Still focused on Canada (having just written about two artists from the Vancouver area), today I turn my attention to Toronto, the home of singer-songwriter and guitarist Alex Southey. The talented musician has released a lot of music over the past four and a half years, including three albums, three EPs and numerous singles. His sound can generally be described as alternative indie folk, sprinkled with elements of rock, pop and shoegaze. But like all creative artists, he’s not afraid to experiment with his music by exploring different genres and styles outside his comfort zone, and as a result, each of his albums and EPs sound quite different from one another. His thoughtful and intelligent lyrics about life, love and socio-cultural issues of the day are delivered with his beautiful distinctive vocals.
Photo of Alex by Steven Medeiros
I’ve been following Alex since the beginning of 2021, and have previously written about him three times on this blog, most recently this past January when I reviewed his superb EP CommonFantasies. One of the tracks from the EP, “Soften”, spent three months on my Weekly Top 30, peaking at #5. Now he’s back with another terrific single “Never Listen“, his first release of 2023.
For its recording, Alex played acoustic and electric guitars and sang vocals, assisted by fellow musicians Christina Dare on bass & backing vocals, Gab Lavoie on Korg synths, and Craig McCann on drums & percussion. All three also played on four of the tracks on Common Fantasies, and support Alex for live shows. The track was produced, mixed and mastered by Alex Gamble.
Alex’s wonderful strummed acoustic guitars have a rather mysterious quality as they guide the song forward, accompanied by Christina’s subtle bass line, Craig’s measured drumbeats and Gab’s delicate spacey synths. Alex’s beautiful chiming electric guitar that appears later in the song adds an enchanting layer of color and texture to the proceedings, creating a vibrant, arresting backdrop for his bewitching vocals that alternate from smooth heartfelt croon to ethereal falsetto. His and Christina’s harmonies in the choruses are simply stunning, nicely complemented by the aforementioned chiming guitar notes.
The lyrics speak to those who refuse to acknowledge or accept the warning signs all around us, using as examples our over-consumption of natural resources, the consequences of our continued burning of fossil fuels on our environment and climate, and repeated injuries resulting from violent sports like football:
Heating everything I'm about to eat
Plants and animals - and motor oil
Learn to love the A
Learn to love the B
The part that slips between
Is gasolineYou just never listen
You just never listen
We can spend our time
Outside evening-walking
With smiles to hide behind
The never talkingSome come on so strong
It's the only way they know how to do it
It's all they really want
Nothin' much to it
You just never listen
You just never listen
After the CTE scan said
"You're never listening
You're never listening at all."During the drive home
Close your eyes
Somebody's mother said it's fine
Somebody's brother died that summerYou just never listen
You just never listen
You just never listen
You just never listen
Alex will be performing “Never Listen”, along with several of his songs, tomorrow night (Friday, July 14) at the legendary Horseshoe Tavern in Toronto. Details below:
In late May, I featured the poignant song “Better Daze” by Canadian alt-rock act Western Jaguar, the music project of singer-songwriter and multi-instrumentalist Jeffrey Trainor, on one of my Fresh New Tracks posts. Though I generally prefer to not write about an artist or band again so soon, I like his new album Oblivion so much that I just have to share it with my readers. Besides, I know the album means a lot to him, marking a return to making music after a two-year hiatus during which he’d all but given up on it, so it means a lot to me too.
Hailing from the picturesque Fraser River Valley of British Columbia east of Vancouver, Western Jaguar was born in 2012 when Trainor turned to music to get him out of a low point in his life. With the help of an evolving lineup of musicians, he released three stellar EPs and several singles between 2013 and 2019, including the excellent “Disappear”, which went to #1 on my Weekly Top 30 in 2019. Despite his prior accomplishments, when the pandemic hit in early 2020, bringing things to a halt for just about every musician and band, the social isolation allowed him to reflect on how unhappy he’d become as a musician. He says he’d become fixated on “likes, a following, positive feedback…and making music other people liked.” By the end of 2020, he decided he didn’t want to make music anymore, essentially walking away from Western Jaguar, which he conveniently blamed on the pandemic.
Thankfully, after a long break he came to realize that, just like in 2012, music could once again lift him out of his slump. He decided to restart Western Jaguar as essentially a solo act and went to work resurrecting a few previously-written songs and writing and recording new ones for what would become his latest album Oblivion, which he released on July 7th. For the recording of the album, Trainor sang vocals and played most instruments, though his former Western Jaguar bandmates Davis MacKenzie Zand played bass and AJ Buckley played electric guitar and drums, and sang backing vocals on two tracks, and musician KC Roces played electric guitar on “Daydreaming”. Trainor produced and mixed two of the tracks, with the rest produced and mixed by Zand, and mastering was done by Jordan Koop.
