Month: October 2022

DAN SZYLLER – Album Review: “The Celestial Immigrant”

On By EclecticMusicLoverIn Reviews9 Comments
Album artwork by Sumit Roy

Dan Szyller is an imaginative and earnest Brazilian singer-songwriter and musician currently based in Metz, France. Born and raised in Sao Paulo, Brazil, he also spent time living in the U.S. and Israel before emigrating to France, and those life experiences led him to write and record songs for his debut album The Celestial Immigrant. Dan says “It’s the story of many travels I have made and places I have been in my life, mostly as an immigrant.” The album, written and recorded over a six month period earlier this year, was released on Apple Music and Spotify on July 20th. For recording of the album, Dan played guitar and sang vocals, Fabien Pilard played additional guitars, bass, keyboards and sang backup, and Meriem Rezik played drums.

A lifelong lover of music, Dan’s songs are influenced by some of his favorite bands like The Doors, Iron Maiden, King Crimson and Pink Floyd. These influences are readily apparent on the opening title track “The Celestial Immigrant“. With its expansive, moody soundscapes, highlighted by a vibrant blend of jangly and psychedelic guitars, it sounds like a long-lost Pink Floyd song. The lyrics, about a young boy hurtling through outer space toward the Milky Way, seem to be an allegory for Dan’s well-traveled, sometimes beautiful and perhaps at times chaotic, childhood, being repeatedly moved without his consent to several different countries, in search of a better life: “Sent away into the darkness. No warnings were given, the baby. In the wake of the night. The celestial immigrant is on his way, in the Milky Way. Will he ever make it? The stars are watching him—riding the neon wave. Will he ever make it? Will he find new home? All the forgotten faces, all part of a strange dream somehow. All the beautiful places, The journey of the sacred moon-child.”

On the grunge-flavored “My Road“, Dan seems to ponder the fleeting impermanence of life: “Life passes by so fast; old pictures and you’re gone. The Crossroads is coming. Another drifter’s story.” And on the optimistic “Summer Kiss” he sings of the joys of summer, and how people and nature come alive with activities and romance: “The birds are calling, the people will wake. The smell of grass, the children that play. The night is falling, the feast will begin. A man is hunting, a girl is the prey.” The song features some great reverby guitars and 60s-flavored organ.

Some of the progressive influences from bands like King Crimson and Pink Floyd are strongly evident on the next three tracks, with meandering melodies and fascinating instrumental flourishes. On “The Believer” Dan sings of being a world traveler, in search of a better life: “I can see a land of riches. / The howling winds of freedom, my life and blood astray. I dream of a paradise beyond the clouds. I read, the signs are so evident now. Believe, the blind shall see. I am away. I am a troubadour. I have many stories to tell.” His vocals, while not particularly powerful, are emotive and heartfelt, conveying just the right amount of passion and fervor when he sings.

On the dark and dramatic “King’s Hall“, he uses medieval fantasy metaphors to describe what could be the plot of a Game of Thrones episode: “Inside the King’s Hall, love and jealousy. Blades are held high! The old man is gazing from his throne. A lifetime before his eyes.” I’m not quite sure what the story in this song has to do with the album’s overall theme, but it’s an intriguing track nonetheless.

On the introspective and bittersweet “Sunday Again“, Dan wistfully sings of being at a low point in his life, feeling bored and alone, and missing those he’s left behind: “Looking out the window. A quiet street, no life at all. The rain that falls each day. The fog that hides the dawn. Sitting on a couch, I think of her. Could I fall in love once more? My imagination is playing games with me. Happiness seems so far, so lost.” Musically, it sounds almost like two different songs melded together, with the first, more grungy segment ending just after three minutes, and the second segment having a more relaxed vibe, with some great reverby and distorted surf guitars. On this segment, Dan seems to have come to terms with his loneliness, finding solace in his music: “It’s Sunday, I’m free again. In a corner, playing my guitar. La La, La La La.“

The final track “Interstellar (Voyager 1)” is a captivating instrumental piece, with more of those great reverb-drenched guitars we’ve heard on several of the album’s songs, accompanied by spacey atmospheric synths that beautifully convey images of traveling through outer space. The only vocals we hear are Dan’s spoken words briefly reciting a description of the Voyager 1 space probe that was “launched by NASA on September 5, 1977, as part of the Voyager program to study the outer Solar System and interstellar space beyond the Sun’s heliosphere.” The description is taken from Wikipedia, which he cites on his album liner notes, and includes a statistic of how long the space probe has been in operation “Launched 16 days after its twin Voyager 2, Voyager 1 has been operating for 44 years, 9 months and 12 days as of June 17, 2022 (now 45 years, 1 month and 6 days as of today, October 12, 2022). The track brings the album’s celestial theme full-circle, with an overriding message – to my mind at least – that we’re all travelers on this planet, which itself exists within a much greater universe that’s beyond our comprehension.

The Celestial Immigrant is an ambitious and fascinating work, and an impressive debut for Dan Szyller. His creativity, imaginative songwriting and strong musicianship really shine on this very fine album.

Connect with Dan: Twitter / Facebook / Instagram

Stream his music on Spotify / Apple Music / Amazon Music

THE EMBER GLOWS – EP Review: “Where Spirits Play”

On By EclecticMusicLoverIn Reviews7 Comments

I recently learned about Canadian rock band The Ember Glows when they followed me on Twitter. Based in Montreal, the four-piece consists of Richard Bunze (lead guitar), Kevin Hills (bass), Martin Saint (vocals, guitar and keyboards) and Dan Stefik (drums). Friends since their teens, all are seasoned and accomplished musicians who were previously members of Montreal bands Room Control, Repo, Scene Noir & Citylake. With a shared love of 60s psychedelic rock, late 70s post-punk, 80s new wave and 90s British indie, what started as a side-project for each of them eventually became everyone’s music priority, and The Ember Grows was officially born in 2019.

