Frequent readers of this blog know that over the past year, American pop-rock trio Beach Weather have become one of my favorite bands on the strength of their breezy, melodic sound and charming and colorful personalities. Their music just makes me feel happy! Originally formed in 2015, the band released two excellent EPs, then went on hiatus in 2017. Thankfully, they reformed in early 2022, and now consist of founding members Nick Santino (lead vocals, rhythm guitar) and Reeve Powers (bass, backing vocals), and relative newcomer Sean Silverman (lead guitar). This past March, they released their debut album Pineapple Sunrise, which is so good, I can honestly state that I love every track. The summery title track “Pineapple Sunrise” is my new #1 song this week, becoming the third Beach Weather song to top my Weekly Top 30 chart (the previous were “Sex, Drugs, Etc.” and “Trouble With This Bed”). All their videos are delightful, and the one for “Pineapple Sunrise” is no exception!
In other noteworthy chart developments, “Say Yes To Heaven” by Lana Del Rey advances three spots to #3, “Overrated” by brilliant Canadian artist dwi jumps five spots to #4, and “Call Me What You Like” by British indie rock band Lovejoy leaps six spots to #5. Debuting this week are “Running Out of Time” by American alt-rock band Paramore, at #28, and “When We Were Close” by Jason Isbell and the 400 Unit, at #30.
PINEAPPLE SUNRISE – Beach Weather (2)
THE NARCISSIST – Blur (1)
SAY YES TO HEAVEN – Lana Del Rey (6)
OVERRATED – dwi (9)
CALL ME WHAT YOU LIKE – Lovejoy (11)
PSYCHOS – Jenny Lewis (4)
VAMPIRE – Olivia Rodrigo (5)
WHY – Future Theory (3)
STUCK – 30 Seconds to Mars (7)
PUPPET SHOW – Beck Black (8)
BONES – HEALER (12)
WALK THROUGH THE FIRE – The Frontier (13)
ORBIT – Gooseberry (14)
LAST TIME EVERY TIME FOREVER – Grian Chatten (15)
RESCUE ME – Dirty Heads (10) 20th week on chart
GOOD VIBRATIONS – MISSIO (17)
DAYLIGHT – David Kushner (18)
KISSES – Slowdive (20)
DIAL DRUNK – Noah Kahan (21)
ODYSSEY – Beck & Phoenix (22)
FRANCESCA – Hozier (23)
DAYDREAMS AND ALGORITHMS – Eleanor Collides (24)
CANNONBALLERS – Colony House (25)
FORGIVING TIES – Deer Tick (26)
WHAT WAS I MADE FOR? – Billie Eilish (27)
RESCUED – Foo Fighters (16)
LOVING YOU – Cannons (30)
RUNNING OUT OF TIME – Paramore (N)
ESSENCE – Refeci & Shimmer Johnson (19) 22nd week on chart
WHEN WE WERE CLOSE – Jason Isbell and the 400 Unit (N)
Sheffield, England-based collaborative music project The 23s have had quite a successful 2023 thus far, dropping seven terrific singles over the past seven months. Comprised of singer-songwriter and electronica musician Rob Cohen, singer-songwriter Rob Gurruchaga, and producer Tom Taylor, the enigmatic trio came together remotely during the Covid lockdowns, and decided to form a collaborative music project they named The 23s, after Taylor’s Channel 23 Studio. With their shared love of acts like David Bowie, Peter Gabriel, Blaqk Audio, Gary Numan, Depeche Mode, The Cure, Echo and the Bunnymen and Thomas Dolby, they clicked right from the start, and began working on song demos using analog synthesizers and synth guitars, which they shared across the internet.
Eventually, they gathered in person at Taylor’s Channel 23 Studio to pick their favorites out of the more than 100 demos they’d recorded, finally culling them down to 23 songs. They put their finishing touches and overdubs on the 23 tracks, and decided to release them one at a time, at the rate of one per month over a 23-month period, on the 23rd of each month. All 23 songs will ultimately be released in a full album at the end of the singles run.
