1. EVERYTHING I WANTED – Billie Eilish (2)
2. MIGHT BE RIGHT – White Reaper (1)
3. NOVOCAINE – The Unlikely Candidates (3)
4. WARS – Of Monsters and Men (5)
5. THE BEST – AWOLNATION (6)
6. ORPHANS – Coldplay (4)
7. USED TO LIKE – Neon Trees (9)
8. DON’T START NOW – Dua Lipa (12)
9. DANCE OF THE CLAIRVOYANTS – Pearl Jam (13)
10. LIFE IN THE CITY – The Lumineers (14)
11. UNEVENTFUL DAYS – Beck (8)
12. 2ALL – Catfish and the Bottlemen (7)
13. YOU? – Two Feet (10) 20th week on list
14. HOW WE LIVE – Mandalan featuring Cadence XYZ (15)
15. VAN HORN – Saint Motel (16)
16. MARINERS APARTMENT COMPLEX – Lana Del Rey (17)
17. ADORE YOU – Harry Styles (19)
18. LOVE YOU FOR A LONG TIME – Maggie Rogers (20)
19. WHITE LIES & PALM TREES – The Lovepools (11) 21st week on list
20. CAN’T STOP – Vox Eagle (21)
21. UNCHAINED – Devon Gilfillian (22)
22. BLACK MADONNA – Cage the Elephant (23)
23. LOST IN YESTERDAY – Tame Impala (26)
24. COLORS – Black Pumas (27)
25. TEXAS SUN – Khruangbin & Leon Bridges (28)
26. HERO – Michael Kiwanuka (29)
27. THE RUNNER – Foals (18)
28. REASONS I DRINK – Alanis Morissette (N)
29. SHINE A LITTLE LIGHT – The Black Keys (N)
30. OH YEAH! – Green Day (N)
I’ve written previously about the tremendous amount of great music being produced these days, and though I make an effort to try and keep up, a lot of it slips beneath my radar. Fortunately, I saw a tweet yesterday by my Sheffield, England Twitter friend John Oxley about the new single “Why Are We Here” by alt-rock band Airport Impressions, and immediately liked it so much that I decided to make it my New Song of the Week. I was also a little embarrassed to discover that Airport Impressions and I already follow each other on Twitter, but I’d somehow neglected to check out their music. My bad, because they’re fantastic!
Hailing from Malta, they’re the first artists from that Mediterranean island nation I’ve featured on this blog. They’re also undeniably one of the most successful acts to emerge from Malta. Drawing from elements of rock, pop and folk, their music is incredibly melodic and beautiful, reminiscent of such bands as The Killers, U2, Kings of Leon, and Mumford and Sons. Like many a band, they’ve undergone changes in lineup since forming in 2008, and now founding member Errol Sammut (guitar, lead vocals) is the only original remaining member. In the past two years, Daniel Genius (bass, backing vocals), Ryan Magro (lead guitar) and and Daryl Curmi (drums, percussion) have all joined the band to replace the former members who left.
Under their previous lineup, Airport Impressions released two outstanding albums, Minutes of a Lifetime in 2010 and Mariette in 2014. They’re both overflowing with gorgeous songs, and I strongly urge my readers to check them out on one of the music streaming platforms listed at the end of this post. Since the new members came on board, the band has released a number of terrific singles, the latest of which is “Why Are We Here?”, which dropped February 28.
The song has a darker feel than most of their music, with ominous industrial synths and a deep, throbbing bass line forming a dramatic foundation for the phenomenal guitar work and smashing drums. The piano and moody organ keyboards add texture and tension to the track, and I love the gnarly guitar solo in the bridge. Sammut’s vocals are fantastic, starting off with a vulnerable croon that sounds a bit like Bono, then erupting into impassioned wails in the chorus, backed by haunting echoed vocals. It’s a magnificent track.