Photos by Bryan Gagnon

Influenced by an eclectic array of artists ranging from Echo and the Bunnymen, Simple Minds, Nick Cave, The Cult, The Verve and Black Rebel Motorcycle Club to The Mission, Interpol and The War On Drugs, their dynamic sound is characterized by strong hooks, richly-textured intertwining guitars, muscular driving rhythms and resonant vocals. They released their debut five-track EP Passerby in March 2021, then followed this past June with their outstanding single “SILENT LOVE”. On September 23rd, they dropped their second EP Where Spirits Play, which I’m reviewing today.

The EP features four songs, including “SILENT LOVE”, with lyrics written by vocalist Martin Saint, and music collectively written by the entire band. It was recorded at Closet Studios in Montreal by Daniel Karrasch and John Gurnsey, and produced by Karrasch. The beautiful photography and cover artwork was done by lead guitarist Richard Bunze.

Where Spirits Play opens with “TOMORROW’S THE DAY” a song about someone who recognizes they need to change some of their behaviors that are holding them back in life, but lack the will or drive to follow through, keeping them on an endless self-destructive cycle: “Tomorrow’s the day things turn around. You’re haunted by the words out of your inner voice. You might fool the gallery, but you always had a choice./ Tomorrow’s the day things turn around. Just like you said the day before. When you swore no more, no more, no.” The song blasts open with a barrage of super-grungy riffs, which are soon joined by jangly guitars, gritty bass and thunderous drums that don’t let up for the song’s four-minute duration. Though a bit flat in spots, Martin’s commanding and clear baritone vocals remind me of the late Scott Walker of The Walker Brothers.

“MIRROR” is an intense and stunning song, with biting lyrics that seem to speak to the never-ending death and destruction mankind has rained upon one another and the planet, unable or unwilling to stop: “Suburbs crawl where rivers once ran. A nation’s sins live on streets across the land. Our lost romance, as warriors sweat and dance, and break the mirror. And we crack… No country right or wrong. Clear your conscience in a protest song. Plant your flags upside down, where a stolen child’s ghost haunts the ground.” Richard and Martin’s intricately layered grungy, distorted and chiming guitars are spectacular, while Kevin and Dan’s flawless bass and drums keep the propulsive rhythm rampaging forward.

On “SILENT LOVE“, the guys combine a powerful driving Simple Minds-esque groove with lush instrumentation a la The War on Drugs to create a robust cinematic soundscape that’s truly exhilarating. Once again, the complex, intertwining guitar work and production qualities are impressive, and Martin’s impassioned vocals sound their best here. Essentially a love song, the lyrics are directed to a loved one who’s going through personal turmoil, assuring them he’ll be patient and supportive, and give them as much space and time as they need to heal: “Whenever you close your eyes, whether near of far, I will let you be. But I will stand guard when you wake up in tears. After dreams crossed your defenses I’ll be here to give you space and silence. Now there’s nothing left to do except wait for you. Now there’s nothing left to give except silent love. As you sit and gaze at the stars above.”

The longest track on the EP, “HIGH FEVER” is a guitar-lover’s delight, overflowing with a jaw-dropping maelstrom of jangly, grungy and wailing psychedelic guitars. Of course, the throbbing bassline, tumultuous percussion and screaming industrial synths are all pretty amazing too, adding to the song’s overall explosive impact. The song seems to be about being besotted with a woman, wondering whether you’re in love or just deeply infatuated with her beauty and sensuality: “Her eyes light every dream she rules, like two sparkling jewels. I’ll dive in her mystery and feel real arms around me. Is this love or is your fever running high, running high?“

To sum up, Where Spirits Play is a great little EP that packs quite a powerful punch in just four tracks. The members of The Ember Glows are all outstanding musicians, with the collective skills and experience to successfully coax the best possible sounds from their respective instruments. I love their music, and hope we’ll be hearing more from this talented band soon!

Connect with The Ember Glows:  Facebook / Twitter / Instagram

Stream/purchase their music on Apple Music / Soundcloud / Bandcamp 

Top 30 Songs for October 9-15, 2022

On By EclecticMusicLoverIn Weekly Top 30's4 Comments

Not a lot of big changes on my latest Weekly Top 30. The Killers remain on top for a third week with “boy”, and Death Cab for Cutie‘s “Here to Forever” holds at #2. It’s interesting that the top two artists have rather malevolent-sounding names, yet make such lovely music. Steve Lacy‘s “Bad Habit” inches up a notch to #3, and Beach Weather‘s “Sex, Drugs, Etc.” moves into 4th place. Spoon continue their rapid climb up my chart with “My Babe”, jumping five spots to #5, and indie pop duo Cafuné‘s “Tek It” inches up to #6. Granfalloon‘s wonderful “Please Write Responsibly” moves up two spots to #7, and The 1975 finally enter the top 10 with their cerebral “Part of the Band”. In contrast to last week’s jackpot of six new entries, only one song makes its debut this week, the beautiful “Weird Goodbyes” by The National featuring Bon Iver. Such a marvelous melding of two distinctive voices!