They began their monthly parade of single releases a bit behind schedule on February 10th with “Never Be The Same” (which I reviewed), but from their second single on, they’ve remained faithfully on schedule, diligently releasing each successive single on the 23rd. I really like all their singles thus far, and also the fact that no two sound alike. Their music style varies widely with each new release, with some songs having a strong electronic sound, while others are more rock or pop-oriented. The23s have created a Spotify playlist of their songs, to which each successive new single will be added as they’re released. To hear all their songs that will be included on the forthcoming album, click on this link:
Their latest single, which dropped August 23rd, is “My Kinda Girl“, an incredibly pleasing love song with a wonderful 60s vibe. About the song, the band explains: “Originally recorded on 4 tracks, ‘My Kinda Girl’ was a very rough idea by Rob. This was then pulled apart in the studio, and lush strings with a very art school Carnaby Street London 60s vibe was pulled from the original idea and fleshed out, with the production skills and additional ideas added by band mates Tom & Rob. You can almost taste & smell the 60s floating throughout this track! We’re all very pleased with how it eventually grew into itself and became the final version.“
Everything about the song is perfect – the breezy melody, irresistible toe-tapping beat, dreamy synths, soothing keyboards and beautiful twangy guitars. But the highlight for me are Rob’s sensuous, multi-faceted vocals – which have never sounded better – as he sings his praises to a woman who’s captured his heart and mind: “You’re the kinda girl. Sticks in my world. You’re the kinda girl that sticks in my mind. There’s never been a decision made that was always right. There’s never been a right time. Don’t you know it’s true.”
I love “My Kinda Girl”, and it’s my new favorite out of all seven songs they’ve released thus far.
Toronto, Canada-based Loveproof is a collaborative music project formed in 2013 by singer-songwriter and guitarist Ciaran Megahey and multi-instrumentalist & producer Brendan McGarvey. The two originally met in high school and formed a short-lived band, but eventually went their own ways. Ciaran is also a member of Canadian indie band The Autumn Stones (whose music I previously featured on this blog in 2016 and 2018).
After reconnecting in 2013, they began writing songs inspired by their shared love of bands like Joy Division, Guided by Voices and My Bloody Valentine, and soon had a collection of dark and fascinating songs on their hands. Describing their sound as “dreamy, dubby doom pop,” the duo named their project Loveproof, in honor of the My Bloody Valentine classic “Loveless.” In December, 2017, they released their debut album Neon Blood, Volume One, which I reviewed the following March. My, how time does fly by!
The duo then decided to assemble a full band so they could perform their songs in front of live audiences, enlisting Brendan’s brother Chris McGarvey on guitar and Joey Proulx on drums. In January 2020, they released a New Order-esque re-imagining of the Joy Division classic song “Wilderness”. Now they’re back with a new EP Winter’s Children, their first release of new original music in six years.
After listening to the EP, I can state that it was well worth the wait. Combining elements of dream pop, indie rock, and dub with a dark gothic sensibility, Loveproof have crafted four utterly captivating songs. For their recording, Ciaran sang vocals and Brendan played and programmed all instruments. I love Ciaran’s sensuous vocal style that reminds me at times of Bryan Ferry, so it’s a treat hearing him sing again.
The EP opens with “A Song is Not Enough“, a bewitching track that channels the best of Joy Division and Depeche Mode. I love Brendan’s mysterious dreamy synths and sharp percussive notes built over a sensuous pulsating beat, accompanied by Ciaran’s ethereal sultry vocals as he softly croons “A song is not enough to break this spell.“
Equally bewitching is “Spires“, a glorious chillwave gem with icy synths layered over a sensuous bass-driven dub groove, and punctuated by emphatic percussive beats. Ciaran’s breathy croons are enchanting as he sings from the perspective of someone grasping for something solid to hold on to amid all the chaos and uncertainty. “In a world full of darkness, you said ‘the truth is coming’, and you howled to the mountains and you tore their lies asunder. With time, with faith, your spires to the heavens shine, and love will light our way.” The beautiful video created for the track features images of Loveproof performing the song interspersed with scenes of Toronto and various animals in their natural settings.
On the enchanting but bittersweet “Even the Stars“, Ciaran softly laments over a lost love: “Come back to me, Scarlet Rose / Everything good dies here, even the stars.” A highlight of this track for me are Brendan’s beautiful chiming guitar notes.
The final track “Young Lords” addresses the political polarization of modern society. Ciaran elaborates: “Not really making any political judgments, but just noticing the religious character of people’s political identities today. The phrase ‘Young Lords’ is actually the name of a far left organization that I believe still exists today. I’m just using it as a metaphor for political militancy/extremism though. I read a book that mentioned them a long time ago and I remember really liking the name, as it sounds really poetic. I don’t really know much about them specifically though. So, I guess I am just lamenting how that polarization seems to have made it difficult for people to see each other’s humanity. It seems to have coarsened public life.” “Young lords colliding. Used to be a mountain, used to be a king, hungry as a lion’s heart. Used to be a master, used to hear you sing, thundering the soul apart. Goodnight my heart, goodnight my love.” I’m sounding like a broken record as I continually use the word ‘sensuous’, but the track’s languid dub groove is overflowing with it, enhanced by Brendan’s lush, moody synths and throbbing bass.
