Month: July 2023

Top 30 Songs for July 30-August 5, 2023

On By EclecticMusicLoverIn Weekly Top 30's14 Comments
Photo by Alex Finlay

I’ve been a fan of British alternative psychedelic rock band Future Theory since early 2017, and love their intelligent songwriting and ace musicianship. Comprised of Max Sander on rhythm guitar and vocals, Chris Moore on lead guitar, Jacob Brookes on bass and Rohan Parrett on drums, they blend alternative and progressive rock, psychedelia, grunge, shoegaze and funk to create arresting songs characterized by complex melodies and arrangements, lavish instrumentation, and Max’s distinctive mesmerizing vocals. I’ve written about them and their outstanding music many times on this blog, and it’s been gratifying to see them mature and grow as artists. One of their singles “One and the Same”, from their 2022 debut album Future Theory, spent 18 weeks on my Weekly Top 30 and ranks #42 on my 100 Best Songs of 2022 list. They began releasing a series of new singles this past April, the first of which, “Why”, is a dramatic and beautiful song about a dysfunctional relationship that’s breaking apart. They’ve since dropped two more great singles, “Rage” and “Too Bad”, but “Why” remains my favorite. Now, in its 14th week on my Top 30 chart, it reaches the top at last.

In other notable chart developments, the top 10 contains the same 10 songs for the third week in a row, albeit in different positions. Lana Del Rey‘s “Say Yes To Heaven” is the biggest upward mover, climbing five spots to #11. Two songs make their debut this week: Entering at #29 is the captivating “kisses” by longtime British dream rock band Slowdive, which I learned about from Andy Peterson, a superb writer with great music taste who writes his own blog The Voice Of Unreason. Bringing up the rear at #30 is “Dial Drunk” by Vermont singer-songwriter Noah Kahan, who’s also represented on this list by “We’re All Gonna Die”, a duet with American singer-songwriter Joy Oladokun that sits at #14.

And now for a special rant about the Billboard Hot 100 and the questionable music tastes of the American public. Two weeks ago, Olivia Rodrigo’s “vampire” debuted at #1, which led me to believe she would enjoy a long run at the top. But I was terribly wrong, and her song has already fallen to #7. Meanwhile, the top songs on the chart are a catchy but throwaway pop song from Junk Kook, one of the members of South Korean K-pop boy band BTS, who sings about fucking his beloved seven days a week, accompanied by rapping by female rapper Latto. That is followed by three Country songs – Jason Aldean’s awful “Try That in a Small Town”, Morgan Wallen’s tiresome “Last Night” (which spent 12 weeks at #1), and Luke Combs’ remake of Tracy Chapman’s “Fast Car”,  which I concede isn’t bad. The song at #6 is the horrific “fukumean” by American rapper Gunna. Whatever…

Here’s my far superior song list:

  1. WHY – Future Theory (5)
  2. ESSENCE – Refeci & Shimmer Johnson (1)
  3. RESCUED – Foo Fighters (2)
  4. THE NARCISSIST – Blur (7)
  5. PINEAPPLE SUNRISE – Beach Weather (6)
  6. PSYCHOS – Jenny Lewis (8)
  7. VAMPIRE – Olivia Rodrigo (9)
  8. LEAVING – Au Gres (3)
  9. RESCUE ME – Dirty Heads (4)
  10. NOT STRONG ENOUGH – boygenius (10)
  11. SAY YES TO HEAVEN – Lana Del Rey (16)
  12. STUCK – 30 Seconds to Mars (14)
  13. PUPPET SHOW – Beck Black (15)
  14. WE’RE ALL GONNA DIE – Joy Oladokun & Noah Kahan (13)
  15. IN MY HEAD – Mike Shinoda & Kailee Morgue (11)
  16. HELLO – GROUPLOVE (12)
  17. SPELLBINDING – The Smashing Pumpkins (20)
  18. BONES – HEALER (21)
  19. WALK THROUGH THE FIRE – The Frontier (22)
  20. ORBIT – Gooseberry (23)
  21. OVERRATED – dwi (24)
  22. LAST TIME EVERY TIME FOREVER – Grian Chatten (25)
  23. CALL ME WHAT YOU LIKE – Lovejoy (26)
  24. GOOD VIBRATIONS – MISSIO (27)
  25. DAYLIGHT – David Kushner (28)
  26. KID – The Revivalists (17) 20th week on chart
  27. EAT YOUR YOUNG – Hozier (18)
  28. I DON’T BELIEVE IN YOU – Brian Lambert & Jr Moz Collective (30)
  29. KISSES – Slowdive (N)
  30. DIAL DRUNK – Noah Kahan (N)