  1. BOY – The Killers (1)
  2. HERE TO FOREVER – Death Cab for Cutie (2)
  3. BAD HABIT – Steve Lacy (4)
  4. SEX, DRUGS, ETC. – Beach Weather (5)
  5. MY BABE – Spoon (10)
  6. TEK IT – Cafuné (7)
  7. PLEASE WRITE RESPONSIBLY – Granfalloon (9)
  8. SUPERMODEL – Måneskin (3)
  9. BONES – Imagine Dragons (6)
  10. PART OF THE BAND – The 1975 (11)
  11. CRACKER ISLAND – Gorillaz featuring Thundercat (14)
  12. BROKEN RECORD – NAVE (8)
  13. FREE – Florence + the Machine (15)
  14. SOMETHING LOUD – Jimmy Eat World (17)
  15. UNTIL I FOUND YOU – Stephen Sanchez (12)
  16. PARTY4ONE – dwi (20)
  17. GIANTS – WALK THE MOON (19)
  18. SISTERS – pMad (22)
  19. WET DREAM – Wet Leg (24)
  20. BITTER – Wild Horse (23)
  21. THESE ARE THE DAYS – Inhaler (25)
  22. THE ECHO – A.A. Williams (26)
  23. VIVA LAS VENGEANCE – Panic! At the Disco (13)
  24. SPIT OF YOU – Sam Fender (27)
  25. WHITE HORSES – Art Block (28)
  26. CREST OF THE WAVE – Foals (29)
  27. I LIKE YOU (A HAPPIER SONG) – Post Malone & Doja Cat (30)
  28. FAILURE TO COMPLY – MISSIO (16)
  29. BREAK MY SOUL – Beyoncé (18)
  30. WEIRD GOODBYES – The National featuring Bon Iver (N)

TOBISONICS – Album Review: “We Need Light in the Dark”

On By EclecticMusicLoverIn Reviews5 Comments

Tobisonics is the music project of Toby Davis, a longtime alternative electro-pop artist, composer, songwriter and music producer based in Luxembourg. A lifelong lover of music, he was born and raised in England, and spent his volatile teenage years in a series of, by his own admission, both ‘awful and awesome’ indie guitar bands. But by his early 20s, his increasing struggles with depression and other then-undiagnosed mental health issues led him to abandon music. By his mid-30s, he felt trapped, socially isolated, and suicidal. Finally reaching a breaking point, he sought the help of a psychiatrist, which led to regular therapy sessions and medication. Years of repressed emotions and music welled up inside him came pouring out as he slowly began to heal.

For several years, he used his creative vision and talents mixing, mastering or remixing other artists and bands’ music, but starting in late 2018, he decided to create his own musical works as Tobisonics. About his moniker, he says “All Tobisonics really means is Tobi sounds. And that’s how I think of myself, as a noisemaker, rather than a musician.”

Like me, Toby is frightened by the unsettling trend of increasing authoritarianism and populist nationalism happening across the globe, in what sometimes appears to be a creeping movement back toward a new dark age. Some of his songs – “Military Industrial Complex“, “Eye of the Storm” and “Putin’s Got a Gun Against Your Head” – addressed those concerns. More recently, he’s made the courageous decision to tackle his own personal mental health struggles on his debut album We Need Light in the Dark, which dropped October 7th.

In April 2021, he began working on what was intended to be 4 – 5 track EP in collaboration with spoken word artist Wee Scots Poet, with whom he’d previously collaborated on his single “All the Little Things”. When that collaboration didn’t work out, Toby needed to find a voice, as he’s not a singer. So, he decided to use vocal samples as he’d done with his first single “All These Things”. We Need Light in the Dark quickly developed into a far more personal story than he had ever intended.

Toby explains: “I wanted to make an album that gave people hope; an album that said, the worse things get, the more we need to find the wonder in life. In these difficult times, optimism isn’t naive, it’s imperative to our survival. In doing so, I ended up telling my own story of ongoing recovery from chronic depression/anxiety and PTSD, the lessons I have learned, and the ones I am still struggling to learn. By using recycled voices, from old public service announcements and Sci-Fi B-movies, I found I could hide in plain sight. I found I could talk about subjects far more personal and painful than I could ever with my own voice.“

The seven songs take us on a journey that begins with acknowledgment of emotional pain and poor self-esteem, the struggles of overcoming them, and acceptance of who we are and learning to find glimmers of contentment and peace of mind. On the opening track “Panic“, Toby addresses feelings of self-doubt and inadequacy, fearing he’ll never measure up or succeed, which leads to sleepless nights and bouts of panic – something many of us have felt at one time or another. I certainly have. “The trouble is, if you’re not self-reliant, you’ll never do anymore than just get by. You have more assurance but less self control. Panic. All night long.” It’s a fairly short track, lasting just slightly over two minutes, but makes a big impression. Toby starts with a mesmerizing deep synth-bass groove, then layers a fascinating blend of sharp industrial synths, eerie sounds and otherworldly voices, creating a soundscape that’s both unsettling and captivating, and a perfect backdrop for the man’s rather cold, matter-of-fact spoken words.

On “Scream“, he once again uses eerie synths and otherworldly vocal effects to create a disturbing vibe. The biting lyrics are spoken by both an accuser “I always figured there was something wrong with you. Loser. Failed” and the accused, who’s a demoralized victim: “Loser. Failed. Freak. I’m sorry you made me. Emotion. You made me scream.” And on “How Do You Say Life is Wonderful?” he ponders how to remain positive and sane in the face of so much pain (which isn’t openly expressed, but certainly inferred): “How do you say never give up. Life is wonderful? Never give up.” Toby drives home his message with an uptempo Latin dance beat, bathed in colorful industrial synths and almost playful sound effects, all of which beautifully expresses contrasting feelings of sadness and elation.