Although its four tracks are decidedly melancholy, with less than happy subject matter, Winter’s Children is nevertheless a stunning and flawlessly-crafted work that makes for an enjoyable listen. If you’re a fan of 80s-inspired darkwave and electro-pop, as well as ethereal sultry vocals, you will like this EP. It’s good to have Loveproof back!
“The Narcissist” by British rock band Blur maintains its grip on the #1 spot for a second week on my latest Top 30, while American pop-rock trio Beach Weather slide into second place with their charming “Pineapple Sunrise”. Entering the top 10 are the deliriously zany “Overrated” by Canadian singer-songwriter dwi, at #9, and “Rescue Me” by L.A. ska band Dirty Heads, re-entering at #10 after spending two weeks at #12. The song peaked at #3 a month ago on my chart, and is currently #1 on the Billboard Alternative Airplay chart. The biggest upward mover this week is “Call Me What You Like” by British indie rock band Lovejoy, jumping six spots to #11.
Two beautiful songs make their debut this week; the first is the ethereal “What Was I Made For?” by Billie Eilish, which enters at #27. Written by Eilish and her brother Finneas for the motion picture Barbie, the melancholy but hopeful song has already topped the music charts in the UK, Australia, Ireland and Switzerland. The second new entry is the captivating “Loving You” by L.A. dream pop band Cannons, at #30. I can’t believe it’s nearly been a year since I saw them in concert.
THE NARCISSIST – Blur (1)
PINEAPPLE SUNRISE – Beach Weather (3)
WHY – Future Theory (2)
PSYCHOS – Jenny Lewis (4)
VAMPIRE – Olivia Rodrigo (5)
SAY YES TO HEAVEN – Lana Del Rey (6)
STUCK – 30 Seconds to Mars (7)
PUPPET SHOW – Beck Black (8)
OVERRATED – dwi (11)
RESCUE ME – Dirty Heads (12)
CALL ME WHAT YOU LIKE – Lovejoy (17)
BONES – HEALER (13)
WALK THROUGH THE FIRE – The Frontier (14)
ORBIT – Gooseberry (15)
LAST TIME EVERY TIME FOREVER – Grian Chatten (16)
RESCUED – Foo Fighters (10)
GOOD VIBRATIONS – MISSIO (19)
DAYLIGHT – David Kushner (20)
ESSENCE – Refeci & Shimmer Johnson (9) 21st week on chart
KISSES – Slowdive (22)
DIAL DRUNK – Noah Kahan (23)
ODYSSEY – Beck & Phoenix (24)
FRANCESCA – Hozier (25)
DAYDREAMS AND ALGORITHMS – Eleanor Collides (27)
CANNONBALLERS – Colony House (29)
FORGIVING TIES – Deer Tick (30)
WHAT WAS I MADE FOR? – Billie Eilish (N)
LEAVING – Au Gres (18)
NOT STRONG ENOUGH – boygenius (21) 21st week on chart
When I wrote about the wonderful collaborative duo The Star Crumbles and their new album a few days ago, I commented that in the music industry, two heads are often better than one. Today I have another shining example of that in the form of the latest collaborative single “Dreaming” by Atlanta-based rock act Drawing on Scars and Johannesburg, South Africa-based singer-songwriter Jodie Reid.
Drawing on Scars is the music project of songwriter and multi-instrumentalist Will Thacker, who for more than a decade has collaborated with singer-songwriters from across the U.S. and beyond in the creation of dramatic and edgy alternative rock songs. Will writes and performs all the music, while the different vocalists write the lyrics, which they then interpret in their own distinct vocal style. Jodie Reid is a prolific artist who’s released four solo albums since 2019. The two began collaborating by long distance in 2020, and together have recorded and released several singles, all of which were included in their terrific debut album A Bridge Across the Sea, which they released last September (you can read my review here). Now they’ve teamed up again to create their new single “Dreaming”, which dropped August 11th.
The song storms through the gates with a roiling onslaught of gnarly riffs and slapping drums, which are soon joined by melodic guitar and Jodie’s emphatic lilting vocals that remind me at times of Paramore’s Hayley Williams. The music settles down in the verses, allowing Will’s shimmery guitar notes to really shine, only to ramp back up in the choruses, Will’s furious guitars raging as Jodie passionately sings of trying to run away from her problems: “And off I go into the hills. Grab my soul and leave them. Far away mirror escape at night so I can’t see them. And all the voices in my brain won’t sing if I can’t keep them safe. Reality is slipping, please wake up I’m dreaming.”
“Dreaming” is another stellar rock song by this talented and dynamic dream team, and I’m glad they’re continuing to create music together.