The lyrics could be open to a rather broad interpretation, but to me they seem to speak to the eternal question of the reason for man’s existence – namely, what is the meaning of life, and what is our purpose on this earth? The lines “Can you hear my cries in the pouring rain? Can you walk the walk? Can you hear my call? Can you see me crawl?” are a plea to be noticed, to feel significant, to feel that our existence is worthwhile, especially to those around us.
To learn more about Airport Impressions, check out their Website
“Losing My Religion” by R.E.M. is a gorgeous and haunting musical masterpiece. Released in February, 1991, it’s my favorite song from the 1990s, and one of my top ten favorite songs of all time. From their seventh studio album Out of Time, it’s their highest-charting hit in the U.S., reaching #4 on the Billboard Hot 100, and #1 on the Modern Rock and Album Rock Tracks charts. It was nominated for several Grammy Awards in 1992, including Record and Song of the Year, and winning for Best Pop Performance by a Duo or Group and Best Short Form Music Video.
Although R.E.M. had been around for ten years, releasing six albums and scoring two top 10 hits, “The One I Love” and “Stand”, they were still primarily considered an “alternative” rock band whose music was played on mostly college and FM radio stations. The immense popularity and commercial success of “Losing My Religion” and Out of Time broadened their audience beyond its original fanbase, and catapulted them to international fame. When asked at the time if he was worried that the song’s success might alienate their older fanbase, band guitarist Peter Buck told Rolling Stone, “The people that changed their minds because of ‘Losing My Religion’ can just kiss my ass.”
I agree, as it really irks me when people bitch about an indie artist or band who they feel they discovered “selling out” or “going mainstream” if they have a commercially successful breakout hit. Jeezus, we should celebrate our favorite artist or band’s success, though I suspect there’s an unhealthy kind of jealousy that occurs when all of a sudden everyone else is loving a band we felt an odd sort of intimate connection or obsession with, but I digress…
One of the many aspects that make “Losing My Religion” such an amazing song is the stunning mandolin riff that serves as the track’s driving force. Buck wrote the main riff and chorus for the song on a mandolin he’d just purchased and was learning how to play while watching TV one day. Recording of the song began in September 1990 at a music studio in Woodstock, New York, with mandolin, electric bass, and drums. Bassist Mike Mills developed a bassline inspired by some of the work of Fleetwood Mac bassist John McVie, and the band decided to have their touring guitarist Peter Holsapple play acoustic guitar. Singer Michael Stipe recorded his marvelous vocal in a single take, which is remarkable in that it’s so perfect. In an interview with Guitar School, Buck later recalled, “It was really cool: Peter and I would be in our little booth, sweating away, and Bill and Mike would be out there in the other room going at it. It just had a really magical feel.” The beautiful, soaring orchestral strings, arranged by Mark Bingham, were later added to the song by members of the Atlanta Symphony Orchestra at Soundscape Studios in Atlanta, Georgia.
With regard to the compelling lyrics, Stipe has repeatedly stated they’re not about religion. The phrase “losing my religion” is a regional expression from the southern U.S. that basically means “losing one’s temper or civility” or “feeling frustrated and desperate.” Stipe told The New York Times the song was essentially about romantic expression, while he told British music magazine Q that it’s about “someone who pines for someone else. It’s unrequited love, what have you.” Well, they’re very powerful, and deeply resonated with me and millions of others.
