It’s taken a while to get there, but my new number one song is Bastille’s “World Gone Mad.” Though it was featured in the fantasy crime film Bright, the song addresses the strong political divisiveness and turmoil in Britain that resulted in Brexit. Many of the lyrics also describe the current fucked up political situation in America, where we’re led by an evil, narcissistic sociopath who has encouraged racism and nationalism, which is why it resonates so powerfully with me. The song was a modest hit, charting only on the Billboard Alternative Chart, however I think it’s Bastille’s best song since “Pompeii,” if not their absolute best.
Debuting at #17 is “The Joke” by Brandi Carlile. I was not very familiar with her music, but was floored the first time I heard this song, it’s that beautiful. This song is a certainty for a future #1 spot. And new at #20 is “Pink Lemonade” by James Bay. Wow, this song is HOT! Such a big departure from his former look and sound, which I really liked, but I’m loving this!
Additionally, I’ve expanded my list from 20 to 30 songs, as there are just so many great ones to choose from. I also want to include more indie artists who I believe are putting out some really excellent music.
1. WORLD GONE MAD – Bastille (3)
2. ALL THE STARS – Kendrick Lamar, SZA (1)
3. TWO HIGH – Moon Taxi (4)
4. SAFARI SONG – Greta Van Fleet (2)
5. RUN FOR COVER – The Killers (6)
6. BROKEN – lovelytheband (7)
7. WHATEVER IT TAKES – Imagine Dragons (13)
8. YOU WORRY ME – Nathaniel Rateliff & the Night Sweats (10)
9. LOS AGELESS – St. Vincent (5)
10. &RUN – Sir Sly (11)
11. SEVERED – The Decemberists (12)
12. PAIN – The War on Drugs (8)
13. LIVE IN THE MOMENT – Portugal. The Man (9)
14. THE NIGHT HAS AN ALIBI – Wons Phreely + the Horses (16)
15. THOUGHT CONTAGION – Muse (17)
16. HANDYMAN – AWOLNATION (20)
17. THE JOKE – Brandi Carlile (N)
18. SCARY LOVE – The Neighbourhood (14)
19. THE GOLD – Manchester Orchestra (21)
20. PINK LEMONADE – James Bay (N)
21. ALREADY GONE – Brett Dennen (N)
22. BEST FRIEND – Sofi Tukker, NERVO, The Knocks, Alisa Ueno (15)
23. GUIDE YOU IN THE DARK – Reckless Jacks (N)
24. SIT NEXT TO ME – Foster the People (22) 31st week on list
25. SOBER UP – AJR ft. Rivers Cuomo (19)
26. SATURDAY SUN – Vance Joy (N)
27. WE FIGHT – Dashboard Confessional (23)
28. MY MY MY! – Troye Sivan (N)
29. IRREVERSIBLE KNOT – DENSE (N)
30. HAPPY HOUR – Weezer (24)
Xotic Yeyo is an entertaining band with a cool name, and they’re bound and determined to get our asses on the dance floor with their funky psychedelic rock grooves. The Miami-based threesome consists of Stu Sauce on guitar and lead vocals, Rod Reiter on bass and backing vocals, and Cody Orange on drums. Their upbeat sound is influenced by funk greats like Parliament, Curtis Mayfield, Average White Band, Prince, Gil Scott Heron, Phish, Primus and Jamiroquai, among others.
The guys dropped their debut EP Down 2 Funk in November 2016, which I reviewed, and are now back with a full-length album Chocolate Decadence, featuring 10 tracks guaranteed to funk you up! (The three original tracks from Down 2 Funk are included on Chocolate Decadence.) The artwork for both their EP and album are pretty risqué, and a good indication of their playful attitude and approach to their music: don’t take yourself too seriously, let loose, and have a good time.
That’s immediately evident on the zany opening track “Heyo Yeyo Mr. Snowman.” It’s a humorous take on a Christmas holiday song, with silly lyrics sung by Stu’s grainy vocals, but when the guys lay down some funky grooves, it all works. And it goes without saying that the video would be as crazy as the song, with a Black Santa passing out small gift boxes filled with snow – a precious commodity in South Florida where it never snows. (Interestingly, both ‘yeyo’ and ‘snow’ are slang for cocaine, but I’m sure it’s meant only as a pun in the video.)