Joe Peacock is a British singer-songwriter and musician based in Birmingham, England. Describing himself as “a genre-hopping storyteller, whose music has been compared to Bowie, Blur and Costello”, he cheekily adds “all money from the digital sales of my music go into paying producers/mixing & mastering engineers.” As I do for all music artists or bands I’m writing about for the first time, I read all I could find about him on his own social media pages, as well as other websites and blogs, and listened to a fair amount of his substantial music catalog. In the process, I learned that he grew up in rural Herefordshire, went to university in Stoke, and spent seven years living in St. Petersburg, Russia before settling in Birmingham. Not only is he a hard-working and talented songwriter and musician who’s not afraid to continually experiment and push himself beyond his comfort zone, but also a thoughtful family man who cares deeply about the environment, social justice and inequality, things he spoke passionately about in a January 2022 interview with COOLTOP20 music blog.
According to his bio, Mr. Peacock rediscovered his creative spark during the Covid lockdowns, and began writing and recording songs at home, handling all aspects of performance and recording. From what I can tell, the prolific artist has released a tremendous amount of music in less than three years, including three albums – I’m Only Here, in April 2021, Before the robots told us where to go, in December 2021, and Mirror Neuron Generator, in July 2022 – as well as two EPs and numerous singles. In addition, he’s also one half of art-folk duo The Missed Trees, his side project with singer/fiddle player Louisa Davies-Foley, who released their three-track EP Animals in April. Now he’s back with a new EP The curse of the mind, featuring four marvelous tracks written, performed and recorded by him, and beautifully mixed and mastered by Adam Whittaker.
The first track, “Thought Camera“, is a magnificent and complex tour de force that, to my ears, sounds like David Bowie singing a Radiohead song that was arranged by Pink Floyd. Incorporating elements of alternative, progressive and dream rock with a stirring orchestral arrangement, Peacock creates a gorgeous cinematic fantasia. His dramatic instrumentation, particularly the haunting piano notes, soaring strings, gnarly guitars and tumultuous percussion, are truly spectacular.
The searing lyrics explore aspects of privacy and mind-control, which he elaborated on in a Tumblr post: “it’s about privacy and the desires by the powerful to monetise our thoughts. Nikola Tesla had an idea for a thought camera, which would project our thoughts onto a wall. Now social media is big business – monetising our anger from us posting our thoughts online. I wonder why Elon Musk is so keen to throw money at Twitter – he named his car company after Tesla, so does he want to use that to help control our thoughts?” He sings “Could we light the world up with the electricity generated by your hatred? /These electrical impulses should be put to use! How will we know if this is all an illusion? You can think deeply and be quite insane. Are there signs we should look out for? Mr. Orwell might be quite amazed by the surveillance, but we still don’t have a mind-reading machine. So I can make sense of your world, I need the thought camera that Nikola dreamed of.“
On “Poltergeist“, which Peacock states was inspired by The Haunting of Alma Fielding, a book by Kate Summerscale that explores a case where a woman reported being haunted by a poltergeist, as well as what he calls “a few bits of personal experience on exploring the supernatural at an impressionable age and (probably unrelated) psychological problems”, he touches on mental health issues: “Scaring everyone like a poltergeist. Have you opened the door into another mind? Can you tell me what’s wrong?” As the title suggests, the song has a haunting quality, yet Peacock employs some melodic touches like a breezy melody, soothing orchestral strings, warbly guitar notes and falsetto vocals to lighten the mood a bit.
He addresses brainwashing and thought-control by authoritarian regimes on “Cult of fake heroes“, using the Soviet Union as an example. He further explains on his Tumblr post: “I use the story of Pavlik Morozov, who, according to the propaganda of the time, informed on his father for anti-communist activities and was a model soviet citizen brutally murdered by others in his family for what he’d done. His story was then told by Stalin’s regime (despite the dictator being scathing of him when he initially heard the story) to inspire others to inform on family, friends and neighbours during the red terror and he inspired patriotism in pioneers and schoolchildren.” He expresses this story thusly: “Every school kid learned his name. The storyline was powerful. At the time they needed heroes. From a village in Siberia got his dad into trouble. Murdered and made an icon.”
I love the track’s intense jangly guitars and emphatic drumbeats, punctuated by stabbing rhythmic flourishes, which Peacock created using an odd 5/4 time signature, which he said gives it a slightly strange, unbalanced feel.
“The Outsider“, which Peacock says is about the outside artist Henry Darger, is for me the most unusual track on the EP, both from a musical and lyrical standpoint. He elaborates about the artist on Tumblr: “He suffered traumatic events in his childhood, which affected his ability to interact with people. He had very few friends and mainly kept himself to himself, working as a janitor and then locking himself away in his room. It was not until he became very ill and was moved into a hospice that his artworks and graphic novels were discovered. He’s acknowledged as the archetypal outsider artist.” He tells Darger’s story with his colorful descriptive lyrics: “15,000 pages of fantasy, in the realms of the unreal. 9-foot-long drawings on both sides, his panoramic sagas. Emotionally arrested, he didn’t know what to do with freedom. He wrote about the weather, when not in fantastic battles in his mind.”