The album opens appropriately with “Start Again“, a lovely 57-second-long instrumental piece with guitar and gentle synths that serves as an intro to the bittersweet song “Milwaukee“. The instrumentals gradually build with the addition of beautiful jangly guitars, organ, swirling synths and spirited drums, turning the song into an arresting anthem by the final chorus. Most of the songs on Oblivion deal with aspects of love and loss, and “Milwaukee” touches on both, as expressed in the lyrics “Now my patience is strained, and my love has gone away. There’s nothing left of me, and I’m out on the streets of Milwaukee.“
Continuing on a similar theme, “Matador” speaks to regrets over allowing a love to slip through his fingers, and willing to do anything to get her back: “I loved her with all of me, you better believe that I had hoped to one day get down on my knee. But I was dumb and she left me, you better believe that I would do anything.I’d bury my heart in the depths of hell. Drive my car at the speed of sound. Get bucked off a bronco’s back just to have a chance at bringing you back.”
Like “Matador”, “Doomsday” was actually recorded pre-pandemic by the previous Western Jaguar lineup that included Davis MacKenzie Zand on bass and AJ Buckley on guitar and drums. Originally slated for release in June 2020, the song features fantastic watery guitar work by Buckley, while he and Zand keep the rhythm on solid footing with their masterful drumming and thumping bassline. The lyrics are directed to a lover who’s abandoned the relationship, despite the singer’s attempts at redemption, which Trainor sings with heartfelt conviction: “You packed it up and left while I was trying to make amends. This is something I won’t forget, though I still don’t comprehend.“
“Better Daze“ is a melancholy but pleasing song about going through hard times after a tragedy and trying to get back to better days. Musically, the song has an upbeat dream pop feel, with a breezy melody, beautiful chiming guitars and snappy drums that contrast with the darker subject matter. Trainor’s clear, pleasing vocals have a hint of sadness as he sings the lyrics telling a story about a woman named Suzie, whose fiance Harold died suddenly after a fall in the shower just before they were due to be married. Suzie falls into a deep depression, and with the best of intentions, her father insists she take medication to help improve her mood. Unfortunately, the drugs only make her feel worse: “Suzie’s felt worse since the medicine. Her lungs are burning and she can’t breath in. Her father insists on the vice, it’s the only way for a normal life. But a normal life was lost last June when Harold fell in the bathroom. She hasn’t taken them for 6 weeks. If only it was that easy. Her father asks if she’s feeling well. She gives him a smile though she feels like hell. She wants him to think that she’s okay, even though she’s thinking of better daze.”
On the beautiful and bittersweet “Daydreaming“, Trainor laments of a love that wasn’t meant to be, due to his partner’s emotional struggles and inability to commit to the relationship: “There was a time for us to move into oblivion. But you were daydreaming, just lost in your mind, leaving me behind.” The gorgeous shimmery guitars are played by KC Roces.
Though most of the songs on Oblivion deal with loss, Trainor is in fact a happily-married man, which he celebrates on the sweet love song “Darling“. Calling it the poppiest song he’s ever written, it’s definitely the most upbeat track on the album, with a bouncy melody, sunny guitar lines, plucky bass, cheerful xylophone and exuberant hand claps. The charming lyrics express the love he feels for his wife: “I’ve been waiting all my life for you, my lovely darling. I’ve been waiting all my life I’d say, it’s worth it darling. And I know you don’t prescribe to lovesick lullabies.”
Trainor turns philosophical on “Just Racing“, contemplating the rapid passage of time and the attendant challenges of making sense of the never-ending barrage of information and changes thrown at us: “It’s all moving way too fast. It’s not too much to ask, just slow it down so I can breathe. Help me take apart my enemies. /So won’t you pick me up and take me home. I’m only 25 but I feel so old. Caught up again in the cracks of my brain, racing to the end like a bullet train.” Musically, the song has a languid, introspective feel, featuring just his strummed acoustic guitar, backed by a lovely organ synth.
Similar to the opening track “Starting Again”, Oblivion closes with a simple but stunning atmospheric instrumental composition “Phases“. Consisting of a delicate piano movement accompanied by airy synths, the track nicely brings this outstanding album full circle. Trainor’s a talented, earnest and thoughtful guy, and I’m happy he resurrected Western Jaguar and gifted us with these deeply moving songs. It’s a triumphant return, and I hope we’ll continue to hear more from him in the future.