One of the things I really like about Xotic Yeyo is how their songs sound like they’re being played live. On many of their tracks, they launch into what seem like mini jam sessions, giving them a spontaneous lo-fi vibe that sounds fresh and never over-produced. Some great examples of this can be found on tracks like “You, Me & the Funk,” with it’s tongue-in-cheek lyrics “A ménage a trois out on this dance floor. / Gonna funk so hard, you’ll never funk nomore.”
Another is“Disco Zombies,” an infectious earworm with great guitar riffs and jazzy grooves set to a catchy dance beat. Stu sings of the perils of looking for romance on the dance floor: “Fall in love on the dance floor with disco zombies that take control. Fall in love on the dance floor, they bite your neck and they suck your soul.” And one of the best is “Trip the Lights,” a six and a half minute long funk fest. I love Stu’s wobbly distorted guitar riff that continues throughout the song, backed by Rod’s funky bass and Cody’s strutting drums and crashing cymbals.
The guys take a mellower turn on “Love Triangle,” a pleasing track with a laid back R&B/hip hop tempo. Stu’s guitar work is terrific, and nicely complemented by Rod’s smooth bass line and Cody’s cool percussion. Stu’s gentler vocals sound really nice on this track, especially when harmonizing with Rod’s backing vocals.
The guys sing about who they are and what they do on the delightfully funky “Mothership,” which I think should have been the first track on the album. The band’s funky style is in full swing on this track, with Stu’s awesome guitar riffs in perfect rhythmic harmony with Rod’s funked-up bass. Stu’s quirky, rapid-fire vocals inject a playful hip-hop energy that makes this a fantastic tune. The song’s video shows the guys performing the song and cavorting with friends, clearly enjoying what they’re doing and proving they’re all about having fun and wanting their listeners and fans to have fun too.
Catch Xotic Yeyo at one of these upcoming shows:
Apr 19 Dada – Delray Beach, FL Apr 27 Kilted Mermaid – Vero Beach, FL May 17 Orange Blossom Jamboree – Brooksville, FL May 18 The Warrior – Tallahassee, FL
David Gergen is a singer/songwriter/multi-instrumentalist based in Los Angeles. He’s been making music for over two decades, and just released his 7th self-produced album The Golden Light in early February. He seems to drop a new album every four years – previous efforts being The Dreaming in 2014, The Nearer It Was…The Farther It Became in 2010, and Haunting Whirlwinds in 2006 (although he did release a five-song EP Odyssey in 2012).
Incorporating elements of alternative, indie and experimental rock with Americana and easy-listening, he writes beautiful piano and guitar-driven melodies to accompany his thoughtful lyrics about love, loss and renewal. He explains his writing process on his website: “I write songs faster than I can record them….lyrics are important to me. I change direction with each piece of work and rather than submit to any trends, I create music that I like first and foremost. Music that keeps me interested, that is the secret to longevity I think.”
As I listened to The Golden Light, I was struck by David’s exceptional piano playing and skill at writing melodic piano compositions, both of which are well represented on the lovely album opener “Closer to the Light.” The main piano riff is serene and hauntingly beautiful, and backed by a second layer of piano, as well as a delicately strummed acoustic guitar, mandolin and strings. The track has a spiritual feel, with lyrics that seem to be about hitting rock bottom and seeking a way out of the hole you’re in through love and redemption. David’s smooth vocals have a quiet intensity as he implores “I’m falling, falling. Falling, I’m falling…down. Down, worn and busted. Can love save me again? The only must have is light coming in? Closer, closer, closer to the light.” The song is one of the album highlights for me.
“Talking About Love” is an uptempo song with more of a progressive rock sound, thanks to the predominance of electric guitar and a more aggressive drumbeat. The layered guitars on this track are really good. The brooding “Here and There” ventures toward an Americana vibe, and features some awesome moody guitars and piano keys that convey the sentiments expressed in the lyrics: “Slowly, the twinkle is leaving those eyes. Somber days the overture of the times. The moment you notice it’s already gone. I’m afraid to notice who’s driving this train. I know I’m falling in love with this feeling that’s here and there.”