Oh life, it’s bigger It’s bigger than you And you are not me The lengths that I will go to The distance in your eyes Oh no, I’ve said too much I set it up
That’s me in the corner That’s me in the spotlight Losing my religion Trying to keep up with you And I don’t know if I can do it Oh no, I’ve said too much I haven’t said enough
I thought that I heard you laughing I thought that I heard you sing I think I thought I saw you try
Every whisper Of every waking hour I’m choosing my confessions Trying to keep an eye on you Like a hurt, lost and blinded fool, fool Oh no, I’ve said too much I set it up
Consider this Consider this, the hint of the century Consider this, the slip That brought me to my knees, failed What if all these fantasies come Flailing around Now I’ve said too much
I thought that I heard you laughing I thought that I heard you sing I think I thought I saw you try
But that was just a dream That was just a dream
That’s me in the corner That’s me in the spotlight Losing my religion Trying to keep up with you And I don’t know if I can do it Oh no, I’ve said too much I haven’t said enough
I thought that I heard you laughing I thought that I heard you sing I think I thought I saw you try
But that was just a dream Try, cry, why try That was just a dream Just a dream Just a dream, dream
The beautiful and rather surreal music video for “Losing My Religion” was directed by Indian director Tarsem Singh. Stipe wanted a straightforward performance video, however, Singh wanted to create a video in the style of a type of Indian filmmaking, where everything would be melodramatic and very dreamlike. Singh won the argument, which among other things, required that Stipe lip sync the lyrics rather than sing them on the video. Singh has said the video is modeled after the Gabriel Garcia Marquez short story “A Very Old Man with Enormous Wings” in which an angel crashes into a town and the villagers have varied reactions to him. He also drew inspiration from the Italian painter Caravaggio, and the video features portrayals of religious imagery such as Saint Sebastian, the Biblical episode of the “Incredulity of St. Thomas’, and various Hindu deities. The video was nominated in nine categories at the 1991 MTV Video Music Awards, and won six, including Video of the Year, Best Group Video, Breakthrough Video, Best Art Direction, Best Direction, and Best Editing. [Wikipedia]
Two years ago, I was blown away when I first heard the music of London alternative blues rock band CuriousHour. In my review of their superb debut EP Explore, I wrote “If you like soulful, blues-soaked rock accompanied by raw, passionate female vocals, then you should be listening to the music of UK band CuriousHour.” It’s been far too long since they’ve put out new music, but I’m happy to report that they’re back with a great new single “She Lies“, which officially drops February 27th. And my recommendation still stands.
Formed in 2014, CuriousHour consists of vocalist Emily Grazebrook, guitarist Andy Grazebrook, bassist Aaron “Bison” Lafayette, and drummer Louis Ricard (who recently replaced Wal Srankiewicz, who played drums on Explore and “She Lies”. On the strengths of their powerful, unique sound and dynamic live shows, they’ve built quite a following in and around London and southern UK.
“She Lies” is a dark and moody track – a “murder ballad” as described by band guitarist Andy. The intense fuzz-covered jangly guitars and deep, muddy grooves are fantastic, with an almost watery quality that quite effectively complements the grim narrative laid out by the lyrics, which were written by Emily. Her raw, soulful vocals are incredibly powerful in expressing the pain and terror of her dire circumstances – that her man is going to drown her to punish her for things she’s done. The words “she lies” can be interpreted to have two meanings: that she’s a liar, and that she now lies at the bottom of the river. Some pretty heavy stuff here.
Father forgive me my sins He promised me many things And when he got a hold have mercy on my soul And when I told him no He took me down to the river He held me way down low Held me way down low on the riverbed
She lies (I never lied) Have mercy on my head
And here on my river bed Way down here on my river bed My sins washed away he said
The beautifully filmed but rather disturbing video shows scenes of Emily walking down to a river and touching the water, as a mother desperately clinging to a young boy who would appear to be her son (played by her actual son), knowing it will be the last time she’ll see him, and her lying dead in the river. Have a look and listen:
Catch CuriousHour at one of these upcoming shows:
Friday, Apr 17 – The Birds Nest, London Friday, May 08 – The Birds Nest, London
A few weeks ago, I featured Cork, Ireland-based collaborative music project SomeRiseSomeFall when I reviewed their beautiful song “The Rain Came Down on Everything”. After reading that review, fellow Corkonian (I love that word) musician and singer-songwriter Cormac O Caoimh reached out to me about his new single “I’m in Need“, and I’m glad he did because I really like his music! He’s a skillful wordsmith and guitarist, writing sublime indie folk/pop songs overflowing with thoughtful, intelligent lyrics about the universal subjects of life, love, hope and loss, and delivered with subtle hooks, fine instrumentals and his pleasing vocals that sounds a bit like Paul Simon at times. His catchy melodies seem to effortlessly draw us in, then stay with us long after the songs end. I found myself humming “I’m in Need” long after hearing it. As Mojo Magazine so eloquently put it: “each song superglues to the memory“.