The Supremes were one of my favorite music acts of the 1960s, and I remember that, even as a kid, I really loved their songs. Even my mother loved them. Still the most successful American group of all time, the Supremes (well, Motown Records, really) released an astonishing 29 studio albums, four live albums, two soundtrack albums, 32 compilation albums, four box sets, 66 singles and three promotional singles. They’re ranked the 26th greatest artist of all time on the U.S. Billboard charts, with 12 #1 songs on the Hot 100 (still the fifth-best total in the chart’s history), and three #1 albums. One of my very favorite of their many great songs is “Where Did Our Love Go“. It was their first single to reach #1 on the Hot 100, where it spent two weeks on top in August 1964, and the first of five consecutive #1’s.
Before we get to the song, I’ll provide a bit of background. Initially formed as the Primettes in 1959 – a sister act to the Primes (made up of Paul Williams and Eddie Kendricks, who went on to form the Temptations) – the group consisted of Florence Ballard, Betty McGlown, Mary Wilson and Diana Ross, all of whom had grown up in the Brewster-Douglass public housing project in Detroit. In 1960, they released a single “Tears of Sorrow”, with “Pretty Baby” as the B-side, which failed to chart, and later that year, Barbara Martin replaced McGlown.
Determined to become part of the Motown family, the Primettes frequented the Hitsville U.S.A. recording studio. They eventually convinced Berry Gordy to allow them to contribute hand claps and background vocals for the songs of other artists like Marvin Gaye and Mary Wells. He signed them to his Motown label in January 1961, on the condition they change their name. From a list of names he gave them, Florence Ballard chose “the Supremes” and the rest, as they say, is history. Martin left the act in the spring of 1962, and the remaining trio of Ballard, Wilson and Ross became the Supremes who would go on to stardom. (Wikipedia)
“Where Did Our Love Go” was written by Motown’s main songwriting and production team of Holland–Dozier–Holland with the Supremes in mind. At first, the three ladies of the Supremes didn’t like the song, claiming it sounded too “kiddie-ish” (which I find preposterous!), and wanting something with a stronger hook. Also, Holland-Dozier-Holland argued over who should sing lead. Though the song had been written in the same key as Wilson’s voice, the lead vocal was ultimately assigned to Ross, with Wilson and Ballard singing backing vocals. After hearing a playback of the recorded song, an excited Ross had a change of heart, whereupon she rushed into Gordy’s office and told him to come listen to their song. After hearing it, a satisfied Gordy proclaimed that “Where Did Our Love Go” was going to be a top ten hit. He was correct, but it became an even bigger hit than any of them had imagined.
The marvelous instrumentals were played by Motown session musicians the Funk Brothers. The notable highlights for me are the simple, yet impactful, piano-driven groove played by Earl Van Dyke, the bold hand claps and foot stomps performed by Mike Valvano, and that wonderful baritone sax solo in the bridge by Andrew “Mike” Terry. Diana Ross’s sensual vocals have a heartrending vulnerability as she laments of a love affair that seems to be slipping away:
Baby, baby
Baby don't leave me
Ooh, please don't leave me
All by myself
I've got this burning, burning
Yearning feelin' inside me
Ooh, deep inside me
And it hurts so bad
You came into my heart
So tenderly
With a burning love
That stings like a beeNow that I surrender
So helplessly
You now wanna leave
Ooh, you wanna leave me
Ooh, baby, baby
Where did our love go?
Ooh, don't you want me
Don't you want me no more
Ooh, baby
Baby, baby
Where did our love go
And all your promisses
Of a love forever moreI've got this burning, burning
Yearning feelin' inside me
Ooh, deep inside me
And it hurts so bad
Before you won my heart
You were a perfect guy
But now that you got me
You wanna leave me behind
(Baby, baby) ooh baby
Baby, baby don't leave me
Ooh, please don't leave me
All by myself
Ooh, baby, baby
Where did our love go?
The song was later covered by Donnie Elbert in 1971, The J. Geils Band in 1976 and Soft Cell, in a medley with “Tainted Love”, in 1981.
The Foo Fighters remain on top for a third week with their cathartic “Rescued”, while the mesmerizing “Essence”, by Danish electronic artist Refeci and Canadian-American singer-songwriter Shimmer Johnson, slides into the #2 spot. Rounding out the top five are “Not Strong Enough” by supergroup boygenius, “Rescue Me” (lots of rescuing going on!) by L.A. ska band Dirty Heads, and “Leaving” by Michigan singer-songwriter Au Gres. Entering the top 10 are “Why” by British alt-rock band Future Theory, at #7, “Pineapple Sunrise” by Beach Weather, at #9, and “In My Head” by Mike Shinoda and Kailee Morgue, at #10.
The biggest upward mover this week is “The Narcissist” by legendary British band Blur, leaping 10 spots to #12. Two fantastic new songs make their debut: “Overrated” by the brilliant Canadian artist dwi, who’s wonderful album Zoo Life I reviewed last Friday, at #29, and the gorgeous “Last Time Every Time Forever” by also-brilliant Fontaines D.C. front man Grian Chatten. The song is one of the singles from his superb debut solo album Chaos For The Fly.