To create the unsettling but darkly beautiful soundscape, he used fragments of guitar parts he chopped up and then put back together. He layers them over a droning melody, accompanied by harsh industrial synths, chiming guitar notes and a strong synth bass groove. That, combined with his array of echoed vocals, otherworldly chants of “ah-bah-suh-duh”, and menacing whispers, the song would be a perfect fit for the musical Sweeney Todd: The Demon Barber of Fleet Street.
Given it’s rather unusual song structures, creative arrangements and unique instrumentation, it took a couple of listens for me to fully appreciate the magnificence of this remarkable EP. With The curse of the mind, Joe Peacock has pushed himself to create an exquisite piece of musical art, and I’m so happy he reached out to me about it!
That Hidden Promise is the music project of British singer-songwriter and multi-instrumentalist Wayne Lee, who’s been recording and performing under that moniker since 2011. Now based in Bristol, England, the talented and versatile fellow writes, records and produces all his songs, plays acoustic and electric guitar, and creates all his own music, including beats and percussion. He’s produced an extensive catalog of outstanding alternative and pop-rock music over the past 12 years, often incorporating blues, post-punk, folk, electronic, psychedelic and shoegaze elements into the mix. The result is a varied and eclectic sound, delivered with exceptional guitar work and distinctive, gravelly vocals that remind me at times of a young Bob Dylan.
I’ve featured That Hidden Promise on this blog a number of times over the last six years, most recently in October 2020 when I reviewed his brilliant album Who Knows Now? This past April, he released Pre THP – Vaults: 2001-2008 Vol. 1, an album featuring eleven older tracks Lee wrote in the years prior to launching That Hidden Promise. Now he returns with a powerful new single “Some Days (I Just can’t stand)“, the first track from his forthcoming album A New Horizon, due for release later this year.
The song is a diatribe against the seemingly endless stream of bullshit bombarding us these days, whether it be from corrupt politicians, the media, duplicitous people, or just the everyday hassles of life, leaving us feeling beaten down and sucking the joy out of our lives. To drive home his message, Lee starts off with a terrific thumping bassline and drumbeat, then unleashes a reverb-soaked onslaught of roiling jagged riffs, pummeling bass and explosive percussion lasting five and a half minutes. He shreds his guitar with abandon, serving up some blistering solos later in the second half of the song that send shivers down my spine. Yet despite the music’s ferocity, there’s much melodic beauty to be found in his intricate guitar work. He’s a true guitar virtuoso, and I think this is one of his heaviest and best songs ever!
Lee doesn’t have a particularly powerful singing voice, but he more than rises to the occasion here, venting his spleen with an emphatic fervor as he bitterly snarls “Everybody’s just shouting but who’s to know? Bring me life, bring me death, bring me something, that makes more sense. Woah. Heal me, release me. Give me all the things I want but can’t….get. Hold me up, cos some days, I just can’t stand!” And I just love his little “woahs” sprinkled throughout the track, injecting a bit of levity into the otherwise intense proceedings.
There’s an old saying that “two heads are better than one”, and while it might not always be true, I’ve found that when it comes to music, collaborations involving two different musicians from different backgrounds often leads to greater energy and creativity. Such is the case with The Star Crumbles, a musical collaboration between singer-songwriter Brian Lambert, who’s based in Denton, Texas, and singer-songwriter and multi-instrumentalist Marc Schuster, who lives in suburban Philadelphia. (Brian, who self identifies as “Your Friendly Neighborhood Rock And Roller”, affectionately calls The Star Crumbles his “love child” with Marc.) Now don’t get me wrong, each is a prolific and talented songwriter and musician in his own right, putting out catchy songs with thoughtful lyrics. But the songs they create together are some of my favorite music by them.
Last October, the Star Crumbles released their debut album The Ghost of Dancing Slow, a brilliant work inspired by some of the 80s artists and music they love. In my review of the album, I provided quite a bit of background info on Brian and Marc, but will reiterate a few important facts about each of them here for context.
Brian is a prolific artist who’s been writing and recording music for many years, and says he’s “reinvented himself more times than he can count.” In early 2021, he challenged himself to writing, recording and producing a new song every week for an entire year, which he accomplished, and now has an incredible body of work to his credit. He just released his latest album Auto Matic Im Perfect on August 4th. Marc is an insanely creative renaissance man, who counts among his many talents being an educator, author, literary critic, songwriter and musician – both as a solo artist and as part of numerous music projects and collaborations, visual artist, blogger (he has a terrific WordPress blog called Abominations), and host of the weekly online radio program Tweetcore Radio Hour.