WILD HORSE – Single Review: “Do You Wanna Talk”

On By EclecticMusicLoverIn Reviews8 Comments
Henry, Jack and Ed of Wild Horse

Wild Horse is a talented, hard-working and charismatic indie pop-rock trio based in East Sussex, England, and comprised of brothers Henry and Jack Baldwin and Ed Barnes, their long-time friend since primary school. Now in their early 20s, the guys are seasoned musicians who’ve been writing and recording songs since forming in 2013, when they were barely teenagers. Both Henry and Jack are multi-instrumentalists who play guitar, bass and keyboards, as well as sing vocals, while Ed plays drums and percussion, sings backing vocals and plays guitar on a few tracks.

The Baldwin brothers are also prolific songwriters who’ve penned hundreds of songs over the years, and since 2017, Wild Horse has released five albums, three EPs and scores of singles. On the strength of their music and energetic live performances across England, they’ve built an ever-expanding fan base and garnered praise by music writers (including yours truly) and broadcasters, with their songs being regularly played on numerous FM & internet stations around the world, as well as mainstream radio programs BBC Introducing and BBC Sussex, Surrey & Kent. In June, they were even mentioned during a hearing in the British Parliament on funding to support struggling music venues.

I’ve been following them for over five years, and it’s been a pleasure watching them mature and grow as both musicians and gentlemen. I’ve reviewed two of their albums, DANCE!! Like An Animal, in 2019, and When the Pool Is Occupied, in late 2021, as well as their singles “Bitter” (which spent two months on my weekly top 30 in the fall of 2021) and “Cougar” this past January. Those two songs have been among a string of singles they’ve been dropping at the rate of roughly one every two months beginning in June 2022. Their seventh and latest single is “Do You Wanna Talk“, a song they describe as “a summer anthem about an on-off relationship and all that comes with it.”

Released through Animal Farm Songs, “Do You Wanna Talk” was written by Jack and produced by Mat Leppanen. Over a bouncy, toe-tapping groove, courtesy of Jack’s warm bassline and Ed’s thumping drumbeats, Jack layers beautiful jangly guitars, accompanied by his and Mat’s sparkling keyboard synths. It all serves as a sunny backdrop for Jack’s endearing vocals as he earnestly sings to a romantic partner with whom he has a precarious hot and cold relationship, neither of them wanting to fully commit nor break things off: “I don’t wanna see you no more, but stay by my side. And ooh, I don’t think about you, but my head shines you in a spotlight. Do you wanna talk? Do you wanna talk about it?/ I don’t wanna know, but I can’t stop thinking of it. I think we’re both as bad, we’re going round in circles.”

“Do You Wanna Talk” is another strong link in an unbroken chain of wonderful songs from this talented young band.

Here’s the song on Bandcamp:

Connect with Wild Horse:  Facebook / Twitter / Instagram / TikTok
Stream their music:  Spotify / Soundcloud / Apple Music / Reverbnation / YouTube
Purchase:  Bandcamp / Amazon

KIFFIE – Album Review: “The Product”

On By EclecticMusicLoverIn Reviews18 Comments

British artist Kiffie (the music moniker of Daniel Paul Kiff) is a creative and fascinating singer-songwriter, composer and producer of electronic music based in Norwich, England. Drawing from a wide range of music genres including electronica, hip-hop, rock, folk and classical, his arresting songs are inspired by current events, as well as the oft-covered topics of love, lies and betrayal. Kiffie records and produces all his own music at home using hardware instruments, synthesizers and drum machines. In a space of less than three years, the incredibly prolific artist has released an astonishing 13 albums, six EPs, two compilation albums, two CDs, and numerous singles. His songs have received critical acclaim, and garnered airplay on BBC Radio 6 and other internet radio programs.

His latest album, The Product, which he released exclusively on Bandcamp last Friday, July 21st, really struck a chord with me. In his remarks about the album, Kiffie wrote: “Evil things happen when good people say nothing. This album asks a lot of questions…. it’s up to you to work out the answers.” Accordingly, the songs touch on such timely issues as creeping authoritarianism, income inequality, misinformation and fake news, anti-science/conspiracy mongering, and political corruption – all things of great concern to me. He originally wrote the songs for his participation in the Lights & Lines Album Writing Club, and the album represents the final updated version.