RESCUED – Foo Fighters (1)
ESSENCE – Refeci & Shimmer Johnson (3)
NOT STRONG ENOUGH – boygenius (2)
RESCUE ME – Dirty Heads (5)
LEAVING – Au Gres (6)
GO DOWN RIVER – The Heavy Heavy (4)
WHY – Future Theory (11)
KID – The Revivalists (8)
PINEAPPLE SUNRISE – Beach Weather (13)
IN MY HEAD – Mike Shinoda & Kailee Morgue (14)
EAT YOUR YOUNG – Hozier (7)
THE NARCISSIST – Blur (22)
DUMMY – Portugal. The Man (9)
THOSE EYES – New West (10)
HELLO – GROUPLOVE (15)
EMPTY NEST – Silversun Pickups (17)
WE’RE ALL GONNA DIE – Joy Oladokun & Noah Kahan (18)
Many singer-songwriters tend to write from their own personal experiences, and oftentimes, some of the best and most compelling songs are born of pain and trauma. Such is the case with Canadian artist dwi and his new album Zoo Life. About the album, he states “This is the first time in my life where the story of the songs came first before the music. Some of the songs break my heart, and I’m not just poetically saying that. I went to very uncomfortable, dark and painful places to find these themes. And now a year later, I realize that I’ve learned so much about myself and why I’ve done the things I have, and why I have prevented myself from healing. You can survive trauma. But you always have to live with it. So you might as well turn it into art.”
Based in the suburbs of Vancouver, British Columbia, dwi is the music project of singer-songwriter and instrumentalist Dwight Abell, who’s also the longtime bassist for Canadian alternative/power pop band The Zolas. He’s an immensely creative, talented and imaginative guy, with a totally original sound and an endearingly quirky vocal style that make his music so uniquely distinctive. I think he’s one of the brightest stars today in the Canadian music scene, or anywhere really, and I’ve grown quite fond of him.
In October 2021, dwi released his brilliant debut album Mild Fantasy Violence (which I reviewed). Written during the Covid lockdowns, the album explored feelings of disconnect from the everyday normalities of relationships and society, touching on such topics as childhood, friendships, addiction, politics and environmentalism. One of the album’s tracks, “Good Friend”, spent four months on my Weekly Top 30 chart, going all the way to #1 and ending up ranking #16 on my Top 100 Best Songs of 2022 list. He followed in August 2022 with a marvelous single “Party4One“, accompanied by a delightfully zany video. That song also went to #1 on my Top 30 chart, and ranks #24 on my Top 100 Best Songs of 2022.
Since then, he’s dropped a number of singles, several of which, including “Party4One”, are featured on Zoo Life, which dropped today. Many of the songs address Dwight’s childhood experiences in foster care, which he equates with being “taken away to a zoo”. He explains “I actually did research about my time in foster care for this album and requested all the documentation of it (900 pages) from the ministry. I discovered that I was abused in one of the homes I was in, and there were photos taken of me. That’s where the album cover came from. I’ve also realized that I’ll probably go back to the old way of conceptualizing songs, because this process emotionally wiped me out. But I’m glad I touched on it as much as I did.”
For the recording of Zoo Life, dwi sang all vocals and played all instruments, except for drums, which were played by his childhood friend and fellow Zolas band member Cody Hiles. The album was produced by Ryan Worsley, and released via the label Light Organ Records.
The album opens with the title track “ZooLife“, on which dwi addresses the lingering trauma from his foster care experiences: “Standing on the edge of my life. On a perfect Friday night. I don’t know if I can take this. Zoo life, zoo life I’m breathin‘”. Fueled by an emphatic beat overlain with wobbly psychedelic synths, a deep bass groove and stabbing guitar notes, the song has a melodic but rather ominous vibe, ending with a lovely instrumental fade-out. The song’s video, showing scenes of dwi lying backwards on a stairway in front of a church and singing on what appears to be a city street, conveys a strong claustrophobic feel.
“Get Me” opens with a blast of drum fills and bass, then settles down somewhat in the melancholy verses, Cody Hiles’ aggressive drums still dominant throughout. I really like the melodic piano-driven interlude in the bridge before everything ramps back up to a dramatic crescendo as dwi remembers past traumas he’s long tried to suppress: “Pool of blood on the bathroom floor. Wait, who is that on the bathroom floor? From the other side, wake up. On the other hand, shake it off. Don’t look at that void, it’ll crush you.”