Cormac has released a substantial amount of music over the past 15 years or so, including four studio albums, the most recent of which was his marvelous 2017 release Shiny Silvery Things. (I strongly encourage my readers to check out his music, which you can find on most music platforms, some of which I’ve listed at the end of this post.) Now he’s putting the finishing touches on his forthcoming fifth album Swim Crawl Walk Run, due for release on May 15. “I’m in Need” is the album’s lead single, which Cormac released on February 21st. The single and album were produced by his friend and fellow musician Martin Leahy, a talented multi-instrumentalist who’s collaborated with Cormac on previous records, and also played drums, bass, keyboards and more on the new album. The lovely backing vocals on “I’m in Need” and other tracks on the album are by Aoife Regan.
Cormac gave me the opportunity to have an advance listen to Swim Crawl Walk Run, and it’s a stunning work. It’s obvious he poured his heart and soul into it, as he explained in his message to me: “It is the first album I actually enjoyed making. I have been playing live with Martin Leahy for over 8 years but this is my first time making an album with him. It was a joy. I loved the whole process. It was relaxed, exciting, calm, manic. Everything. And the end product is something I could not be prouder of. The songs morphed and moved and grew during the process and the end result is an album I’m not sure I can top. It is full of singles. I want to release them all and I can’t wait for the first one to get out there.”
About the song, Cormac states: “During the writing of ‘I’m in need’ I did have the simplicity and directness of The Beatles ‘Help!’ as an influence. ‘Help me’ as a lyric is so fragile and honest and sad…but the song isn’t. The song is catchy and poppy. It works on two levels. I wanted the same for ‘I’m in need’. I wanted it to have meaning but more so a groove and be catchy. The feeling of the song also evolves. What starts as vulnerable ends up as a celebration of our humanity. We are all in need at times. Our feelings can be shaped by our thoughts. Musically the chorus gets more emphatic and joyful as the song progresses musically demonstrating the power of positivity.”
“I’m in Need” has a mellow and catchy acoustic-guitar driven melody, but a deeper listen also reveals a slight jazzy quality to Cormac’s guitar work that’s quite marvelous. His guitar notes beautifully meld together with the gentle percussion and keyboards, resulting in a harmonious and captivating soundscape. His calm, smooth vocals are exquisite, and like the music, blend in perfect harmony with Aoife Regan’s backing vocals. I like the spacey little sound effects inserted into the middle of the song that perk up our ears. It’s a lovely and wonderful song.
Catch Cormac at one of these upcoming shows, all in Ireland:
Apr 27 – Mick Murphy’s, Ballymore Eustace May 02 – The Glens Centre, Manorhamilton May 15 – Album launch @ The Kino, Cork May 29 – The Dc Music Club, Dublin Jun 12 – The Weir Folk Club, Midleton
One of my favorite indie rock bands is Chicago-based The Million Reasons. I became a fan of theirs the instant I heard their magnificent song “Dizzy” in the summer of 2018 (I love it so much it ended up at #69 on my 100 Best Songs of the 2010slist). I’ve closely followed this talented group of guys ever since, and have featured them a number of times on this blog. (You can read my previous reviews by clicking on the links under “Related” at the bottom of this page.) Having five members, including two guitarists, their sound is dynamic, heavy and melodic, and consistently delivered with killer riffs, tight rhythms and powerful vocals.