Another beautiful piano-driven track is “Looking Glass,” a poignant song that seems to be about facing your own truths with honesty and an open mind. David’s piano playing is exquisite, and the accompanying acoustic guitar and soaring string synths make for a really gorgeous song. His vocals are comforting as he sings: “Don’t run away there’s a price to be paid, it’ll come back to find you again. So many of us running in circles to find out what’s lying within. Life is so pretty like a beautiful city with its lights climbing up to the moon. High rising wild fire burns what it needs to renew. It passed through the looking glass….it’s gone, gone, gone, gone.”
“Sirens” is an interesting track with rather unusual melody progressions that keep us just a bit off balance, but in a good way. David employs otherworldly synths and a funky distorted guitar riff to create dissonance and a sense of uncertainty that complement the lyrics: “The sweet singing on the red sea leads you right to the edge. The sirens watching are breaking us in. How many signs does it take.”
Another unconventional track is “Mountain,” which has two distinct parts. The first 50 seconds of the song consists of eerie, discordant synths and an echoed pounding drum that impart a sense of foreboding. That disturbing part ends with an abrupt shift to a melodic and pleasing Americana song with strummed and chiming guitars, lovely synths and piano. David croons “Can anybody see through the mountain? Can anybody see what’s there? If you only see, what you want to see. It’s an easy way to get lost.” The track closes out the last 10 seconds with a repeat of the discordant sounds, perhaps symbolizing the feeling of being lost?
David goes off in an experimental rock direction on the fascinating “Coffee in Bed.” He uses layers of differently-textured strummed guitars that are sometimes discordant, backed with spooky, ethereal synths to create a hauntingly beautiful and mesmerizing soundscape. David’s soothing vocals are almost seductive as he sings about the ardor of love’s desires: “Calm breeze, sun on her face. I bring her some coffee, she wants me to stay. Not in a long time has anyone said, you must be waiting for coffee in bed.”
He follows up with “Big River,” a pleasing Americana ballad about making it home to be with his loved one, and closes the album with “Clouds and Lightning.” Piano is the only instrument on this lovely track about what appears to be death and rebirth, whether in the literal or figurative sense: “It’s easy now, when it comes. Separate the heroes from the villains. Higher than the clouds. The offering to guide you on the way out. Talk slow, it’s me you’re looking for. Why are you trying to be so strong? Resting clouds, resting angel. There’s a story she’s trying to tell. And then they’re gone, crimson angels.”
I must concede that The Golden Light is a remarkable work that requires at least a couple of listens to fully appreciate the nuance and complexity of the music and poetic lyrics, though the songs still sound wonderful to the casual listener. I discovered new sounds and meanings with each additional listen, and grew to like the songs more and more, to the point where I now think the album is brilliant. I highly recommend it to anyone who enjoys piano rooted alternative and experimental rock music that’s just a bit out of the ordinary.
1. ALL THE STARS – Kendrick Lamar, SZA (1)
2. SAFARI SONG – Greta Van Fleet (2)
3. WORLD GONE MAD – Bastille (4)
4. TWO HIGH – Moon Taxi (5)
5. LOS AGELESS – St. Vincent (3)
6. RUN FOR COVER – The Killers (8)
7. BROKEN – lovelytheband (9)
8. PAIN – The War on Drugs (6)
9. LIVE IN THE MOMENT – Portugal. The Man (7)
10. YOU WORRY ME – Nathaniel Rateliff & the Night Sweats (12)
11. &RUN – Sir Sly (13)
12. SEVERED – The Decemberists (14)
13. WHATEVER IT TAKES – Imagine Dragons (20)
14. SCARY LOVE – The Neighbourhood (11)
15. BEST FRIEND – Sofi Tukker, NERVO, The Knocks, Alisa Ueno (16)
16. THE NIGHT HAS AN ALIBI – Wons Phreely + the Horses (17)
17. THOUGHT CONTAGION – Muse (18)
18. BORN FOR GREATNESS – Papa Roach (10)
19. SOBER UP – AJR ft. Rivers Cuomo (15)
20. HANDYMAN – AWOLNATION (N)
John DeFeo is a soulful R&B/hip hop artist based in Ft. Lauderdale, Florida, and he’s got one of the hottest new singles I’ve heard in long while. Taken from his EP Champagne Heart (which just dropped in February, is marvelous, and I urge everyone who reads this to give it a listen), “Unwind” is so steamy it’ll leave you needing a cold shower. With a sensuous mellow dance groove that aims straight for the hips, the track is reminiscent of Justin Timberlake’s “Rock Your Body,” only better and sexier. Jangly, funk-infused guitars seem to flirt with the erotic bass-driven hip hop beat, and quite honestly, who can blame them!