The album opens with “Thank You For The Hope“, a melancholy, yet almost cinematic track, with introspective keyboards and wobbly, atmospheric synths. The spare lyrics are directed to a loved one who’s support offers a glimmer of light in the darkness: “Although the sky looks dark, the future looks grey for us, and it no longer feels like home, it doesn’t mean there is no hope! You are with me!” “New Enemy” speaks of cynical, soulless politicians who seek to divide us by scapegoating others, making them into our enemies: “History, it teaches you to be a little wary, of men, who’ll say anything to convince you to vote for them. History, it teaches you to be a little wary, of them, who blame anyone to create a new enemy.” Kiffie’s ominous soundscapes nicely convey the sinister forces at work here.

On “Leadership“, he laments about those who only want to hear what they want to believe, whether it’s truthful or not: “I don’t think I can deceive you, the truth is on my side. And I won’t lie to try to save you, what is there to hide?” The songs starts off with a simple piano riff, but eventually builds into an unsettling track, accompanied by Kiffie’s somewhat disconcerting, echoed droning vocals. And on the melancholy “Small Boats“, he sings of refugees of political unrest making the hazardous journey across the sea (the Mediterranean, I assume), in search of a better life, encountering resentment and hate by some, but empathy and assistance by others: “You’re welcome to stay. I promise you wont be a burden on the state, but don’t read the headlines today.“

“Being Patriotic” touches on how some politicians use ‘patriotism’ as a cudgel to keep us in line while claiming that government cannot afford to provide public services, yet are eager to give tax breaks to the wealthy: “They don’t know how to speak the truth, they only need to mesmerise you. They don’t have a lot of money to look after you, but they’ll find it when their friends ask them to./ They cant keep a single promise if it means their shares go down in value. They count on you being apathetic. they count on you being patriotic.” Musically, the track has a rapid, skittering trip hop beat, overlain by a droning synth bass groove.

“Independent Examination” speaks to those who subscribe to fake news and conspiracy theories, refusing to accept scientific verification: “Truth is based on fact. It doesn’t rely on lies, I can assure you of that./ Science follows an enquiry process. Your ideals might not align with that. Facts aren’t open to interpretation, they stand up to independent examination.”

The title track “The Product” is a dark and unsettling instrumental piece, featuring ominous buzzing synths accompanied by a repetitive percussive beat, creating a palpable sense of impending doom. “Reparations” addresses income inequality, and how the rich and powerful strive to maintain the status quo: “How did you come to be so powerful? How did things come to be so unequal?/ Should you pay back the profits? Should you recompense? Should you give up the titles? And should you start again, With nothing, like we did, like we did?” The hauntingly beautiful track is dominated by contemplative piano keys and a mournful keyboard organ riff, punctuated by languid drumbeats, all of which create a kind of dirge-like atmosphere. Kiffee’s droning vocals are at once both soothing and accusatory.

On “What Was Promised“, Kiffee ponders about our purpose and role in this world, and whether our actions and efforts make a difference: “Why do we try to change our lives? Why do we want the world to be better after all? Could it be we don’t see what was promised anymore? Could it be it’s time for love to rule forevermore?” The minute-long instrumental piece “Resolution” closes the album on a rather portentous note, with droning, ominous-sounding synths.

While not always an easy listen, given its bleak subject matter and instrumentation, The Product is compelling nevertheless, offering us glimmers of hope and beauty throughout. Kiffie makes a bold and impactful statement with this album, and I for one am glad to see artists having the courage to speak out about these issues facing society today.


Connect with Kiffie on Twitter / Facebook / Instagram

The best place to find all his music is Bandcamp, but some of it is also available on Spotify / Apple Music / Soundcloud

Top 30 Songs for July 23-29, 2023

On By EclecticMusicLoverIn Weekly Top 30's7 Comments

I love synthpop songs with a good dance groove, and the collaborative single “Essence”, by young Danish DJ and electronic house music producer Refeci and Canadian-American singer-songwriter and musician Shimmer Johnson, fits the bill quite nicely. The mesmerizing song holds the #1 spot on my chart for a second week. The Foo Fighters‘ exhilarating “Rescued” remains at #2 for a second week after spending three weeks at #1. Sliding into third place is the beautiful “Leaving” by Michigan singer-songwriter Au Gres (aka Joshua Kemp), and “Why” by supremely talented British alt-rock band Future Theory moves up to #5. Olivia Rodrigo‘s biting “Vampire” (pun fully intended) enters the top 10 at #9.

