics, music and vocals meld together perfectly, and the album’s production values and music arrangements are outstanding on every level. It all makes for a really beautiful and highly satisfying listen.
Max Koffler is an indie musician from Berlin, Germany who’s been actively making music since his teens, when he formed a band called Kerosin. In 2004 he decided to go solo, and after touring in Korea for a while, he released a respectable debut album Taboo in 2008. He subsequently spent a long while writing and recording songs for what would become his second album GAMES, which he released in March of 2017.
Incorporating an eclectic mix of music genres and styles, including alternative rock, pop, EDM, and jazz, GAMES really showcases Max’s journey and growth as a musician. The maturity of his songwriting is exemplified by more complex melodies, song structures, lyrics and instrumentation, as well as stronger vocals. With 14 tracks, the album’s a real tour de force, with contributions by Seoulmates (a German group that was formed to support Max on his Korean tour), Max’s brother Hanno (who’s an accomplished actor), and a group of musicians who, along with Max, were involved in the workshop Mix With The Masters, conducted by the famed music producer Jimmy Douglass (Led Zeppelin, Aretha Franklin, Foreigner, Justin Timberlake, Pharrell, Jay-Z).
The opening track “Choose Your Fate” was just released as a single on New Years Day. It’s an upbeat synth-pop song that celebrates Max’s love for Berlin, and the inspiration it gives him to be the best person he can be. Swirling synths and a mellow bass line are set to a slow, catchy dance beat, making for a pleasing listen. The video, which was posted on YouTube in March 2017, shows Max walking around various sites in Berlin (a magnificent city rich in history and culture that I visited many years ago, and can attest to it’s beauty and charm).
One of my favorite tracks is “Europaroma,” a charming ode to the multi-culturalism of Europe. Shimmery synths set to a languid dubstep beat, and lyrics sung in Italian, French and English by Max’s smooth and sometimes auto-tuned vocals, make for a delightful feel-good song. “Limits” has a mesmerizing synth-driven dance beat with Max’s echoed vocals that are occasionally electronically altered, and the mysterious “The Fire is Yours” features a captivating guitar riff and fuzzy synths set to a hypnotic EDM beat that intensifies as the song progresses. Max repeats the lyric “Harmful you are to me.”
Max turns up the energy on the frenetic “Love Songs,” an infectiously catchy rock song that aims straight for the hips. I love the lyric “I don’t like love songs, but I love you.” “Shake Hands” is another fast-paced rock song loaded with synths, and featuring a great guitar riff and Max’s sung and whispered vocals. The anthemic “The Boldest Cats” has a joyous folk-rock vibe, with lovely acoustic guitar, organ and just the right amount of drums. Max’s earnest vocals are backed by an incredibly pleasing chorus sung by a group of musicians from Mix With The Masters. “Big Chart” and “Purple” are excellent pop-rock tracks with jangly guitars and deep bass lines, and featuring sublime backing vocals by Seoulmates.
Max sings a love song to the Korean capital he fondly remembers on the uplifting rock ballad “Saranghae Seoul.” The last line of the song is poignant and hopeful: “I know there’s a second half you miss, but one day you will kiss what’s lying north of you.” On the brief but moving track “May I Ask,” Max implores a loved one to let him know if she still has feelings for him: “You decide if I shall live or starve from lovelessness. And so I say, may I ask if you still want me the way you once promised?”
Max incorporates jazz influences on the last three tracks, starting with the captivating “Watergum.” The delicate guitars and keyboards on this track are really nice. “Long Lost Land” has a mellow, early 60’s jazzy feel with a bluesy bass riff, subtle piano and gently crashing cymbals. Max’s vocals are particularly good, as he scats in a falsetto later in the song. And the backing vocals by Seoulmates are lovely, as always. The arresting album closer “Wenn” features beautiful piano keys and synths, and an enthralling guitar riff floating above a skittering bass line. Max’s brother Hanno vocals are captivating as he sings the German lyrics.
GAMES is a wonderful album, filled with songs that require a deeper listen to fully appreciate all the subtle elements Max incorporates into his music. I find that the songs get better with each listen, and am totally smitten by the whole affair!
ECLECTIC MUSIC LOVER 