The wonderfully wacky “Party4One“ is the one moment of levity on the album. In dwi’s own words, the song is “about falling in love with yourself during an intense state of cabin fever. Love yourself, make out with yourself, and for the love of gawd, scare yourself. The weirdos are in charge now!” It’s a riotous blast from start to finish, and dwi’s quirky vocals are relentlessly endearing as he sings “Hey reflection, I really like you. Don’t want your friends. Hey man, I think it’s pretty funny given who I am. Nothing can stop me, I’m living in a single player game. You can’t stop me, it’s a party for one.“ The hilarious video shows dwi dressed in goth-punk black leather and a plaid skirt, with his hair styled to feature two devil-like horns. He enters an old house and proceeds to indulge in all sorts of childish antics, including playing video games with a giant stuffed teddy bear, overdosing on bowlfuls of Froot Loops, covering his face with lipstick in front of a bathroom mirror, and engaging in S&M pretend with the aforementioned teddy bear.
On the darkly beautiful and cinematic “Fear Of Forever” – which would make a terrific James Bond movie theme – dwi passionately laments of his lingering bitterness and feelings of abandonment to those who hurt him: “Don’t ever trust a god who leaves you all alone / And don’t ever send a boy to do a man’s job / I’ve got the fear of forever“. The song includes sweet vocals from what I’m guessing are one of his little son’s. And on “Phony“, with its glorious Britpop-inspired soundscapes and soaring choruses, he sings the poignant lyrics that seem to be about how we try to hide our pain and aching need for love and acceptance by being other than who we really are: “I never wanted purpose. I only wanted you. And all good things must end here.”
One of my favorite songs on Zoo Life is “Overrated“, as I can’t get enough of its powerful, foot-stomping groove, gnarly bass, spacey synths and dwi’s wonderfully-crazed vocals as he ticks off a number of popular things in culture (VR, licorice, Top Gun, 69, as well as passion, anger and temper) he feels are overrated. A lifelong lover of video games, dwi’s shown as a kind of gaming character in the surreal video.
“Marker“, recorded with his band The Zolas, has a bit of a Psychedelic Furs feel to my ears. The lyrics seem to speak of coping mechanisms children of trauma engage in to survive: “I imagine you as a child tempted to steal a marker. You’ll get caught red-handed when you get creative.” Here’s a live performance of the song by dwi and The Zolas:
“Uncle Uncle” touches on dwi’s ongoing PTSD from witnessing his young son getting hit by a car (thankfully he survived and is doing well): “Take me to a shrink and change my medication / Hypnotize me till I turn blue / I hear a car crash in my mind, kids crying all the time / There is a demon in my mind, throwing parties all the time. I say ‘I’m cool, I’m cool’. But there’s one problem, it never quits.” In addition to the great lyrics, I love the song’s driving beat and that wonderful jangly guitar riff between the verses.
“Day By Day” is a jaunty punkish tune with more of those terrific head-bopping rhythms, psychedelic synths and exuberant jangly guitars. As the title suggests, the lyrics speak to the ongoing work required to keep one’s sanity and deal with adult problems on a daily basis. “Where’s the spark that I had as a kid back in the day. All those dreams sure felt like they would stay. Now it seems that simple stuff ‘s getting in, in my way. Guess I’ll have to take it day by day.“
dwi taps into his inner beast on the bombastic tour de force “Hypocrite?!“, unleashing a torrent of jagged buzzsaw riffs bathed in feedback and fearsome impassioned screams, nicely accompanied by Cody’s explosive drums. The furious instrumentals gradually fade and are replaced with lovely contemplative piano keys and dwi’s haunting vocals for the final minute of the song.
The heart-wrenching and powerful album closer “Holes In My Story” deals with dwi’s coming to terms with having been abandoned by his birth parents and the abuse that followed as a foster child: “I guess I’m staying at someone else’s house again; wait out the storm. / The strangest part I don’t recall you leaving me at all./ I guess I’m putting on a brave face again. These masks are worn. I’m sitting in a cage with my family. What did we do wrong? The hardest part, I don’t recall you needing me at all. Well that was fun, and thank you for creating me, but it’s time to go. / Don’t you dare go feed those animals; they’ll never get trained.Holes in my story, holes in my story. I shine a light on it, but still feel misplaced.”
By song’s end, I’m left emotionally drained and nearly in tears, not only from the lyrical content, but also from dwi’s truly breathtaking creativity, talent and musicianship. Despite it’s dark, often disturbing subject matter, Zoo Life is a magnificent and gorgeous work nevertheless. He’s outdone himself yet again with this album, and I remain a loyal and devoted fan.