“Snakes” addresses what seems to be a reopening of old wounds and resentment, namely toward those who’ve betrayed him or let him down in the past: “The vision of your future starts to crumble. Snakes. This is why I keep no friends. No friends. What happened? I trusted you. Can not stand the lies.” Musically, the song is haunting and dark, with a hypnotic beat overlain with mysterious industrial synths, punctuated at the beginning by a somber ringing bell. Once again, Toby uses otherworldly electronically-altered voices, backed by a mournful chorus of female vocals, to create an even more unsettling vibe.

On the buoyant nu disco track “You Just Have to Dance“, he acknowledges that he has no choice but to move on from all the pain and resentment, and make the best of the life he has left: “Are you sure you can deal with it? Deal with it? Dance dance. You just have to dance. You just have to dance now. You gotta dance. But you can’t win them all.” On “All I Ever Needed“, he speaks of the fear of abandonment and being alone, and begs a loved one not to leave, in this case, his dog Enzo, who suffers from epilepsy: “The thing that makes the difference here Is the emotion that goes along with him. A great great fear of being alone. Being alone. All I’ve ever wanted. And all I’ve ever needed. Don’t leave. Don’t wanna be alone.” With a somewhat complex melody, dominated by a throbbing dance beat that calls to mind that used on the Donna Summer classic “I Feel Love”, the songs feels at once retro disco, yet freshly current.

That ringing bell first heard on “Snakes” makes a return appearance on the closing title track “We Need Light in the Dark“, which brings everything full circle on the album. Toby now recognizes that he must be the source of his own light in the dark, acknowledging that while bad stuff will still come his way and that life will never be perfect, he must do his best to remain hopeful and positive: “We Need Light in the Dark. We gotta help ourselves. But you can’t win them all. How do you say life is wonderful?” Running nearly five minutes, it’s the longest of the seven tracks, and also the most downtempo. The combination of a languid bass groove, cool spacey synths – highlighted by deliciously funky Prince-esque keyboards – and trippy vocal effects create a bewitching soundscape that nicely conveys a restrained sense of optimism.

We Need Light in the Dark is a fine debut by Tobisonics, beautifully showcasing his masterful composition, arrangement and production skills. I’m touched by his willingness to expose himself to the world through his music, and I hope this album will speak to others who’ve experienced similar mental health struggles, perhaps even helping them to come to terms with some of their own issues.

Connect with Tobisonics: Website / Facebook / Twitter / Instagram
Stream his music:  Spotify / Apple Music
Purchase:  Bandcamp / Amazon

Turning the Tables – Guest Post by Stephen Choi

On By EclecticMusicLoverIn Guest Posts16 Comments

This is a guest post by Stephen Choi, a singer-songwriter based in Melbourne, Australia. He creates music under his artistic moniker Duel Native, and is a founding member of London-based indie band Greyhound Green. He describes his sound as a blend of alt-rock, indie-folk and dream-pop, with some environmental science thrown in. Thus far, he’s released three singles and an EP, his latest of which is the lovely single “Hiding Out”, which dropped September 2nd.

He named his music project ‘Duel Native’ for two reasons: First, to reflect his international heritage and dual citizenship, as he’s half-Trinidadian and half-Hong Kongese, born in the UK, and currently based in Australia. Second, it recognizes his multiple passions in life, the two biggest of which are music and his environmentalism. Stephen is also a trained environmental architect who’s currently working on “green music” projects, like reducing waste at festival campsites, understanding the life-cycle impacts of releasing digital music, and exploring alternatives to PVC in records, i.e. non-vinyl vinyl! With that in mind, he’s written an article about the positives and negatives of using vinyl for records, and efforts being made to remedy the problem.

Turning the Tables

People love vinyl. And it seems, every year, they love it more. The vinyl resurgence began in the mid-2000s, and has since grown at an increasing rate. Last year, one out of every three albums sold in the US were vinyl LPs.

Why is this happening? I think it’s because there are things you can do with vinyl that you don’t do with digital music, like… wrap it up and give it to someone, or put the artwork on a wall, or read the liner notes, or – and this one is for real music-lovers – actually listen to an album from start to finish!

As a musician, I love vinyl too, but the problem with vinyl is… well, the vinyl. Or more specifically… the PVC. PVC has been described as “The Poison Plastic”, and “One of the most hazardous consumer products ever created.”

Polyvinyl chloride – or PVC – is a rather controversial synthetic material, typically made from ethylene (found in crude oil) and chlorine (found in salt). To cut short a science lesson, when processed, these two ingredients are combined to form PVC. Throw in some Polyvinyl Acetate to make a polymer, plus a few other additives, and we end up with a mix that is used to make vinyl records. It’s often referred to by the industry as “the most versatile plastic”, because they’re kind of “ideal” for records – you can achieve a smooth finish, it’s robust but not too brittle, and, it’s cheap to make.

The problem is that production of PVC results in toxic, chlorine-based chemicals and dioxins that are building up in our air, water, and food chain, and they spread across the globe quickly.

Scientific studies show these chemicals are linked to severe and wide-spread health problems, including infertility, impaired childhood development, immune system damage, hormone disruption, and even cancer. Musicians aren’t usually au fait with chemistry, but most I’ve listened to know that there’s something about the toxicity of vinyl that they don’t feel so comfortable being a catalyst for.

In recent years, we’re starting to see PVC being removed from all kinds of products from all kinds of companies, from toothbrushes to yoga mats, to kids’ toys. But it’s still the primary ingredient in vinyl records!