Two wonderful songs make their debut this week. Entering at #28 is the hauntingly beautiful “Daylight” by American singer-songwriter David Kushner. A relative newcomer to the music business, in just a year and a half, his songs have already racked up more than 725 million streams on Spotify alone, thanks to some of them going viral on TikTok (a platform I rarely look at, but is far and away the most popular for young people). In an interview with webzine Paper, Kushner remarked “TikTok has played the biggest role in my music career. It started as a fun thing. I definitely had not planned to market my music. …after writing “Miserable Man”, I decided to just leak the song on the platform. I didn’t expect that the next day I’d wake up to a couple hundred thousand likes. Not even a few weeks later, “Mr. Forgettable” did the same thing. At that point, I knew that TikTok would be a powerful tool to be able to connect with new people.”  Released in April, the gospel-like “Daylight” has already been streamed over 387 million times on Spotify.

The second debut is “I Don’t Believe In You” by Texas-based singer-songwriter Brian Lambert, entering at #30. The powerful song, which I reviewed a month ago today, is a reimagining of the original track written and performed by Jr Moz Collective (aka singer-songwriter Mike Mosley, who played guitar, bass and synths on the track, with drums by Paul Prater).

  1. ESSENCE – Refeci & Shimmer Johnson (1)
  2. RESCUED – Foo Fighters (2)
  3. LEAVING – Au Gres (4)
  4. RESCUE ME – Dirty Heads (3)
  5. WHY – Future Theory (6)
  6. PINEAPPLE SUNRISE – Beach Weather (7)
  7. THE NARCISSIST – Blur (8)
  8. PSYCHOS – Jenny Lewis (10)
  9. VAMPIRE – Olivia Rodrigo (11)
  10. NOT STRONG ENOUGH – boygenius (5)
  11. IN MY HEAD – Mike Shinoda & Kailee Morgue (9)
  12. HELLO – GROUPLOVE (12)
  13. WE’RE ALL GONNA DIE – Joy Oladokun & Noah Kahan (15)
  14. STUCK – 30 Seconds to Mars (16)
  15. PUPPET SHOW – Beck Black (17)
  16. SAY YES TO HEAVEN – Lana Del Rey (21)
  17. KID – The Revivalists (13)
  18. EAT YOUR YOUNG – Hozier (14)
  19. EMPTY NEST – Silversun Pickups (18)
  20. SPELLBINDING – The Smashing Pumpkins (23)
  21. BONES – HEALER (24)
  22. WALK THROUGH THE FIRE – The Frontier (25)
  23. ORBIT – Gooseberry (26)
  24. OVERRATED – dwi (27)
  25. LAST TIME EVERY TIME FOREVER – Grian Chatten (28)
  26. CALL ME WHAT YOU LIKE – Lovejoy (29)
  27. GOOD VIBRATIONS – MISSIO (30)
  28. DAYLIGHT – David Kushner (N)
  29. DUMMY – Portugal. The Man (20)
  30. I DON’T BELIEVE IN YOU – Brian Lambert & Jr Moz Collective (N)

ELEANOR COLLIDES – Single Review: “Daydreams and Algorithms”

On By EclecticMusicLoverIn Reviews11 Comments

Named after his childhood imaginary friend, Eleanor Collides is the solo music project of London-based singer-songwriter and guitarist Nick Ranga. The talented artist melds alternative, indie and dream rock with synth pop to create his distinctly melancholic, yet beautiful sound. I love how he’s described his influences: “I find inspiration in the cathartic vulnerability of Low, the poetic storytelling of R.E.M., the passionate anthems of Manic Street Preachers, the genre-defying artistry of Orville Peck, and the darkly captivating electronica of Depeche Mode. These influences, among many others, have shaped my artistic vision, allowing me to carve out a unique sonic identity.”

Though he’d been writing songs for many years, he finally started recording and releasing music in the summer of 2021, beginning with a four-track EP How to Make Friends. He followed up with a couple of singles, then in March 2022, he released his debut album People are Taller in Real Life. Since then, the prolific artist has dropped eight more singles, one of which, the hauntingly beautiful “Pantomime“, I featured in a Fresh New Tracks this past April. Today he’s back with his latest single “Daydreams and Algorithms“, another outstanding track. All eight singles will be included in his forthcoming second album, due for release later in the year.

For the recording of the song, Nick sang lead vocals and played guitars, bass, piano, drums and strings, and Charles Connolly, who mixed and mastered the track, played marimba and sang backing vocals. Though “Daydreams and Algorithms” starts off slowly, with just a simple, rather melancholic strummed guitar, it soon becomes clear that there’s a lot going on musically. As the song progresses, the instrumentation expands into a captivating soundscape, with added guitar, piano and warm strings, accompanied by Charles’ enchanting marimba and Nick’s steady drumbeats and moody bassline. Nick’s pleasing, low-key vocals have a comforting, almost sensuous quality, nicely complemented by his and Charles’ ethereal backing harmonies. It’s a stunning song.