Austin, Texas-based duo MISSIO, made up of singer-songwriter and producer Matthew Brue and songwriter/producer and instrumentalist David Butler, have been one of my favorite music acts for the past five years. Not only do I love their great songwriting, edgy, thoroughly original sound that’s an eclectic mash-up of gritty alternative electronic rock, hip hop and dreamy emo vibes, and Matthew’s beautiful emotive vocals, I also have mad respect for them. With an openness and honesty shown to their fans they’ve affectionately dubbed the ‘MISSIO Mafia’ (of which I proudly consider myself a member), they exude a genuine coolness, yet aren’t afraid to share their anxieties and vulnerabilities.
I’ve written about them numerous times on this blog, and in fact, featured their hauntingly beautiful “Bottom of the Deep Blue Sea” exactly one year ago today, as one of my entries of a 30-day song challenge I did last July. Today, I’m thrilled to share their latest single “Good Vibrations“, along with a terrific video that dropped last Friday, June 29th.
MISSIO has consistently produced an exceptional catalog of music, beginning with their brilliant debut album Loner in 2017. They’ve since followed with three more studio albums, The Darker the Weather // The Better the Man in 2019 (my review of that album has garnered over 3,100 views, making it my most-viewed album review ever), Can You Feel The Sun in 2020, and VILLAIN last September (which I also reviewed). In 2020, they also dropped a gorgeous soundtrack album for their film Love Me Whole. Several of their songs have charted on my Weekly Top 30, three of which – “I See You”, “Underground” and “Can You Feel the Sun” – reached #1. This past February, the guys released an EP I Am Sad, featuring six deeply impactful songs touching on anxiety and emotional pain, then followed in early June with their mellow trip hop single “Easy”, which along with “Good Vibrations”, will be included on their forthcoming fifth album.
According to the guys’ discussion of the song on their first episode of #MissioMonday, livestreamed this morning on YouTube, “Good Vibrations” started out as a demo written by Matthew a few years ago. He wasn’t sure what to do with it, and also had misgivings about releasing it, given the fact it shares the same title as the iconic Beach Boys song. But he thought that, given all the bullshit and negativity bombarding us these days, we could use a little more love and positivity. Besides, their drummer Jaydon really loved it, exclaiming “That’s a hit!”, so they decided to record and release it as a single. David also noted that he’d be honored to have their song even mentioned in the same sentence as the Beach Boys’ classic.
One of the many things I love about MISSIO’s music is that no two songs sound alike, and that’s especially true with “Good Vibrations”. The song hits hard, fueled by a powerful synth bass groove and Jaydon’s muscular drumbeats. It’s not a dance song per se, but I defy anyone to sit still when hearing it. My entire body is bopping to the beat as I write this review! To my ears, the song has a few echoes of 80s songs by Depeche Mode and Thompson Twins, but still sounds exciting and fresh. The combination of those heavy, pulsating beats, explosive percussion and colorful spacey synths create a bold, cinematic backdrop for Matthew’s sultry, impassioned vocals as he sings “What you need, What you need is my love. And some good vibrations.”
Jaydon is correct in his assessment of “Good Vibrations”, as MISSIO has another hit on their hands.
For the wonderful music video, they wanted to have a good time, so gathered a few skater friends together and shot the video at a skate park in San Marcos, Texas. The video features Matthew and David, along with skaters Kat Frances, Mason Lapena and Abel Rodriguez, and was directed by Matthew, filmed and produced by Ima Leupp, and edited by Joe Hassage.
Not a lot of changes from last week’s Top 30. Foo Fighters‘ “Rescued” remains at #1 for a second week, while boygenius‘ “Not Strong Enough” holds at #2 again after having spent two weeks at #1. The mesmerizing “Essence”, by Danish electronic artist Refeci and Canadian-American singer-songwriter Shimmer Johnson, climbs four spots to #3, and the beautiful “Those Eyes” by Toronto collective New West enters the top 10. Debuting this week are “Say Yes To Heaven” by the always captivating Lana Del Rey, at #29, and the bluesy “Orbit” by the exceptionally-talented Brooklyn trio Gooseberry, which enters at #30.