So… what to do about our love of vinyl? Do we stop buying it? Do we stop listening to music altogether due to the environmental impacts of doing anything at all?

I would say a resounding NO!

If you love vinyl, there are a lot of things we can do to reduce the impact, such as:

  • Go to a local indie record store and buy used vinyl.
  • If we’ve got records we don’t listen to, give them away or sell them!
  • Finally, let’s look after our records well, because one thing worse than vinyl is… damaged vinyl, because PVC is almost never recycled.

There’s another exciting development in this space… new materials to make vinyl. Later this year, the world’s first bioplastic LP will be released. The mix was formulated by Evolution Music after five years of research, and it contains sugars and starches – not PVC – and does not create any toxic waste in their production!

Being a first-of-its-kind, it won’t be perfect; further work is being done. Like any attempt to shift an industry, change can be scary. But, I believe this is the start of a healthy conversation, and one that will change the vinyl industry for good. So we can keep listening to music and keep supporting artists, and do so whilst caring for the health of our world.

Have a listen to his latest single “Hiding Out”:

Connect with Duel Native:  Facebook / Instagram

Stream/purchase his music:  Spotify / Apple Music / Soundcloud / Bandcamp

CULANN – Single Review: “Rovers”

On By EclecticMusicLoverIn Reviews5 Comments

Hailing from Irvine, North Ayrshire, Scotland is Culann, a talented five-piece comprised of brothers PJ (vocals, guitar) and Sean (drums) Kelly, Greg Irish (guitar), Ross McCluskie (keyboards) and Calum Davis (bass). Formed in 2008 while still in their teens, they’ve managed to stay together as a band all these years, rather unusual for a group with five members. Skillfully blending elements of folk, Celtic-rock, alt-rock, prog rock and even a bit of reggae, as well as largely ignoring the norms of conventional songwriting and structures, they employ complex melodies, frequent time changes and an unlikely fusion of traditional Scottish music with a contemporary rock approach to create their own distinct and colorful sound. They’re also proud of their Scottish heritage, and sing it’s praises on a lot of their songs.

They’ve released music rather sporadically over the years, beginning with their self-titled debut album Culann in 2012. They followed with a few singles, finally dropping their beautiful second album The Great Ecumene seven years later, in 2019 (which I reviewed). Now, Culann are back with a fantastic new single “Rovers”. Released in September, it’s their first new music in three and a half years. The time off hasn’t diminished their dynamic sound one bit. The guys effortlessly deliver driving rhythms, fueled by Calum’s powerful chugging bass line and Sean’s explosive drums, and fortified by PJ and Greg’s dual intertwining guitars and Ross’s sparkling keyboards. The music is alternately raging and delicate, serving to heighten the tension as the song progresses, and keeping a firm grasp on our attention from start to finish. “Rovers” is another superb song from this remarkable band.

As to the song’s meaning, PJ explained: “It’s based on an old myth from our area in Scotland called ‘Rovers Doom on the Carrick Shore’. The two main characters, pirates consisting of a captain known as the ‘rover’, and his shipman, used to take their ship and raid the coastal towns. The younger of the two men hears a voice one night, an enchanting mermaid’s song beckoning them to come closer. He tells his captain, who immediately is defiant of any supernatural occurrence. He ignores the younger man’s advice and hits full steam ahead, causing the ship to crash into the rocks, whereupon the crew meet their doom. Lyrically we wanted to show both men’s point of view; the younger man laments the song and speaks of how he hears the mermaids song in his dreams. The older captain is bullish, in the lyrics he says things like ‘ignore the heathen’s lore’.”

‘Row out to me my love’
Came the gorgeous sunset cry
A force, a voice of comfort
With no danger & no lie

It’s you, when I close my eyes
No others see you in their dreams
and your voice that haunts me only
Are things not what they seem


SAIL! It’s springtime in the harbour.
Fuck the cries, the mermaid’s lies. Ignore the heathen's lore.
SAIL! It’s your time in the harbour.
There’s no Red Head, alive or dead, that can whip winds off the shore

So now, from the burning sea
We watch, as the waves turn wild
and I beg don’t call another
to leave one more orphan child, tonight.

SAIL! It’s springtime in the harbour.
Fuck the cries, the mermaid’s lies. Ignore the heathen's lore.
SAIL! It’s your time in the harbour.
There’s no Red Head, alive or dead, that can whip winds off the shore

So why, why take me blindly
I’ll never comprehend
Cause you, you curse the bounty
and sent me to my end

Below the ocean waves
across the thunder sea
Below the ocean waves
You sleep with me

The dramatic video, shot in black and white by Stuart Alexander, was filmed in and around the historic coastal hamlet of Portencross, and features Scottish actor Rab Affleck, who’s also starred in six other Culann videos, as well as actor Brian Blakeley. The two are seen acting out their conflict, interspersed with scenes of the band performing the song near a raging fire.

Connect with Culann: Facebook / Twitter / Instagram
Stream their music: Spotify / Apple Music / YouTube
Purchase: Bandcamp / Big Cartel

THE STAR CRUMBLES – Album Review: “The Ghost of Dancing Slow”

On By EclecticMusicLoverIn Reviews18 Comments

Music act The Star Crumbles came to be rather serendipitously earlier this year when singer-songwriter Brian Lambert, who’s based in Denton, Texas, reached out to singer-songwriter and multi-instrumentalist Marc Schuster, who lives in suburban Philadelphia, for some help with his song “Kids” (which I wrote about last March in a Fresh New Tracks post). The two had previously met on Twitter, but had never before worked with each other. Well, they immediately hit it off, so much so that they decided to collaborate together on more music projects, eventually leading to their creation of a new music act they dubbed The Star Crumbles. On September 30th, their debut album The Ghost of Dancing Slow was released on Bandcamp, and will go live on most other streaming services (Spotify, Apple Music, etc.) on October 7th. 