I was sad to learn their vocalist Scott Nadeau left the band last August but, fortunately, they quickly found a phenomenal replacement in Taylor Brennan, a close friend of band drummer Colin Dill. Brennan is also vocalist for Chicago alt-rock band Polarizer (they’re pretty terrific too, so do check out their music). In addition to Brennan and Dill, the other band members include guitarists Mike Nichols and Ken Ugel, and bassist Jason Cillo. Brennan brought not only his vocal talents, but also his great songwriting skills and years of experience, which have expanded The Million Reasons’ musical horizons quite nicely. Whereas their music has primarily been classic rock/rock’n’roll oriented, some of their new songs venture more into progressive rock territory. They’ve also employed additional instrumentation, including keyboards and cello, into some tracks, giving them a fuller and richer sound.
With that in mind, the band set to writing and composing a huge array of songs, four of which they’ve selected for their new EP If Not for the Fire, which dropped February 21st. The songs are rather dark, with brutally honest lyrics that the band describes as “a study of separation and self-discovery.” The EP was beautifully produced by band guitarist Ken Ugel, along with Nick Stetina and Noam Wallenberg, and flawlessly mixed and mastered by Stetina. The other band guitarist Mike Nichols designed the artwork.
They kick things off with the title track “If Not for the Fire”, a bombastic, high-energy rocker that clearly shows the band hasn’t lost their stride. The song opens with a brief flurry of fuzzy guitars and Dill’s power drums, then Cillo lays down a funky little bass solo before everything erupts into a barrage of thunderous musical mayhem, and we’re off to the races. The guys unleash their inner beasts, setting the airwaves aflame with fiery riffs, throbbing bass and explosive drumbeats. Brennan quickly dispels any doubts I may have held regarding the issue of a new vocalist, blowing me away with his incredible vocals. He literally raises goosebumps as he fervently wails the lyrics that speak of his need for an intense, almost obsessive kind of love that thrills and excites: “I came for the curse of / I came for the kiss of / A love divine that paralyzes / What did you come for / If not for the fire to light you up this way.”
The fantastic video, filmed and directed by Philip Goode, shows Brennan seated at a table, struggling to write (something I can identify with as a music blogger), juxtaposed with scenes of the band performing the song and working their magic with their respective instruments. Their energy and charisma are strongly evident.
“Pretty Ones” is a brilliant track, with a complex melodic structure and intricate, yet powerful instrumentation that give it a monumental prog-rock feel. The dual guitars of Nichols and Ugel are really spectacular here. The lyrics explore the restlessness that exists in some of us – the internal struggle between putting down roots in one place or with one person vs. the desire for eternal freedom and believing the grass is greener somewhere else or with someone else, but also fearing that perhaps we’re just running away from ourselves: “Ever after chasing down the pretty ones / Right back to the place where I am running from / In motion, stuck in motion / I fear it’s just my nature.”
The guys slow things down on “No North Star”, a gorgeous but melancholy ballad about a man at the end of his rope, ready to give up all vestiges of hope. The song starts off with a mournful cello and beautiful acoustic guitar, as Brennan forlornly laments about mistakes he’s made: “Four on the floor / As the shower head pours heat on me / Praying to the god of sorry / I’m sure she has questions for me.” Gradually, a lovely piano enters along with more guitar, drums and bass, all of which grow more expansive as the song progresses until reaching a dramatic crescendo at the end, at which point Brennan passionately implores: “Stare in the sunken-in eyes of a ghost of a shell of a half of a half of a man / Saying what good can I be if I couldn’t be better for you / I couldn’t lie when you asked me to lie / But I’ll die if you ask me tonight / I’m going to die anyway / I might as well do it for you.” Though I love all four tracks, “No North Star” is my favorite.