Brian Lambert & Marc Schuster
Now the dynamic duo are back with their second album The Stars That Shine, which dropped August 8th, just four days after Lambert released his solo album. I said he was a prolific artist! This album showcases their ongoing exploration and growth as musicians and songwriters, continuing to push themselves beyond their comfort zones. Brian elaborates: “When we started the process of the album, Marc and I discussed this theme of new beginnings and really letting go of the past to become who you actually are. Thematically it’s probably best surmised in “Brand New Sunrise.” I wrestled with it for a couple of months while trying to make sense of where things were shaping up with the rest of the great music Marc was sending me. I felt like I had to really bring something that pushed me to areas where I was uncomfortable. The scope and grandeur of the music Marc was sending me demanded that I dig and find something in myself that was a mystery even to myself. What I love about the Star Crumbles is how this interaction with the “other” in the form of a piece of music allows me to redefine my own boundaries and shed them. Musically I’m just blown away and of all the things that I have a hand in, it’s the one that I listen to for pure enjoyment. I’m very proud of the work that Marc and I have done.“
They kick things off with “Get What You Are“, which was released in March as the album’s lead single. Brian wrote the lyrics, while both of them had a hand in writing the music. While the song has a somewhat dark and eerie vibe, with intricate guitar notes layered over a droning melody and mysterious echoed synths, the lyrics are more hopeful. Brian urges us to find our true selves in order to live a better, more fulfilling life: “You’ve got this time on your hands, feel it slipping away. You always hurt, live for today. You get what you want, when you get what you are.“
The guys channel Depeche Mode on “My Own Hands“, a terrific electronic gem featuring a contrasting mix of gnarly and swirling industrial synths that add drama and texture to the track. Marc noted how his and Brian’s collaboration really paid off in the track’s development: “There’s a little “whoosh” right before the chorus kicks in. It wasn’t there when I recorded the initial backing track, but Brian wanted a little bit of breathing room between the verse and the chorus. It took me a day or so to figure out how to do it, but I feel like that extra measure really does a nice job of letting Brian’s vocal shine when it comes back in.“
“Radio” is a fascinating spoken-word interlude in which Brian muses about all the songs floating around out there, which is followed by the trippy instrumental electronic track “Eat Your Vegetables“. Brian remarked that he and Marc had been talking about Brian Eno and experimental music, which led him to do his “best jazz daredevil over super cool bedrock of sound.”
One of my favorite tracks on the album is “What I’ve Become“, a haunting synth-driven beauty highlighted by Marc’s simple but arresting piano riff. Brian’s languid, melancholy vocals here are some of the best I’ve heard by him as he contemplates ridding himself of dark and negative thoughts that held him back: “I had a feeling, my feeling go away, and now that’s it’s gone, I’m happy here to stay. I let go of loneliness that always tortured me. The gloom and the darkness penetrating all I see.”
On the timely and relevant “Don’t Wanna Be Angry Anymore“, Brian calls out the constant anger that seems to permeate society today, with people on both sides of the political spectrum railing about one thing or another, always at war with each other: “It’s always something else, a brand new travesty. Conspiracies I do not see, and you just seethe and shout. And I don’t wanna be angry any more. I don’t even know what we’re fighting for. Can you tell me how you’re keeping score, because I don’t wanna be angry anymore.”
Those who follow Brian on social media know him to be a thoughtful guy who frequently poses questions about the music industry, our culture, emotional well-being, and life in general. The second spoken-word interlude “Space” is a great example of this, where he ponders the impact of spaces between scenes in a film or between tracks on a record. Next up is the upbeat and catchy song “Brand New Sunrise“, where he sings of seeing things with a new, more positive outlook. “Now I see the look in your eyes, I’m waking up to a brand new sunrise. I didn’t know we could be so much more than we thought we’d be.”
Continuing on a positive note, the delightful “Quiet Wonderful Day” celebrates the simple joys of everyday moments spent with a loved one: “Silent smiles we sit there blissfully, nothing that we need to say. In the park, holding hands on a quiet wonderful day.” I love the bouncy melody, lighthearted synths and Marc’s breezy piano chords, all of which make this another one of my favorites. On “See You Want You“, Brian confides to someone he’s besotted with of his clear-eyed adoration: “I see you and I want you, exactly for who you are.”