Brian Lambert & Marc Schuster

Before I get into the album, I want to provide a bit of background on Brian, Marc and The Star Crumbles. Brian has been writing and recording music for many years, and says he’s “reinvented himself more times than he can count.” He even tried his hand at country music for a while, but eventually realized that it just wasn’t for him. More recently, the prolific songwriter’s been making indie rock music inspired by some of his favorite acts like Spoon, Gang of Youths and the Replacements, and beginning in 2021, he challenged himself to writing, recording and producing a new song every week for an entire year. He now has an incredible body of work to his credit.

Marc is an insanely creative renaissance man in every sense of the word. Not only is he an educator, author and literary critic, 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’s also a pretty good visual artist, is incredibly supportive of other artists and music bloggers (including yours truly), and has a terrific WordPress blog of his own called Abominations, where he writes about music and interviews lots of indie artists. I’ve featured him three times on my blog, including a review last February of his wonderful EP There Is No Down.

In addition to making music, both Brian and Marc are wildly imaginative and funny guys. Soon after forming The Star Crumbles, they came up with the idea of creating a tongue-in-cheek back story for the act. Since their music is strongly influenced by their shared love of 80s new wave music by such bands as The Cure, Echo & the Bunnymen, Ultravox and New Order, they decided that The Star Crumbles would have its origins in the early 80s, but due a number of unexplained circumstances, they suddenly disappeared from the music scene before having a chance to release their first album: “From 1982 to 1986, The Star Crumbles were always on the verge of something big – until they vanished without a trace, taking their eagerly anticipated album, ‘The Ghost of Dancing Slow’, with them. Everyone thought they had potential, but they were dogged by misfortune and bad timing. Also, they had terrible business sense.“

The guys recruited a motley crew of friends and fans to provide their own unfiltered insight into what became of The Star Crumbles. The result (which I was honored to be a part of) is a brilliant and hilarious video documentary Beyond the Music. The inventiveness, originality and deadpan delivery of those who participated is really quite impressive! Please press play:

Okay, now lets get to the music. The Ghost of Dancing Slow was a DIY project, totally self-recorded and produced by Marc and Brian. Marc mixed the tracks, and they both had a hand in the final mastering. Marc played guitars and drums on all tracks, while both he and Brian played synths. All but one of the ten songs on the album were written by Brian and Marc, the exception being “Cool Down”, which was written by fellow musician Mike Mosley (who also appears in the documentary).

Opening track “Desperately Wanting” was The Star Crumbles’ first official single, released this past May. It’s a beautiful and compelling song about a couple who are unable to communicate their needs to each other, leaving their relationship in a perpetual state of limbo, with each of them feeling unfulfilled and unhappy. The album’s title is taken from the song’s lyrics: “The space that lies in between. The gap that lies in between, what we’re really wanting, we don’t want to talk about. The ghost of dancing slow, inside what we’re speaking. But we pretend not to know, what we’re really thinking.” Musically, the song is driven by Marc’s hypnotic bassline, over which he’s layered somber droning synths, thumping drumbeats and gently crashing cymbals. Both he and Brian played guitars. Brian’s plaintive vocals are both comforting and melancholy, nicely conveying the sad sense of resignation expressed in the lyrics. It’s a great song, and spent 12 weeks on my Top 30 chart this past summer.

Next up is their follow-up single “Shadows in the Dark“, another winning tune with a strong retro 80s vibe that borders on darkwave. The guitar work is fantastic, and I love that sizzling little guitar solo in the bridge. Brian’s fervent vocals are great as well. The cool video, which was created by Marc, features pixelated renditions of the band trapped in an eight-bit Atari nightmare.

On the timely and relevant “Conspiracy“, the guys take on those who spread conspiracy theories, and the damage it does to society: “While bald-faced lies are told, the rhythm of what’s true skips a beat. We wonder how they get away with it. There is no consequence for ineloquence that harms the trust. I think it’s more than just a bit intentional.” The gravity of the subject is driven home by the song’s unsettling vibe, created by a rather menacing groove, overlain with dark industrial synths and distorted guitars.

“Cool Down” sounds like a long-lost song by Joy Division or The Cure, with gorgeous shimmery guitars and swirling synths, and Brian’s vocals sound better than ever here. “Cozumel” is a sweet song about spending time with a loved one in the Mexican resort, and though the subject matter is quite different, it made me think of Suzanne Vega’s great song “Tom’s Diner”. Those great jangly guitars return on the haunting new wave gem “Trees in the Forest“, with lyrics that seem to speak of feeling lost and disconnected from the world.

With its bouncy new wave vibe, “What Are We Waiting For” urges us to stop doubting ourselves and seize the moment so that we can move forward and live our fullest lives. “Spectres in Waiting” has a decidedly different feel than the other tracks on the album, with a somber, more introspective feel, highlighted by rather mournful guitar notes. The wonderfully-titled “Past, Present and Future Walk Into a Bar, It Was Tense” is another terrific story song, in which Brian talk-sings about his present self encountering his past and future selves in a bar, and wanting to ask them questions to gain a better understanding of himself: “All these years older, what do you get? I hope not colder, nor full of regret.” I love the song’s darker vibe and rather menacing gnarly guitars.