RESCUED – Foo Fighters (1)
NOT STRONG ENOUGH – boygenius (2)
ESSENCE – Refeci & Shimmer Johnson (7)
GO DOWN RIVER – The Heavy Heavy (3)
RESCUE ME – Dirty Heads (8)
LEAVING – Au Gres (9)
EAT YOUR YOUNG – Hozier (4)
KID – The Revivalists (5)
DUMMY – Portugal. The Man (6)
THOSE EYES – New West (11)
WHY – Future Theory (12)
1982 – Morgendust (10)
PINEAPPLE SUNRISE – Beach Weather (15)
IN MY HEAD – Mike Shinoda & Kailee Morgue (13)
HELLO – GROUPLOVE (14)
MARRY ANOTHER MAN – Wise John (16)
EMPTY NEST – Silversun Pickups (18)
WE’RE ALL GONNA DIE – Joy Oladokun & Noah Kahan (19)
I’ve previously commented many times on this blog about the enormous amount of musical talent coming out of the UK, and today I have yet another shining example of this in the form of Hardwicke Circus, an insanely good five-piece from Carlisle, England. Though they’ve been around since 2015, I only learned about them last week when their PR rep reached out to me about them and their recently-released album Fly the Flag. I liked it at first listen, and as I customarily do for all artists and bands I’m writing about for the first time, I listened to as much of their back music catalog as I could get my hands on. I love all of it, and am now a committed fan! Hardwicke Circus is a brilliant band, and I strongly urge my readers to take the time to check out at least some of their music.
They’re also clever and funny, and their bio so colorful and amusing, I’m just going to quote from it rather than try and paraphrase. “Just in case you’re wondering, Hardwicke Circus is from Carlisle, and “Where the fuck is Carlisle!” greets us gig after gig. You only end up in Carlisle by accident. It’s on the boundary of England but not Scotland, on the edge of the Lake District but not the countryside: we don’t fit. This storm centre of English drunkenness is home to an arms depot and an economy reliant on biscuits & the Blues, with a business icon in Eddie Stobart whose sole purpose is to take things away from Carlisle via the city’s best known roundabout, allegedly named after this gang of travelling brothers. Carlisle does not suffer fools; we export them.
Hardwicke Circus was formed by brothers Jonny and Tommy Foster, who had a passion for making music from an early age. They developed a reputation on their street for making a racket but they were not to be deterred. Throughout their school years they surrounded themselves with the best musicians Carlisle had to offer, more than once poaching them from other school bands. When their friends began the university treadmill, Hardwicke Circus jumped in a van, hit the road and didn’t look back. They earned their stripes in Hells Angels pubs, clubs, theaters and prisons, soaking up long journeys to the rebel rousing music of Dylan, Springsteen, Philadelphia soul, Motown, the Stray Cats, The Clash and more.“
Their dynamic live shows and skillful songwriting so impressed renowned music veteran Dave Robinson, he came out of retirement to become their manager. Robinson’s professional resume is both extensive and impressive. He started out as road manager for Jimi Hendrix, also handling major tours in the U.S. for Eric Burden & The Animals, the Young Rascals and Vanilla Fudge. He then returned to London and managed Brinsley Schwarz, Graham Parker, Nick Lowe, Dave Edmunds, Ian Dury and Elvis Costello. He also built a recording studio above the legendary Hope & Anchor pub in Islington, and with Jake Riviera, started his label Stiff Records, signing such acts as The Damned, Motorhead, Elvis Costello, Nick Lowe, Tracey Ullman, the Plasmatics, Jona Lewie, Ian Dury and the Blockheads, Kirsty MacColl, The Box Tops, The Adverts, Lene Lovich, Shane MacGowan and the Pogues, Madness and more. Robinson was also installed by Chris Blackwell as president of Island Records where he oversaw the careers of U2, Robert Palmer, Steve Winwood, Grace Jones, Aswad and Frankie Goes To Hollywood. He personally compiled and marketed Bob Marley’s Legend, the biggest selling reggae album in the world. The list of his accomplishments goes on, but I’ll stop here, as this review is supposed to be about Hardwicke Circus!
The band became a six-piece early on, but now consists of five members: Jonny Foster (lead vocals, guitar), Tom Foster (drums, backing vocals), Joe Hurst (bass, backing vocals), Lewis Bewley-Taylor (keyboards) and Jack Pearce (saxophones). They released their debut single “Please Don’t Try This At Home” in 2017, then followed a month later with a four-song EP Hot Moves. After playing hundreds of gigs in pubs and parties throughout Britain and even some European countries, the band secured a coveted spot at the 2020 SXSW. We all know what happened next, and it was curtains for both SXSW and the 165 gigs they had scheduled after that festival.
Forced to regroup, Hardwicke Circus switched gears and focused their attention and energy on recording their first album. They rented a farmhouse in Yorkshire, where they wrote and recorded their debut album The Borderland, an outstanding work that pays homage to the land they love, as well as touching on then-current topics like the pandemic on the wonderful track “Lockdown”, and racial inequality and social injustice on “Hands Up Don’t Shoot”. One of the highlights on the album is their rousing anthem “Walking On Broken Glass”.
In November 2021, Hardwicke Circus played a series of gigs at 15 prisons throughout England. Inspired by Johnny Cash’s legendary 1968 album Johnny Cash at Folsom Prison, the guys decided to memorialize those gigs with their 13-track album At Her Majesty’s Pleasure, released in May 2022. (In the UK, prisons are known as HMPs, which stands for His or Her Majesty’s Prisons, depending on the gender of the reigning monarch, followed by the location or city in which they’re located.)