“Read My Mind” is a fast-paced, spacey synthpop song with a melody that sounds a lot like Semisonic’s 1998 classic “Closing Time”, and while I like it well enough, for me it’s the weakest track on the album. The lyrics seem to speak of feeling fulfilled and at peace with oneself: “If you could read my mind you would know that I am done trying to fill in the holes./I am here, feeling whole.” Closing track “You Are Much More” seems to question our beliefs that form the basis of our worldview: “Are stories you tell, what you believe? Is what you’re giving, what you receive? Do memories make meanings that hold us in place? …searching for answers in the thoughts between space. Won’t you come with me. We’ll see all we can see.” I like the nifty bassline, reverb-soaked fuzzy guitar notes and crisp drumbeats that give the song an urgent, fascinating vibe.
With The Stars That Shine, The Star Crumbles have crafted another stellar album for our listening pleasure. I love these guys, and trust we’ll be hearing much more great music from them in the months and years to come!
Formed in 1988, British rock band Blur went on to become one of the most successful bands of the 1990s, releasing six albums in that decade alone. They were far more popular in the UK than in the U.S., and though a few of their singles made the top 10 on the Billboard Alternative chart, I’m embarrassed to admit that I never heard of them until only a few years ago. Over the course of their career, they’ve released nine studio albums (seven of which reached #1 in the UK), five live albums, five compilation albums, one remix album, four EPs, 35 singles, 10 promotional singles and 37 music videos.
Though they disbanded in 2003, reunited in 2009, then went on a hiatus in 2015 that lasted seven years, Blur has always consisted of their original lineup of singer-songwriter Damon Albarn, guitarist Graham Coxon, bassist Alex James and drummer Dave Rowntree. Their sound started out as a blend of Madchester (a musical and cultural scene that developed in Manchester in the late 1980s) and shoegaze, evidenced by their debut album Leisure, but for their next three albums, they transitioned to Britpop, a style influenced by English guitar pop acts like the Kinks, the Beatles and XTC. Their self-titled fifth album Blur, released in 1997, saw another stylistic shift toward the lo-fi styles of American indie rock groups, whereas their sixth album 13 (1999) saw them experimenting with electronic and gospel music. Their seventh album Think Tank (2003) continued their experimentation with electronic sounds and was shaped by Albarn’s growing interest in hip hop and world music. After they disbanded, he focused on his very successful virtual band Gorillaz, which he’d created in 1998 and with whom he would release eight studio albums, three compilation albums, 11 EPs, one remix album, and 46 singles. (Gorillaz’ recent single “New Gold”, a wonderful collaboration with Tame Impala and Bootie Brown, spent three weeks at #1 on my Weekly Top 30 earlier this year,)
After Blur reunited in 2009, they released a series of live albums in quick succession, but it wasn’t until 2015 that they would release a new studio album The Magic Whip, which went to #1 in the UK, and became their highest-charting album in the U.S., peaking at #24 on the Billboard 200 Album chart. The band went on yet another hiatus after touring for The Magic Whip, only to reunite for a second time in 2022. They went on to record their ninth album The Ballad of Darren, which they released on July 21. The album’s beautiful lead single “The Narcissist”, which Albarn describes as “an aftershock record, a reflection and comment on where we find ourselves now“, is my new #1 song this week.
Two fine songs make their debut this week: “Cannonballers” by Tennessee-based indie rock four-piece Colony House, at #29, and “Forgiving Ties” by Rhode Island-based alternative rock-folk band Deer Tick, at #30. It’s the first appearance on my Weekly Top 30 for both bands.