As to the song’s meaning, Nick says it’s “about longing and obsession in the age of social media, about falling in love with someone through a screen who may or may not be real.” 

I can hear the sound of dreams
The cigarettes and faded blue jeans
The photographs and played back scenes
Never knowing what they mean

I can see your days collide
The indecision codified
The fantasies and rising tide
History happens in real time

ooh ooh ooh

You could be my daydream
My landslide, my slipstream
My devil chasing moonbeams
Intention lost to the mainstream

I could be your joyride
Your agent on the outside
Your lowest low and highest tide
Watch as I revert to type

ooh ooh ooh

Connect with Eleanor Collides:  Facebook / Twitter / Instagram

Find his music on Bandcamp / Spotify / Apple Music / YouTube / Soundcloud

GLOOM IS OKAY – EP Review: “Gloom is Okay”

On By EclecticMusicLoverIn Reviews10 Comments
Queenie, the cover girl pup

Describing his sound as “Happy/Sad music for Happy/Sad people”, Scottish alt-rock artist Gloom is Okay is spot on, in that his music takes listeners from euphoric highs to crushing lows and back again. Drawing from an array of elements ranging from alternative and dream rock to progressive and metal, and blending darker lyrical themes with complex melodies, gorgeous guitar riffs and grandiose synths, his unique sound is variously reminiscent of some of his favorite acts like Porcupine Tree, Thrice, Radiohead, Nine Inch Nails and Anathema, to name but a few. He started the project in the early days of Covid lockdown as a kind of coping mechanism, and being an advocate for positive mental health, he wanted to put a positive spin on things through his music. He loves listening to sad music and embracing the myriad emotions it brings out, both good and bad.

Based in Glasgow, Gloom is Okay is the music project of singer-songwriter and multi-instrumentalist Martin Walker. Involved with music from an early age, he was previously a member of award-winning Scottish progressive rock band Akord, who released an EP Carry the Sound in 2013 and an album Ethereality in 2016. In 2020, Gloom is Okay released his debut solo EP Loopholes, featuring five exquisite instrumental tracks so dramatic and beautiful, they literally take my breath away. After a two and a half year-long hiatus, he began dropping a series of new singles this past March, culminating in the release of his second self-titled EP Gloom is Okay on July 14th.

For the recording of the EP, Martin sang lead vocals and played guitars, bass, piano and programmed synths, Iain MacLeod played additional bass, Mark Norris played drums, and Scottish musician and singer Modern Sonder sang additional vocals on “Pine”. The EP was mixed and mastered by Tomekeeper Productions.

I loved Gloom is Okay at first listen, and though it sounds different from Loopholes, due in large part to the inclusion of lyrics and vocals, it’s every bit as dramatic and gorgeous. It opens with “Butcher“, a song about being stuck in a recurring cycle of counter-productive behavior, unable to change for the better: “Repetition, to fill the gap. It makes me wonder what I’ve never had. My inhibitions, thrown from the shade. It makes me wonder If I will ever stay.” The song is a progressive rock gem, with vibrant, edgy guitars, exuberant drums and soaring atmospheric synths. Martin’s somewhat echoed vocals have a haunting but warm quality that’s both pleasing and impactful.

“Gravity” speaks to Martin’s struggles with writing music, or as he so beautifully puts it, “it’s a song about the madness of musicians…for those moments where you just want to smack your head against a brick wall, hoping the ideas will fall out of your ear.” The song has a beautiful but mysterious vibe, with a haunting melody that alternates between moments of calm with delicate piano keys, airy synths and chiming guitars, to cinematic flourishes of grungy guitars, heavy bass and tumultuous drums. Martin’s vocals have an emphatic sense of urgency as he sings “We show fire. Madness like gravity. We grow but you’d rather conserve your energy. Feeling low but inspired to scrawl through this melody. From head to toe expired, but I’ll swim through this debris.” The official video shows a woman experiencing her own little bout of madness.

The darkly beautiful “Pine” is sort of like two different songs in one. The first three-quarters of the track consists of a lush, moody soundscape, punctuated by gorgeous shimmery guitars and sharp percussion and the stunning dual vocals of Martin and Modern Sonder (aks Jazz Dey), backed by their own harmonies. At 3:21, the music abruptly explodes with a furious riff played by Martin on his 8-string Strandberg guitar, accompanied by Mark Norris’ pummeling drums, for the final minute of the track.

About the song, Martin explains: “I wrote “Pine” when the whole world shut down and I felt like I was missing an important piece of a never ending puzzle. Although there was no end in sight at the time, I could see the positive effects of conversations and searching for the good in the little things. It’s a positive spin on what was probably one of the most difficult times for a lot of people.” This is expressed in the lyrics “We pine but we’re focussed, with no more time to readjust. We saw a stable flare to guide us through, to see us through. But we are breaking through with no tools in our hands. We are mending you.”