On June 9th, they dropped their third album Fly the Flag, a delightful romp featuring 12 head-bopping bangers fashioned from an eclectic mix of influences, including rock’n’roll, punk, Motown, Philadelphia soul, ska, blues and even Gypsy folk. The album opens strong with the buoyant “Every Day I Find the Luck“, an uplifting track with an exuberant, toe-tapping groove, colorful instrumentation and soaring choruses as Jonny and company sing of keeping positive and always aiming high: “Is this what I’m looking for? I can tell that I’m getting close, closer to the prize at the end of the rope. / Show me a sign, is it all I’ve got? I’ve given it my best shot. Every day I find the luck. If only I could reach it.”
The wonderful “Bang My Head (To the Rhythm of Life)” reminds me of some of the great 70s songs by Sound of Philadelphia acts like the O’Jays, Harold Melvin & the Blue Notes, T.S.O.P., McFadden & Whitehead and the Trammps, grabbing us by the hips and compelling us to move! And “True Love & Near Misses” is downright fabulous, with an infectious, fast-paced groove and achingly beautiful hook, highlighted by Lewis Bewley-Taylor’s gorgeous keyboards and Jack Pearce’s exuberant saxophone. And I cannot emphasize enough how much I adore Jonny Foster’s raspy but beautiful, heavily-accented vocals that occupy a sweet spot between Joe Strummer and Eddie Money here.
The anthemic “Can You Hear Me Now?” has an early Springsteen folk-rock vibe, with Jack’s soulful sax seemingly paying homage to the great Clarence Clemons. “Rejection Is Better Than Regret” – one of the my favorites on an album full of them – is a delightful take on the old adage ‘it’s better to have love and lost than to have never loved at all’: “Rejection is better than regret my love. I guess that’s why you’re my ex. You’re so sweet and lovely though, but I don’t like the way you look with him.” I love the fun, retro 70s vibe that calls to mind songs by ABBA, The Sweet and Bay City Rollers.
The guys slow things down on the introspective and melancholy “Battlefield“, a song about a love affair that now lies in ruins: “I live on a battlefield, where love has turned to rust./ You feel abandoned, who’s to blame. Courage is not what you keep, it’s what you give away.” Musical highlight for me are the expressive percussion, bold piano keys, moody sax, soulful organ, and what sounds like a vibraphone. With it’s lively, piano-driven groove, “A Johnny Come Lately” has a catchy ABBA vibe, nicely augmented with Jack’s rousing sax and Tom’s spirited drums. The album’s title comes from the lyrics “I’m flying the flag for you.”
“The Colour In Everything” has a strong Motown vibe, and in fact features a piano riff that sounds a bit like the one in the Four Tops’ classic “I Can’t Help Myself”. Also, what I’m guessing is Jack’s baritone sax gives the such a distinctive Motown sound. The colorful, synth-dominant “Our Town” is a brutally honest homage to the contradictions of the band’s home town, with cheeky lyrics like “Runny noses and ripped wedding gowns, that’s romance in our town. A compliment is a good putdown with a smile in our town.” The song starts off with a pleasing melody, but gradually transitions to a full-blown rocker with edgy guitars, heavy organ riff, aggressive percussion and bold sax, abruptly ending with rapped verses in the final 20 seconds.
The terrific songs just keep on coming. The rousing ska-infused gem “Night Train To London“, with its exuberant Gypsy folk vibe, fortified by Jack’s wailing sax, is pure delight. The guys let loose on the high-energy banger “It’s Not Over Till It’s Over“, unleashing a torrent of driving riffs, stomping rhythms, colorful keyboards, soaring choruses, and more of those great saxophone flourishes. Saving the best for last, the guys channel late 50s rock’n’roll with the wonderfully bluesy “No More Doggin’“. Holy shit, these guys can play just about anything! The combination of bluesy guitars and bass, sultry sax, and that phenomenal honky tonk piano create a dramatic and colorful backdrop for Jonny’s raw vocals oozing with unabashed swagger.
I’m not sure what more I can say about Fly the Flag, other than to keep gushing about how wonderful it is. Just about everything I can think of – the songwriting and lyrics, arrangements, instrumentation, vocals and production values – are perfection, and it’s easily one of the best albums of 2023 so far. Every song is first-rate, with no filler tracks or ones I would even consider skipping over. I love this album and love this band.
Here’s the album on YouTube:
Those fortunate enough to be in the UK can catch Hardwicke Circus at one of their upcoming shows:
ECLECTIC MUSIC LOVER 