“All You Can Afford” is a dark and heavy kiss-off to a lover who’s pushed the relationship beyond the breaking point: “I’m taking the keys to my heart and your car / I’ll leave you behind / Hoping you’ll find all that you can’t afford / My love, anymore.” The guys deliver blistering riffs and a torrent of hard-driving grooves during the first two-thirds of the track while Brennan sings the lyrics. The music then transitions to an almost cinematic instrumental for the outro, finally ending with a harsh, increasingly loud static-like sound in the final 30 seconds that seems to symbolize a rather violent end – of the relationship perhaps?
If Not for the Fire is a wonderful little fireball of an EP (sorry for the bad pun, but hey, it perfectly describes the work) that packs quite a major punch in it’s 16-minute run time. I love The Million Reasons, and am thrilled to see them continue to grow and evolve through time and personnel changes, something not all bands are able to successfully navigate. Drummer Colin Dill told me they’ve written about 20 new songs, and I cannot wait to hear them!
1. MIGHT BE RIGHT – White Reaper (1)
2. EVERYTHING I WANTED – Billie Eilish (4)
3. NOVOCAINE – The Unlikely Candidates (3)
4. ORPHANS – Coldplay (2)
5. WARS – Of Monsters and Men (6)
6. THE BEST – AWOLNATION (9)
7. 2ALL – Catfish and the Bottlemen (8)
8. UNEVENTFUL DAYS – Beck (10)
9. USED TO LIKE – Neon Trees (12)
10. YOU? – Two Feet (7) 19th week on list
11. WHITE LIES & PALM TREES – The Lovepools (5) 20th week on list
12. DON’T START NOW – Dua Lipa (19)
13. DANCE OF THE CLAIRVOYANTS – Pearl Jam (20)
14. LIFE IN THE CITY – The Lumineers (15)
15. HOW WE LIVE – Mandalan featuring Cadence XYZ (16)
16. VAN HORN – Saint Motel (17)
17. MARINERS APARTMENT COMPLEX – Lana Del Rey (18)
18. THE RUNNER – Foals (11)
19. ADORE YOU – Harry Styles (21)
20. LOVE YOU FOR A LONG TIME – Maggie Rogers (22)
21. CAN’T STOP – Vox Eagle (24)
22. UNCHAINED – Devon Gilfillian (25)
23. BLACK MADONNA – Cage the Elephant (26)
24. REWARD – Paul Iwan (13)
25. BLIND LEADING THE BLIND – Mumford & Sons (14)
26. LOST IN YESTERDAY – Tame Impala (28)
27. COLORS – Black Pumas (29)
28. TEXAS SUN – Khruangbin & Leon Bridges (30)
29. HERO – Michael Kiwanuka (N)
30. NIGHT TIME – Isolda (23)
Themorethanevers is the music project of Santa Cruz, California-based electronic producer and composer Wayne Brown. Skillfully blending elements of atmospheric chill, trip hop, EDM and soulful R&B, the creative and imaginative young artist weaves lush and mesmerizing soundscapes. As an aside, when I asked Brown about his unusual moniker, he explained, “Themorethanevers is an idea that anyone can be more than they ever felt is possible. Believe it or not, it actually originated from a Daft Punk cover video [of their song ‘Harder, Better, Faster, Stronger’] called ‘Daft Hands’. When I was a kid I was obsessed with performing the daft hands video. I realized that if you held your hands a certain way, it’s spelled ‘morethanever’. I fell in love with the name.”
Last year he started releasing a series of singles, beginning with “Simple Things”, followed by the enchanting double single “Seascape/An Angel’s Dream of Sleep”. In early January, he dropped his brilliant little EP Bionic, and now returns with a wonderful new single “Stubborn Dreamer“, which I’ve chosen as my New Song of the Week. The song is a collaboration with Oakland-based vocalist and close friend Grace D, and features added vocals by South African rapper Killa-Stryder.
Grace D
Themorethanevers explains that there’s a specific purpose behind the song: “In ‘Stubborn Dreamer’, we speak of the complex relationships new artists have with their loved ones. It’s often hard for the ones who are so protective of us to see us as the artists we are, refusing to believe in our visions as artists who can make a great impact on our communities. We are stubborn artists, resisting all obstacles that may come our way in order to pursue a dream. Our goal for this track is to encourage people to continue striving for their [own] interests and develop their sense of self. We all have dreams. We just want the ones around us to see our dreams the way we do. Encourage and support the artists you know and love.”