Closing track “If I Could” is the longest on the album, running over five minutes, and has a gentle, upbeat cadence that’s really pleasing. The song seems to be about searching for the truths that will help guide us to a better life, which I also think kind of encapsulates the overall them of the album: “Every time I thought I had an answer, there is just another question that begs that I go searching. Even when I find it, I’m left not truly knowing. I guess it will always be that way.”

The Ghost of Dancing Slow is a marvelous album, and we’re so fortunate The Star Crumbles were successful in retrieving the lost masters to these new wave gems so that we can enjoy them these many years later 😉

Those who purchase the album on Bandcamp will receive a bonus song. Also Friday, October 7th is Bandcamp Friday, meaning all proceeds from purchases go directly to the artists.

Connect with The Star Crumbles:  Twitter / Instagram

Drawing on Scars & Jodie Reid – Album Review: “A Bridge Across the Sea”

On By EclecticMusicLoverIn Reviews12 Comments

Not really a band in the traditional sense, Atlanta-based music act Drawing on Scars is the creative brainchild of songwriter and multi-instrumentalist Will Thacker, who for more than a decade has collaborated with vocalists from across the U.S. and beyond in the creation of dramatic and edgy alternative rock songs. Will writes and performs all the music, and the different vocalists write the lyrics, which they then interpret in their own distinct vocal style. The result is an ever-changing music repertoire that always sounds fresh and unique.

After putting the act on hiatus in 2017, Will formed the band Fieldcrest with vocalist Jena Jones, and together they released an EP Canvas (which I just happened to review four years ago today). He resurrected Drawing on Scars in early 2019, and has been on a creative tear since then, dropping an impressive number of singles. His most recent collaborative effort has been with South African singer-songwriter Jodie Reid, a prolific artist from Johannesburg who’s released four albums of her own since 2019, at the rate of one per year! The two began collaborating by long distance in 2020, and released their first single “Here Comes Some More” that November. They followed in April 2021 with “If Only For a Little While”, and “Take It” (which I also reviewed) that August. All three of those songs are included on their new album A Bridge Across the Sea, which dropped September 30th.

Most of the songs on the album can best be described as melodic hard rock, tinged with elements of grunge, alternative metal and even power pop, and delivered with Will’s driving rhythms, scorching riffs and thunderous percussion. While these songs fall generally within Drawing on Scars’ typical music style, they’re a considerable departure for Jodie, whose solo music is more folk and soft-rock oriented. But she does a fine job as both a lyricist and rock singer, with a sound somewhat similar to that of Paramore vocalist Hayley Williams.

The album title A Bridge Across the Sea seems to reflect not only the long-distance connection between the two artists made possible by the internet, but also the themes of many songs, namely trying to hold onto one’s mental well-being, sense of self-worth or struggling relationships amidst breakdowns in communication, trust and/or identity. On the opening song “Desire” Jodie emphatically sings of her unrelenting and insatiable sexual hunger that’s overtaken her existence: “My self-control is crumbling, no matter how I hold it. I want it, I need it, I won’t accept defeat. Keep pushing, I crave it, as soon as I’m ready I’ll grab it and I won’t ever let it go. Take me to the edge and push until I break (let’s see how far I go) Down on my knees I’ll do whatever it takes.” Will’s jagged riffs serve to reinforce the emotional fire contained in the lyrics.

“What Day Is It” finds Jodie feeling lost and at the end of her rope: “I could have turned back. Retraced my steps. But that seemed like too much effort at the time. I just wanted to escape parts of myself.” And on “Encode“, she sings of the walls she’s built around her for self-protection: “And so you poke and prod to discover what makes me tick. You’d have me cuffed and caged, and treated like a lunatic. And when questioned I would stubbornly shake my head. I don’t want to share my secrets with you.”

The haunting and lovely “Bitter and Sick” is a cover of the original song by L.A. duo One Two, from their 2012 release Best Friend EP. Whereas One Two’s version is more ethereal and atmospheric, Will and Jodie give the song an edgier treatment, with heavier instrumentals and stronger vocals that become most pronounced in the dramatic chorus, while still retaining the song’s deeply emotional vibe. The lyrics seem to speak of a toxic relationship from which the singer cannot free herself: “Come on and break me down. I’ll let you ruin my day. Flow through my veins. I need a fix. Bitter and sick.”

The next few tracks are both hard-hitting and deal with dysfunctional relationships. “You Ran” speaks to a partner who just couldn’t be counted on, and I love these lines which really cut to the chase: “To be honest we were never meant to breathe the same air. Cause whatever I gave you stole from me and left me there.” And on “Take It“, Jodie rails against an indecisive partner who’s unable to ever choose a course of action or direction to take, causing them both frustration and ennui as they lumber along without direction. “Weighted down to your knees as you drag your feet along. And all questions are avoided with a shrug. Whatever’s easiest for you. Given time you just might drop that burden to the floor as you march alone unencumbered, but you’re weighing down on me.” It’s a terrific rock song.

“Broken Photo” touches on the perils of trying to be someone other than who you are, and living a superficial existence in an attempt to impress others. Jodie uses social media references to drive home her point: “You could have been so great, you might have been so grand if you had taken time to focus on the tasks at hand. Instead, you framed yourself a picture-perfect life. On display to show the socials, but didn’t even get a like.” I really like the song’s chugging rhythms and super-grungy guitars.