The rather mysterious video shows a young teenage boy and two young Asian women exploring a scary-looking derelict abandoned building.

A deep and grungy synth bass introduces us to “Phantom“, an intense, ominous-sounding track that seems to speak of people who are out of touch, and no longer dealing with reality: “Have you even considered at all that you’re missing time? You only project what you thought caused this to climb. Within the grey you don’t comply. But you’ve found the way and the phantom’s live.”

Martin calls the final track “Good Morning” the one love song on the EP. Though running nearly six minutes, it’s a real tour de force so compelling and beautiful that it seems over sooner than I want it to end. It starts off as a lovely piano ballad as Martin croons “I can’t wait for the echo as it follows you, so I can keep up. And I will stay for the moment it fades off of you, cause I’ll still see it.” At the one-minute mark, a sensuous Latin dance beat takes over, accompanied by finger snaps and melodic guitar notes lasting around 40 seconds. The music then slows back down to an enchanting interlude before the wonderful Latin beat returns at 2:20. At 3:40, heavier gnarly guitars ensue, along with crashing cymbals, bold percussion until finally a scorching guitar solo brings everything to an electrifying crescendo in the bridge. The grungy vibes then continue through to the end of the track.

Gloom is Okay is a glorious little EP, with lots of beauty and drama packed into its 23 minutes. As Gloom is Okay, Martin and company have done an masterful job creating this exquisite collection of songs, and they should be proud of what they’ve achieved here. He’s an insanely talented songwriter and musician, and I look forward to hearing more from him.

Connect with Gloom is Okay: Facebook / Twitter / Instagram / TikTok

Find his music on Bandcamp / Spotify / Apple Music / Soundcloud / YouTube / Amazon

BRAIN APE – Single Review: “mcmx. drawing room”

On By EclecticMusicLoverIn Reviews3 Comments
Photo by Nuri Moseinco

Brain Ape is a wildly imaginative and creative London-based rock band who skillfully fuse punk, stoner rock, grunge, noise rock and shoegaze to create their unique sound they call “Scratch Rock.” Originally formed at the beginning of 2012, like many a band, Brain Ape cycled through a series of drummers, and is now a duo consisting of Minky Très-vain on guitar & vocals and Sol Alex Albret on bass. They’ve released music rather intermittently since 2012, but their discography includes three albums (Dara O’ in 2014, Auslander and Ausländer, an all-acoustic album featuring five tracks from the original plus three new tracks, both in 2017) and several singles. I reviewed the full-length Auslander, which you can read here.

After a hiatus lasting a couple of years, Brain Ape returned in January 2021 with “clxxvi. veni vidi vici”, the first in a series of strangely-titled singles. They followed in 2022 with “cclxxv. theatrum serpentis”, then “mcmi. fenchurch king”, the second of which marked a new shift in the band’s sound. Whereas their earlier sound was strongly influenced by grunge acts like Nirvana, their newer music is now strongly influenced by contemporary pop and hip-hop acts like Billie Eilish, Childish Gambino, and Denzel Curry.

Their latest single “mcmx. drawing room”, to be released on July 19th via London independent label Scratch Rock Records, is Brain Ape’s second single to reflect their change up in style and genre. According to the band’s press release, the song “references a drawing-room within the historic 10 Downing Street (the official London residence of the British prime minister), and continues where their previous single “mcmi. fenchurch king” left off, diving deeper into the story of Eric Tunglsson, son of the Auslander. Exploring rising nationalism in the West and the glorification of false icons, the song marks the second time the duo have made any kind of political statement.”

Musically, the song is unlike anything I’ve heard before, and is hard to categorize or describe. It’s also a brief track, lasting only 1:40 minutes. Starting with a simple, stuttering trip hop beat, Brain Ape layers mysterious psychedelic synths, sharp percussion, grungy scratching and otherworldly vocal sounds to create a decidedly unsettling soundscape that turns quite melodic in the final chorus. I’ve always liked Minky’s vocals, and though it’s sometimes difficult to understand the lyrics, they range from delicate falsetto to ethereal whisper to plaintive wail, all exuding a seductive, yet menacing vibe. A rather interesting feature of the song are the sudden skips occurring from 1:07-1:13, which I assume are intentional. An unusual song indeed, but also strangely beautiful and captivating. I like it!