THE NARCISSIST – Blur (2)
WHY – Future Theory (1)
PINEAPPLE SUNRISE – Beach Weather (3)
PSYCHOS – Jenny Lewis (6)
VAMPIRE – Olivia Rodrigo (7)
SAY YES TO HEAVEN – Lana Del Rey (8)
STUCK – 30 Seconds to Mars (9)
PUPPET SHOW – Beck Black (10)
ESSENCE – Refeci & Shimmer Johnson (3)
RESCUED – Foo Fighters (4)
OVERRATED – dwi (14)
RESCUE ME – Dirty Heads (12)
BONES – HEALER (15)
WALK THROUGH THE FIRE – The Frontier (16)
ORBIT – Gooseberry (17)
LAST TIME EVERY TIME FOREVER – Grian Chatten (18)
CALL ME WHAT YOU LIKE – Lovejoy (19)
LEAVING – Au Gres (11)
GOOD VIBRATIONS – MISSIO (22)
DAYLIGHT – David Kushner (23)
NOT STRONG ENOUGH – boygenius (13) 20th week on chart
KISSES – Slowdive (26)
DIAL DRUNK – Noah Kahan (27)
ODYSSEY – Beck & Phoenix (28)
FRANCESCA – Hozier (29)
WE’RE ALL GONNA DIE – Joy Oladokun & Noah Kahan (20)
VEER is a hard rock band based in the historic and charming Maryland capital of Annapolis. Formed in 2016, the band consists of brothers Ronald (vocals and guitar) and Jon (drums) Malfi, Ryan Fowler (lead guitar), and Christian Mathis (bass). They hit their stride in 2018 with the release of their debut album Apocalyptic, Baby, which made the Amazon Top 100 Rock Albums list. That same year, they won a Maryland Music Award for Best Rock Band, then went on to win Best Rock Song for their 2017 debut single, “Come Clean,” by the World Songwriting Awards, an international organization that promotes and recognizes songwriting in various genres throughout 129 countries around the globe. They’ve had the pleasure of opening for such acts as Buckcherry, Sponge, Fuel, Puddle of Mudd, Trapt and 40 Below Summer, and their aggressive and melodic style of rock and riveting live performances have earned them a loyal following throughout the mid-Atlantic region
The band followed Apocalyptic, Baby with a four-track EP Shut Up and Breathe in 2019, then two excellent singles – “Red Tide” in December 2020 and “Science” in November 2021 both of which I reviewed. (Those reviews can be found in the “Related” links at the end of this post.) On July 22nd, they dropped their long-awaited second album Soft Machines, featuring 12 tracks, including “Red Tide” and “Science”. It’s a solid work with no throwaway songs, but to keep this review from running on too long, I’ll touch on my favorites.
“Science” kicks off the album in a big way, with super gnarly psychedelic guitar riffs layered over an otherworldly backdrop of spacey undulating synths, throbbing bass and thunderous drums, all of which create a rather unsettling mood appropriate to the title. Band vocalist Ronald says “‘Science’ is about fact versus fiction, hard science versus fantasy.” The beautifully executed and surreal video, created by band drummer Jon, has a futuristic, space-themed feel, in keeping with the song’s subject matter.
“Red Tide” has a moody, grunge undercurrent that gives it somewhat of an early Pearl Jam vibe, with a touch of Creed thrown in for good measure. The instrumentals are fantastic, with layers of intense gnarly guitars over a fuzz-coated shimmery riff that serves as the basis for the song’s ominous melody. Christian lays down a throbbing bass line in perfect accompaniment with Ryan’s moody riff, while Jon fervently attacks his drum kit, pounding out the powerful rhythm with impeccable timing. As to the song’s meaning, Ronald said it’s about “the repetitive nature of human beings, continually making the same mistakes over and over—be it in society in general or our personal lives.” The album’s title is taken from a lyric in the song: “Welcome, all you kings and queens, you soft machines!” His raw, impassioned vocals convey a strong sense of exasperation as he wails the refrain “I’ve been here before“.
VEER’s skill for writing catchy and beautiful melodies is showcased on “Photograph“, a poignant song that has Ronald lamenting about a broken relationship and his past mistakes: “When I stop, look back on the pieces, these broken shards seem to light the way. Cause I remember your photograph, you kept it with mine. And I remember how we both looked back, it was a matter of time. I’ll bide my crime.” I love the strong driving rhythms, gritty guitars and Ronald’s wonderful plaintive vocals. And on the superb rock ballad “Carry On“, they inject a healthy dose of Americana into the mix to create an arresting and beautiful song. Ronald nearly breaks our hearts as he pleads “Well I’m on my knees, beggin’ please don’t go. Well I’m on my knees, beggin’ please come home. Still we carry on.”
“Overcome” is a dark and stunning grunge song that seems to touch on survival in the face of adversity: “I will lose my mind, I will lose my mind out there. In time, overcome.” Ryan and Ronald’s dual jagged guitar riffs, layered over a deep chugging rhythm, are a thing of wonder. The guys keep the dark, grungy vibes going strong on “A New Place (Pretty Loser)“. I love the haunting and cinematic feel of this song.
Arguably one of the standouts on Soft Machines, “Figure it Out” is a magnificent rock song, with a glorious mix of shimmery guitars and raging riffs over a powerful foundation of throbbing bass and pummeling drums. To my ears, the song has a discernable Shinedown feel, and in fact, Ronald’s vocals even sound like Shinedown front man Brent Smith, especially in the chorus when he yells “Breathe out, when you’ve gotta find a reason to learn“. The guys serve up another generous helping of grungy vibes on the anthemic closing track “Keep it Good“, where they pull out all the stops to showcase their impressive musical talents. Running nearly six minutes, the song is a tour de force of intricate gnarly riffs, buzzing bass and smashing drums, making for a satisfying end to an outstanding album.
ECLECTIC MUSIC LOVER 