Against an enchanting backdrop of glittery synths, Themorethanevers layers a sensual trip hop beat, which serves to not only drive the song forward, but also pulls us quite willingly into a dreamy atmospheric soundscape. With a sultry vulnerability to her vocals, Grace D softly croons of breaking free of people who hold you back from realizing your dreams and full potential, and knowing that ultimately, one has to be able to make it on their own:
Temporary babies fucking with the fish and crazy
But my focus nearly hazy
But then let them go, unfaze me
Sadness never leaves your face
Dreaming happy endings
How long til you say
I got this on my own
Scared to think of ways to grow
Push me and direct me
Then Killa-Stryder enters, rapping his verses in response to those sung by Grace D. He expresses his regret for mistakes he made in their relationship, but also asks for her forgiveness and a second chance. While acknowledging that he misses the sex, he also states that he misses her on an emotional level, and asks whether she thinks he helped her reach some of her own goals:
Girl I really miss your vibe I’m really hoping that the love is still alive I’m really thinking about being in between your thighs but Please don’t compare me to all the other guys Cause your lovin’ was a blessing I heard you got scared girl I really got the message If I was honest with you then you wouldn’t have left me Your mind is what really I’m really obsessed with
Before we part ways, there’s a few things I gotta ask
Like was it worth it?
Did I help you reach your purpose?
Why does love with someone always hurt me?
The song ends with a flourish of harsh industrial synths, abruptly ending the dreamy vibe. It’s a superb track.
“You live / You Love / You Learn / And You Lose.” A pretty cynical observation about the nature of life, this, but these words were in fact an impetus for the man who wrote them to change his life going forward. So states the Chicago-based singer-songwriter and musician who goes by the moniker “The American Man”. Like a lot of musicians who choose to identify themselves with an artistic moniker rather than their given names, he desired to disappear behind the name and have his songs speak for themselves.
He’s a massive Bob Dylan fan, and as such his music and sound is heavily influenced by Dylan, both musically and lyrically. His music consists only of his acoustic guitar and harmonica, and his lyrics are poetic, honest and heartfelt. And what’s more, his vocals sound alarmingly similar to Dylan’s, right down to their raspy texture and pitch.
In November 2019, he released his marvelous debut album Life & Times of Thomas Francis Bernasol, featuring eight tracks that touch on aspects of life, love and loss identified in the opening words of this post. On February 14 he appropriately dropped his latest single “The Last Valentine“, an understated, yet magnificent song which I’m pleased to feature today. He explained the song’s background:
“The song was written four years ago this very week. Trump wasn’t yet in office, mass shootings were taking place, tension was in the air, and I was waking up in the middle of Chicago on Valentines day on the street. It was 15 degrees or so, and I walked across the city in the cold. My wallet was stolen and my phone was stolen and I was bleeding down my head. Halfway home I laid down in an alley and cried. But I wasn’t jumped; I was in the deep end of my alcohol and drug problems that stretched on relentlessly for five years. And then I got sober, let go of song writing, put this song on the back burner and had to do the hard work work of building my life. I spent three years off the internet, and a few weeks ago it dawned on me that I had this song tucked away. So I dug through several hundred pages of old lyrics over a few hours to find it, set up my iphone and hit record. Then I thought I gotta share it with the world, so I bought a lap top and made this video. I thought that the song was interesting because [even though] it’s four years old, it still holds up.”