The video, which was written, shot, produced, directed and edited by the band, features Minky as Eric Tunglsson, Sol as Wyn Pfaird, former bandmate Jacob Powell as Trin O’ Gealach, as well as Siubhan McGealach and The Shrewd.

Here’s the song on Spotify:

Connect with Brain Ape:  Facebook / Twitter / Instagram
Find their music on Spotify / Apple Music / Bandcamp / YouTube

Top 30 Songs for July 16-22, 2023

On By EclecticMusicLoverIn Weekly Top 30's14 Comments

After a long, steady climb up my chart, I’m happy to announce that “Essence”, the stunning electro-pop collaboration between young Danish DJ and electronic house music producer Refeci (aka Victor Cornelius Tommerup) and Canadian-American singer-songwriter and musician Shimmer Johnson, has reached #1. They’ve each released an impressive amount of music both as solo artists and in collaboration with numerous musicians and vocalists. Refeci composed the mesmerizing and sensuous music, while Shimmer wrote the lyrics that speak to the importance of having faith in ourselves to forge our own path: “Don’t ever ever doubt your life. Make a wish and just believe. Find the path that’s right. It’s the essence of life.” It’s Shimmer’s second song to top my chart, her first being “Starts With You” early last year.

In other notable changes this week, “The Narcissist” by Brit pop band Blur enters the top 10 at #8, and “Psychos” by American singer-songwriter Jenny Lewis leaps 10 spots to #10. Three songs enter the chart, the first of which, “Vampire”, by 20-year-old Southern California-based singer-songwriter and actress Olivia Rodrigo, debuts at #11. Released on June 30, the heartrending song debuted at #1 on the Billboard Hot 100, her third single to do so (the others were her 2021 monster hit “Drivers License” and “Good 4 U”). “Call Me What You Like” by British indie rock band Lovejoy, enters at #29, and “Good Vibrations” by Texas duo MISSIO (which I recently reviewed) enters at #30.

  1. ESSENCE – Refeci & Shimmer Johnson (2)
  2. RESCUED – Foo Fighters (1)
  3. RESCUE ME – Dirty Heads (4)
  4. LEAVING – Au Gres (5)
  5. NOT STRONG ENOUGH – boygenius (3)
  6. WHY – Future Theory (7)
  7. PINEAPPLE SUNRISE – Beach Weather (9)
  8. THE NARCISSIST – Blur (12)
  9. IN MY HEAD – Mike Shinoda & Kailee Morgue (10)
  10. PSYCHOS – Jenny Lewis (20)
  11. VAMPIRE – Olivia Rodrigo (N)
  12. HELLO – GROUPLOVE (15)
  13. KID – The Revivalists (8)
  14. EAT YOUR YOUNG – Hozier (11)
  15. WE’RE ALL GONNA DIE – Joy Oladokun & Noah Kahan (17)
  16. STUCK – 30 Seconds to Mars (18)
  17. PUPPET SHOW – Beck Black (19)
  18. EMPTY NEST – Silversun Pickups (16)
  19. GO DOWN RIVER – The Heavy Heavy (6)
  20. DUMMY – Portugal. The Man (13)
  21. SAY YES TO HEAVEN – Lana Del Rey (24)
  22. THOSE EYES – New West (14)
  23. SPELLBINDING – The Smashing Pumpkins (23)
  24. BONES – HEALER (25)
  25. WALK THROUGH THE FIRE – The Frontier (26)
  26. ORBIT – Gooseberry (28)
  27. OVERRATED – dwi (29)
  28. LAST TIME EVERY TIME FOREVER – Grian Chatten (30)
  29. CALL ME WHAT YOU LIKE – Lovejoy (N)
  30. GOOD VIBRATIONS – MISSIO (N)

JEEN – Single Review: “Just Shadows”

On By EclecticMusicLoverIn Reviews8 Comments

I seem to be focused on Canadian artists lately, as there are many who are making some great music that I also happen to be fond of. My latest is JEEN (Jeen O’Brien), a creative, talented and hard-working singer-songwriter and musician from Toronto, Canada. She creates a melodic brand of alternative pop-rock that’s alternately pleasing and edgy, delivered with her distinctive vocal style that reminds me at different times of singers Meg Myers. K. Flay and Lana Del Rey.

The prolific artist has quite an impressive resume; over the past nine years, she’s released an astonishing six albums and scores of singles, one of which, “On and On”, I reviewed last year. Her songs have been used in commercials for such companies as Google, Panasonic, Estée Lauder, Kraft, BlackBerry, KIA, Rogers, MasterCard and Molson, as well as various movies and television programs, including Cook Off, Republic of Doyle, Instant Star, Ruby Gloom, Degrassi, Killjoys, Hockey Wives, Workin’ Moms, MTV Catfish, and MTV Are You the One.