DeFeo’s seductive vocals leave little doubt about his romantic intentions as he tries to convince a woman to give him a try: “Live a little, don’t be stuck up and beautiful. You got too many Instagram followers. I’ll give you the attention you need. We should leave soon.” I can’t get enough of this song, and the video’s awesome too!
Max Koffler is a talented indie singer/songwriter from Berlin, Germany who’s been making music since his teens. A year ago, he released his ambitious second albumGAMES, which I reviewed in January. The album features 14 wonderful tracks drawing from an eclectic mix of music genres and styles, including alternative rock, pop, EDM, and jazz. One of those tracks is the deeply contemplative “May I Ask,” which Max will be releasing as a single on April 4th.
The song is short, lasting only one minute and 42 seconds, but powerfully moving. Feeling conflicted about love, at once afraid it will elude him, yet unsure as to whether he’s deserving of it, Max plaintively implores a loved one to let him know if she still has feelings for him. The music is spare, with only a simple piano riff backed by delicate synths, backing choir vocals and drumbeat. It’s beautiful.
I’m so young again who I’m still that little boy who doesn’t want what he could get and distrusts his heavenly joy And I am so afraid, wounded and disarmed 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 Well there’s something that I learned Could you please help me to escape the cave that I’m in and that I am Please don’t leave me unreturned My fear has gone
I’ve noted in previous posts that one of the things I like about Twitter is the huge amount of new music I’m exposed to from the many musicians and bands who follow me. And in addition to all the terrific music, I’ve also had the pleasure of getting to know some truly kind and generous people who I can call friends. They’ve not only supported me and my blog, they’ve also shown themselves to be strong supporters of other artists. One of those musicians is singer/songwriter Patrick Talbot, who goes by the artistic name GhostlyBeard.
Somewhat of an enigma, Ghostly Beard is originally from France but now calls Montréal, Québec, Canada home. Preferring the focus to be entirely on his music rather than him, he’s chosen to remain physically anonymous, so he never shows his image on any of his albums or social media, nor does he perform live. That said, he’s a creative and talented songwriter and multi-instrumentalist with a lot to tell us, which he expresses so beautifully through his intelligent lyrics, sublime vocals and dreamy, mellow soundscapes that draw from soft rock, jazz, pop, progressive rock and fusion, among other influences. When listening to his music, one can hear his inspiration from such legendary artists and bands as Steely Dan, Pink Floyd, Michael Franks, James Taylor, Cat Stevens, Genesis, XTC, and Weather Report.
Ghostly Beard has been a busy man, recording and releasing lots of music over the past year or so, including his superb album Invisible, which dropped last October (of 2017). More recently, he’s released two new songs that will be featured on his forthcoming album Inward, which is scheduled to drop on May 4th, and the subject of this review. The album contains ten tracks that have more of a soft-rock vibe than the jazzier Invisible, though jazz elements are still well-represented on Inward.
Like all his music, the album is entirely self-produced. He wrote all the music and lyrics, played all instruments, and recorded, mixed and mastered the songs at his own Studio GB in Montréal. He sang all vocals, other than for guest vocals provided by Emma Caiman on “Night Train” and his daughter Sarah Talbot on “Going Away.” The imaginative album cover photography is courtesy of Pol Ùbeda. Also, it must be noted that all proceeds from album sales will be given to MusiCounts – https://www.musicounts.ca/ – a Canadian charity organization that promotes music education through a wide variety of programs, including scholarships and providing musical instruments and equipment to after-school music programs and other community non-profit organizations.