“Elephant” tackles the proverbial elephant in the room, namely how many people are afraid to speak honestly for fear of being harshly judged, even when we need to call out injustice or wrongs: “There’s an elephant in the room. Can you sense all the space in the conversation? Best eluded to keep the peace. Avoidance is encouraged by our generation.” This song strongly resonates with me, as I will not keep quiet about a lot of shit going on in America and the world, and it appears both Will and Jodie agree with me: “I can’t stay quiet anymore. Silence will not stop what’s in store. I will not roll over sweet submission. Forces will ensure that we learn our lesson.”

My favorite song on the album is the poignant “If Only for a Little While“. Jodie wrote the deeply moving song after the sudden passing of a close family friend, as a way of helping her process her feelings of grief and loss. Her vocals are heartfelt and tender as she laments “Cold down to the core of whatever’s left. I’m just matter lying still – hands on my chest. How I wish I could cry – let it all escape. Instead, I’m completely broken not even able to break. Lie me down, I’ll be right by your side. And I will hold onto you if only for a little while. Now you’ve gone, you left us all behind. But we will hold onto you if only for a little while.” The mournful piano and strings are beautiful and haunting, but also contain glimmers of hope.

The album closes on a high note with “Here Comes Some More“, a splendid nod to 90s grunge. I’m not certain, but the lyrics seem to be about someone who always needs to win, to be right, to be the best, yet never changing their approach, nor ever feeling fully content with themselves: “Every breath that you fake – you take it too hard. Each time, you start to lose faith, just to see if you’ve still got it in you (Well we all know you do). But you’ve been there before. You take a swing in the same old fight, hoping maybe this time you’ll strike true. The way you did before.” Jodie’s confident vocals are especially good on this track.

A Bridge Across the Sea is a fine debut effort from two very talented artists. Though they come from totally different environments, with divergent music styles and backgrounds, Will and Jodie have successfully managed to ‘bridge’ those differences to collaborate in the creation of a solid, well-crafted and compelling work.

Connect with Drawing on Scars: Facebook / Twitter / Instagram
Stream: Spotify / Apple Music / Soundcloud / Reverbnation / YouTube
Purchase: Bandcamp 

Connect with Jodie: Facebook / Instagram 

Stream her music:  Spotify / Apple Music / YouTube

Top 30 Songs for October 2-8, 2022

On By EclecticMusicLoverIn Weekly Top 30's9 Comments

A particularly exciting Top 30 chart this week, with lots of movement and a ton of new music. The Killers keep a firm grip on the #1 spot for a second week with their hopeful anthem “boy”, and Death Cab for Cutie‘s “Here to Forever” advances to #2. “Bad Habit” by Steve Lacy moves up two spots to #4, and Beach Weather‘s dreamy “Sex, Drugs, Etc.” jumps five spots to #5. Entering the top 10 are “Please Write Responsibly” by Granfalloon, from his wonderful album Calendar, which I just reviewed, and “My Babe” by Spoon, leaping 10 spots to #10, the highest upward mover for the second week. God, I love Spoon, and love that song!

A whopping six new songs enter my chart this week, more than I can remember in a very long time, and interestingly, four are by British acts. Beginning at #25, they are in order: “These Are the Days” by Irish band Inhaler, fronted by Elijah Hewson, the heartthrob son of U2 front man Bono Hewson; “The Echo” by immensely talented British singer-songwriter A.A. Williams, a hauntingly beautiful song I was alerted to by fellow blogger Robert Horvat (Rearview Mirror); “Spit of You” by British singer-songwriter Sam Fender (the guitars are absolutely gorgeous); the achingly beautiful “White Horses” by British singer-songwriter Art Block, who’s similarly-titled EP I reviewed last month; “Crest of the Wave” by British band Foals, one of my current top 10 favorite bands who can do no wrong when it comes to music; and “I Like You (A Happier Song)” by Post Malone & Doja Cat, currently at #3 on the Billboard Hot 100. I’ve had several songs by the great Post Malone on my chart, but this is the first appearance for Doja Cat. 

  1. BOY – The Killers (1)
  2. HERE TO FOREVER – Death Cab for Cutie (3)
  3. SUPERMODEL – Måneskin (2)
  4. BAD HABIT – Steve Lacy (6)
  5. SEX, DRUGS, ETC. – Beach Weather (10)
  6. BONES – Imagine Dragons (5)
  7. TEK IT – Cafuné (8)
  8. BROKEN RECORD – NAVE (4)
  9. PLEASE WRITE RESPONSIBLY – Granfalloon (11)
  10. MY BABE – Spoon (20)
  11. PART OF THE BAND – The 1975 (12)
  12. UNTIL I FOUND YOU – Stephen Sanchez (7)
  13. VIVA LAS VENGEANCE – Panic! At the Disco (9)
  14. CRACKER ISLAND – Gorillaz featuring Thundercat (18)
  15. FREE – Florence + the Machine (17)
  16. FAILURE TO COMPLY – MISSIO (14)
  17. SOMETHING LOUD – Jimmy Eat World (19)
  18. BREAK MY SOUL – Beyoncé (13)
  19. GIANTS – WALK THE MOON (21)
  20. PARTY4ONE – dwi (22)
  21. WHAT’S THE TRICK? – Jack White (15)
  22. SISTERS – pMad (26)
  23. BITTER – Wild Horse (27)
  24. WET DREAM – Wet Leg (30)
  25. THESE ARE THE DAYS – Inhaler (N)
  26. THE ECHO – A.A. Williams (N)
  27. SPIT OF YOU – Sam Fender (N)
  28. WHITE HORSES – Art Block (N)
  29. CREST OF THE WAVE – Foals (N)
  30. I LIKE YOU (A HAPPIER SONG) – Post Malone & Doja Cat (N)