On July 7th, she dropped her latest single “Just Shadows“, which she says she wrote after “thinking how the darker parts of everything can snuff out some of the best people’s light. It’s about trying to get out from under it so we don’t just become casualties of our shittiest days.” The song is the first single from her forthcoming seventh album Gold Control, which she’d began working on last year after the release of her previous album Tracer, in October 2022. Unfortunately, due to what she calls a ‘massive computer failure’, she lost all the demos for Gold Control, sending her back to the proverbial drawing board. “My long time co-producer Ian Blurton suggested we just go in and jam the songs a bunch top to bottom and re-demo them before we started tracking for real. We had never done it that way for the previous albums; always just worked off my home demos as opposed to rehashing the songs prior with the full band. Anyway, it was super fun to go a little deeper on these songs at that early stage, and I think the whole LP is better for it.”

For the recording of “Just Shadows”, JEEN sang vocals and played rhythm guitar, Ian Blurton played lead guitar, Ben O’Brien played bass, and Stephan Szczesniak played drums. The song gets right down to business with an opening burst of grungy guitars, humming bass and powerful thumping drumbeats, ultimately exploding into a full-blown rocker in the choruses with raging riffs and thunderous drums. It’s one of the hardest-rocking songs JEEN’s put out yet, and I love it. She has a somewhat mumbled drawl-like singing style that’s quite appealing to my ears, backed by her own soaring harmonies as she passionately urges someone in deep emotional pain to not allow their sadness to take over: “He looks so sad he looks so sad, yeah he looks so sad to me. You look so sad you look so sad, you look so sad to me. It’s just shadows just shadows just shadows.”

Connect with JEEN:  Facebook / Twitter / Instagram

Find her music on Bandcamp / Spotify / Apple Music / Soundcloud / YouTube

NATIVE TONGUE – Single Review: “Dark Green Eyes”

On By EclecticMusicLoverIn Reviews12 Comments

Now I turn my attention back to England to shine a spotlight on Native Tongue, an alt-rock band from Bournemouth. Fronted by the prolific singer-songwriter and producer Nathan Evans on lead vocals and guitar, Native Tongue also includes Arron Bennett on drums and Jake Waters on bass. Nathan also writes and records music as a solo artist under the moniker NAVE, and this past February he released his monumental 31-track album God’s Waiting Room (which I reviewed.)

Native Tongue’s sound is darkly beautiful, edgy and melodic, with thought-provoking lyrics delivered by Nathan’s captivating tenor vocals. They began dropping singles in early 2022, which culminated in the release of their debut five-track EP Hiding In White Light. That September, they released a beautiful short film with the same title which they wrote and directed. Hiding In White Light features four of the tracks from the EP, and tells a dark story of mental illness, hallucinations, loneliness and depression. The film is available for viewing on YouTube.

Now they’re back with a powerful new single “Dark Green Eyes“, accompanied by an unusual video that would make David Lynch proud. The song is the first single from their forthcoming second EP Sodium. When Nathan first sent me the song and video, I was immediately blown away by the song’s complex and jarring music that starts off with a melancholy acoustic guitar, then evolves into an explosive maelstrom of grungy and screaming riffs, smashing drums and crushing bass. There’s beauty to be found too, particularly in the melodic gnarly guitar solo in the bridge. Nathan’s vocals also start off with his signature plaintive tenor croon, but turn emotionally-wrenching and raw with the music, until he’s literally frightening us with his impassioned wails, leaving us drained by song’s end.

Nathan told me he originally intended for “Dark Green Eyes” to be a Nave song, but decided to turn it into a full band song with live drums and bass to creating a more powerful dynamic. About the song’s meaning, he explains: “I wanted to create a character that seems so desperate to be in the spotlight and wants to know what it feels like to be adored. I love the line ‘I wanna know what it feels like to be yours’ because it twists it as you expect it to say ‘I wanna know what its like to be you’. To me, this implies the character doesn’t even feel worthy enough to imagine himself as this successful person and instead he wants to know what it would be like in their shadow. It is tragic to see someone wishing they were anything but themselves and needing validation from others to make them feel good. He is a victim of society who is encouraged to compete and compare himself with others constantly.”

Both song and video are simple yet profound, beautiful yet disturbing. In the video, Nathan portrays a man performing the song on stage, baring both himself and his soul in front of everyone in a raw, unflinching manner.

Connect with Native Tongue:  Facebook / Twitter / Instagram

Find their music on Spotify / Apple Music / Soundcloud / YouTube / Bandcamp