The album opens with “How Does It Feel?” a laid-back tune with rather pensive lyrics about feeling that your life hasn’t mattered…that your existence has made no impact on the world: “When you’re so invisible what do you do in the title role? And when you know it’s far too late to take your place again in the human race. How does it feel? To be less than real.” The gently strummed and chiming guitars, accentuated by just a hint of reverb, are really pleasing, and the electric guitar riff that begins in the bridge and continues through to the end adds a nice complexity to the track. The languid drumbeat is accompanied by lightly crashing cymbals and a sweet xylophone that’s heard throughout the track. Ghostly Beard’s smooth vocals are warm and comforting, and seem to lessen the sting of the unhappy lyrics.
The warmth of his vocals, a major characteristic of his overall sound, are strongly evident on the bittersweet “The Love in Your Eyes,” an easy-going song dedicated to his mother, Christiane. His words beautifully express his feelings of loss and missing her in a way that everyone who’s lost a loved one can identify with: “Out of the blue I felt your absence. And into my heart an empty place. I reached for your light, I couldn’t find it. What would I give to see you now! And I had to say goodbye when I knew it would be for the last time. However hard I tried I couldn’t see all the love in your eyes anymore.”
In addition to his smooth, comforting vocals, another signature element of Ghostly Beard’s music is his layered, multi-textured guitar work that imparts a rich, fuller sound. His skillful use of strummed acoustic guitar alongside chiming and distorted electric guitars, all grounded by subtle bass lines, are exquisitely showcased on tracks like the Country-tinged “Gone,” the soft-rock ballad “Let Go” and the jazzy “It Doesn’t Matter.” And his ace guitar playing really shines on the sparkling instrumental track “Autumn Blues,” where his fantastic bluesy guitar work seems to channel Steely Dan.
One of my favorite tracks on the album is “Night Train.” The captivating song tells the story of two unhappy people on a train fantasizing about a chance encounter: “We were strangers on the night train riding in the dark. Going nowhere to speak of, just escaping from the past. / And the tears started falling down. Was it yours or was it mine? / As the train was heading north, I thought of all I’ve left behind. Who knows what crossed your mind when your eyes crossed mine?” The dream is disrupted by a explosive riff of distorted guitars, then the music calms back down to its previous languid pace as reality returns: “Never spoke and never will. It all happened in a dream. During that fleeting moment in the world that passed away. / We leave so little trace but a memory in the dark. Ooh, taking the life train. Ooh, riding the long way home.” I love the instrumentals on this track, and Ghostly Beard’s vocal harmonies with Emma Caiman are marvelous.
Another standout is the darkly beautiful “9 to 5 (Barely Alive).” Nearly eight minutes in length, the influence of Pink Floyd is clearly evident, with extended guitar riffs floating above a somber but lovely piano movement. The track opens and closes with the sounds of voices as if at a gathering, adding to the sense of isolation. Ghostly Beard sounds resigned as he wistfully sings of the soul-crushing tedium of a 9 to 5 job: “9 to 5, you leave your soul behind and drag your worried mind to earn your place back in the line. / You’re barely alive. Just another day to make it through. All you do is give your light away.”
“Let It Rain” is a pretty but very sad song about being heartbroken over a loved one’s betrayal: “I’ll never trust another one. I need some time to be sane again. My whole being out of hand. Entire world just turned to sand.” Not wanting to end things on a down note, Ghostly Beard delivers upbeat feels on the bouncy album closer “Going Away.” With assistance from his daughter Sarah on backing vocals, he sings about the thrill of getting away from life’s daily routines and problems, and going off on an adventure filled with possibilities. It’s a fitting closing track to an aptly-titled album filled with beautiful, introspective songs.
Track listing:
1. How Does It Feel?
2. The Love in Your Eyes
3. Gone
4. Autumn Blues
5. Night Train
6. Let Go
7. It Doesn’t Matter
8. 9 to 5 (Barely Alive)
9. Let It Rain
10. Going Away
Music platform Bandcamp appears to be the best bet for indie artists, as the site experienced double-digit growth in 2017 in every aspect of their business – digital album and individual track sales, merchandise, and physical sales of vinyl, CDs and even cassettes – while most stand alone music streaming platforms and industry-wide record sales continued to decline.
They also note that “allowing the distribution of an entire art form to be controlled by so few has troubling implications. The streaming giants exert tremendous influence over what music gets heard, and must primarily serve their most important supplier, the major labels. The result is that independent labels, and especially independent artists, are far less likely to be discovered on those platforms.”