“The Last Valentine” is inspired both melodically and lyrically by Bob Dylan’s 1962 song “Let Me Die in My Footsteps”, which Dylan wrote after he watched construction workers building a bomb shelter one day. He was struck by the insanity of peoples’ upside-down reasoning during the Cold War – that instead of us learning how to live, we were learning how to die. In that same vein, The American Man explores the similar irrational, hateful and destructive thinking occurring in America today:
I met a young boy who was free in his soul
They beat him so bad and left him dead on the road
But he stood up and walked led by his mind
He stumbles on home as the last Valentine
As he wars through the ruse
You live, you love, you learn and you lose
I watched all the red-blooded American folk Swallow their leader and violently choke And neath their red eyes was a heart filled with hate If you do not act soon it might be too late There a war without truce You live, you love, you learn and you lose
Outside the Trump rally Within the great wall A homeless man fell to all that he saw And with his stained shirt he wipes his watery eyes Some are learning to live, some are learning to die Oh young boy here’s old news You live, you love, you learn and you lose
All incredibly powerful and brilliantly-written words that deeply resonate with me! For the compelling and provocative video, he used footage of actual events and scenes and images from popular films and music videos (some of which may result in removal due to copyright infringement, though I certainly hope not). Take a look and have a listen:
I’ve stated it numerous times on this blog, but it bears repeating yet again that some of the best rock music being made today is coming from the UK. Almost on a weekly basis, I come across another band or two making a name for themselves in a very crowded field, and today I have the pleasure of introducing an exciting new band with a terrific name – Amongst Liars. They recently released their spectacular debut single “Over and Over“, which I loved at first listen and must share with my readers.
Based in the Brighton/Eastbourne area along the southern English coast, Amongst Liars was formed in September 2019 from the ashes of two bands – Saint Apache and Katalina Kicks. Both were successful bands in their own right, and actually met in 2016 when they shared the same bill at a show in Manchester. After the vocalist of Saint Apache left in April 2019, and Katalina Kicks broke apart a few months later when one of its members decided to leave the UK, KK vocalist Ian George joined the three remaining members of Saint Apache to form Amongst Liars. In addition to Ian, who also plays guitar, the other band members include Leo Burdett (guitar, backing vocals), Ross Towner (bass, backing vocals) and Adam Oarton (drums). Given they’re all accomplished musicians, they hit the ground running and wasted no time writing and recording new music.
Drawing influences from some of their favorite bands like Rage Against The Machine, Every Time I Die, Buckcherry, Guns N’ Roses, Crass, Heavens Basement, Cancer Bats, and Audioslave, they play an aggressive and melodic style of hard rock. “Over and Over” is a rampaging monster of a track. With Ross’s intense buzzing bass line serving as a powerful driving force, Leo and Ian serve up killer riffs of gnarly guitars while Adam pummels his drum kit like a man hellbent on destruction. The guys are really impressive musicians, and Ian is a vocal beast, practically spitting the lyrics as he furiously rails; “We don’t need to beg no more. We don’t need to beg. Make time for this! Yeah, yeah, yeah – over and over we run!”
The lyrics are somewhat ambiguous, but seem to be a bitter indictment against the numbing mind-control of technology and societal pressures to conform and be ‘productive’. The artwork for the single shows a man on a treadmill, surrounded by naked men lying facedown, their backs open to reveal inner machinery, along with a scattering of wheels that appear to have fallen off a cog.
One line for the memory One love for the soul I don’t care for the harmony I don’t write for the show
One love for this jealousy I feel bad for you son No time for your remedy So we dance till it’s done
We don’t need to beg no more
Walk on with an energy Hold out for the pain No time for the feeling Inside of the brain
One time for this heresy In spite of the sun One life for the strangers They can walk, we shall run
We don’t need to beg no more We don’t need to beg Make time for this Yeah, yeah, yeah – over and over we run
The fantastic video shows the band facing off what appears to be their alter ego selves as they perform the song, and really showcases their intense energy and strong musicianship. “Over and Over” is a brilliant song, and a triumphant debut for Amongst Liars. I cannot wait to hear more from this phenomenal band.
ECLECTIC MUSIC LOVER 