To read more of this informative article, click on this link:
1. ALL THE STARS – Kendrick Lamar, SZA (2)
2. SAFARI SONG – Greta Van Fleet (1)
3. LOS AGELESS – St. Vincent (4)
4. WORLD GONE MAD – Bastille (6)
5. TWO HIGH – Moon Taxi (7)
6. PAIN – The War on Drugs (3)
7. LIVE IN THE MOMENT – Portugal. The Man (5)
8. RUN FOR COVER – The Killers (10)
9. BROKEN – lovelytheband (12)
10. BORN FOR GREATNESS – Papa Roach (11)
11. SCARY LOVE – The Neighbourhood (8)
12. YOU WORRY ME – Nathaniel Rateliff & the Night Sweats (14)
13. &RUN – Sir Sly (15)
14. SEVERED – The Decemberists (16)
15. SOBER UP – AJR ft. Rivers Cuomo (9)
16. BEST FRIEND – Sofi Tukker ft. NERVO, The Knocks & Alisa Ueno (17)
17. THE NIGHT HAS AN ALIBI – Wons Phreely + The Horses (18)
18. THOUGHT CONTAGION – Muse (20)
19. HAPPY HOUR – Weezer (13)
20. WHATEVER IT TAKES – Imagine Dragons (N)
London, UK hard rock duo Colt48 have existed as a band less than a year (they formed in June 2017), but are wasting no time making an impact on the indie rock scene with their aggressive, grunge rock sound. Consisting of vocalist/guitarist Adam Jerome and background vocalist/drummer Matt Savini, Colt48 have quickly gained exposure and fans by opening for such bands as Puddle Of Mudd, Fozzy, Trapt and Crazy Town, as well as issuing an impressive output of songs in quick succession.
In November 2017 they released their debut self-titled EP featuring three hard-hitting tracks, then soon followed up on New Years Day 2018 with the beautiful rock ballad “Start Again.” They’re now back with a new EP simply titled II, and it’s a banger! Keeping with the sentiments so vividly expressed on their first single “Hate Hate Relationship,” with II the band delivers three blistering songs that speak to the emotional toll caused by betrayal and deceit.
The guys get right to the point on “The Fire,” blasting the airwaves with an onslaught of gravelly shredded riffs and hammering drums. The guitars shift to machine gun mode on the verses, where Adam furiously snarls the biting lyrics:
I don’t care for the things you said Don’t know what is in your head I know, you left me for dead you’re just another liar.
Don’t matter how you try to fake No difference in the drugs you take Can’t say that it’s a mistake you pushed me on the fire.
“Out of Habit” is melodically complex, with outstanding guitar work. The track starts off with a gritty extended riff, transitioning to gorgeous jangly guitars on each verse, only to shift back to powerful shredded riffs in the chorus. Matt keeps the beat, adjusting the force of his drumming to match the changing intensity of the melody and guitars. Adam’s vocals are especially good on this track, sounding a bit like Chris Daughtry at times as he passionately sings of breaking free from a cycle of pain and regret from past mistakes in order to become a better person:
No, holding back now, breaking out of habit, time revealing now Days or if years, through the tears we shed we have to carry on now, Taking the best of me.
The anger boils over on “Never (Let You Live It Down),” a seething ‘fuck you’ to someone who’s hurt you beyond any hope of redemption or forgiveness. Raging guitar riffs, pummeling drums and crashing cymbals convey the seriousness of the situation, as Adam wails the brutal lyrics:
You think it’s OK to lie Playing games always on the winning side You’ve got a simple design Crush them down, hold them by the windpipe
Been too long, hate so strong, you broke the straw with a hammer blow.
I will kill you, break you, never let you live it down Make you, regret, everything you ever said Think you’re winning, never strive for anything Victim ,victor, all the same to me, you’re dead to me.
As the vocals end with an air of pained resignation, we’re suddenly head-slammed by a thunderous barrage of gritty bass, guitar and pounding drums that extends for a minute and a half until gradually fading out. It’s a mind-blowing end to an awesome little EP that really packs a wallop in under 11 minutes.
ECLECTIC MUSIC LOVER 