New Song of the Week – EXPRESS OFFICE PORTICO: “Mishmesh”

Six months ago, I reviewed the marvelous debut single “I Like It Weird” by British synth-pop band Express Office Portico (which you can read here). Formed in early 2020 and named after the entrance to an old newspaper distribution office in the center of Nottingham, Express Office Portico consists of Tara Freeman (lead vocals, keyboards), Billy Townsend (lead vocals, keyboards), Reuben Tobolewski (guitar), Ben Phipps (bass) and Olly Walton (drums). Now the talented five-piece are back with a gorgeous new single “Mishmesh“, which I’ve chosen as my New Song of the Week.

The band states “Mishmesh” (whose title means a collection or mixture of unrelated things) explores the dangers of alcohol dependency, and how our coping mechanisms and compulsive tendencies can manifest themselves in toxic habits. To drive home their message, the band starts with a rapid, pulsating synth line, then adds deep bass and punchy drumbeats to produce a powerful hypnotic groove that quickly draws us in. Soon, the song expands with lush swirling synths and gorgeous layers of chiming and jangly guitars, creating a hauntingly beautiful backdrop for Tara and Billy’s stunning vocal harmonies. The song is really breathtaking, and I’m blown away by the bandmembers’ exceptional musicianship.

Barring any changes, those of you in the UK can catch Express Office Portico at one of these upcoming shows:

Friday, August 6 - Chameleon Arts Cafe, Nottingham, w/Oliver Marson & Ben Bickley
Thursday, August 12 - The Lexington, London, w/Oliver Marson & Conspirators
Thursday, August 28 - The Bodega, Nottingham, w/Swim School, Scuttlers & Grayce

Follow Express Office Portico:  Facebook / Twitter / Instagram

Stream I Like it Weird on Spotify / Apple Music / Soundcloud

Purchase on Amazon

VICIOUS ROOSTER – Single Review: “About A Revolution”

Vicious Rooster is the music project of Argentine-born and now Los Angeles-based singer-songwriter, musician and producer Juan Abella. Drawing inspiration from some of his favorite bands like Led Zeppelin, The Black Crowes, Guns’n’Roses and Alice in Chains, his music is a rousing blend of classic and Southern rock, folk, blues and grunge. Both his guitar playing and vocals sound like he’s from Nashville or Austin, rather than Argentina.

Juan’s had a love of music since his childhood growing up in Argentina, where he began learning to play guitar at the age of ten. In 2016, he left his business career behind and relocated to Los Angeles to pursue his dream of becoming a musician and study music business at the renowned Musicians Institute in Hollywood. Using songs he’d previously written about his experiences of feeling lost during the transition from his past life to his move to L.A., as well as some new compositions, he released his debut album The Darkest Light in 2017, an ambitious and impressive work featuring 12 tracks and running over an hour in length. After a three-year hiatus, he returned in August 2020 with a darkly beautiful Southern rock single “The Moon is Dancing”, then followed three months later with the powerful bluesy rocker “Something Goin’ On”. (You can read my reviews of both singles by clicking on the ‘Related’ links at the end of this post.)

Now Vicious Rooster returns with a new single “About A Revolution“, which he describes as “a cosmic introspective ride that encourages listeners to reinvent themselves and gather the strength to achieve their dreams.” He further elaborates: “Just like for many people, the pandemic allowed me to reconnect with songs and emotions that had remained dormant. There were no excuses for not paying attention to them and the time has come to give them the shine they deserve. ‘About A Revolution’ was part of a group of songs that I recorded in 2015 that had never seen the light until now.”

The song is a rousing Southern Rock banger, and once again, Vicious Rooster lives up to his moniker, delivering an electrifying barrage of scorching bluesy riffs guaranteed to raise the hairs on the back of your neck. He’s an amazing guitarist, coaxing an intricate array of lush and powerful sounds from his six-string that are truly mind-blowing. Also worth noting are the wonderful organ at the beginning of the song, as well as the outstanding percussion throughout. Juan’s colorful, emotive vocals are great too, rising and falling in perfect sync with the intensity of the instrumentals.

The lyrics essentially describe his own personal life-changing decision to leave his past life in Argentina behind and pursue his music dreams in L.A.:

Break your chains and start again
You know how hard it can be
When you feel nothing is real
Find a way to keep you strong
Your constant effort will pay off
It'll take some time to see
But in the end you'll get where you want to be

You've moved on, you're leaving your past behind
Don't look back, there's nothing there worth to find
Just focus on the way you want to go
And stay away from things that hurt your soul
Keep reaching for the dream you're fighting for

“About A Revolution” is a great song, and another superb single that further establishes Vicious Rooster as a rock star on the rise.

Follow Vicious Rooster on Facebook / Twitter / Instagram

Stream his music:  Spotify / Apple Music / Soundcloud

Purchase:  Bandcamp / Amazon 

REVERSELS – Album Review: “LaSabre”

As EclecticMusicLover, I’m always on the lookout for artists who push boundaries and venture outside the mainstream in the creation of their music and/or identity. Furthermore, as a gay man, it warms my heart to discover LGBTQ+ artists who not only have the courage and fortitude to put themselves out there, but also make music that’s really good. With that in mind, I was pleased to learn about queer doom pop band Reversels when their publicist reached out to me about them and their new album LaSabre, which dropped July 23rd.

Based in beautiful Asheville, North Carolina, Reversels consists of Frankie ‘Pretty Boy’ Floyd (vocals, keys and synths) and Story (vocals and guitar). Frankie is a classically trained pianist who previously toured as part of the rock band The Winter Sounds, as well as performing in churches, burlesque shows and on children’s programs. Story has performed in a variety of genres with numerous bands, including dark western with Death & the Reverend, post rock with From the North, and art punk with Minge. As Reversels, the two create dramatic, genre-bending electronica music awash with alternative, goth, darkwave, psychedelic, industrial, pop and rock’n’roll elements. Frankie identifies as transmasc (they/him), and Story identifies as non-binary (they/them). The two met at a burlesque after-party in late 2017, and bonded over their love of music and shared experiences of having both been raised in different cults.

Frankie grew up in a fundamentalist religious cult that glorified limitless procreation, and pressured fathers to have vasectomy reversals. The children born after these procedures were reversed became singers in the leader’s “Reversal Choir,” and were told they owed their existence to him. Frankie elaborates: “Homemade dresses, homeschooling, the exclusion of all music but classical and hymns, and glorification of the patriarchy are some of [the cult’s] defining features. Also, the teaching that it’s a sin to *not* have as many children as one can possibly have. The cult leader, Bill Gothard, taught that anyone who had had a vasectomy was called by God to have it surgically reversed and bear more children into infinity. This led to many large families with a dozen or more similarly-named and dressed children. This also led to my little sister, seven years younger than I, and now one of my best friends. During the cult’s annual gathering, cult families amassed in their matching navy and white homemade clothes to hear the cult leader spout misogynistic, authoritarian rhetoric. We also all took our seats in that large stadium, once a year, to hear the Reversal Choir: an eerie choir of children who existed because Bill Gothard had convinced their parents to get vasectomy reversals.”

Seeking to undo and overcome the harmful predatory, misogynistic, homophobic, and authoritarian teachings of their youth, Pretty Boy Floyd and Story named their act ‘Reversels’ to signify their mission of fomenting change toward an opposite direction and course of action, spelling it with an ‘e’ “to keep it cute”. Through their colorful music and bold, in-your-face lyrics, they aim to poke us out of our complacency by pushing back on constraints of gender, power dynamics and sexual taboos. Their hope is to “sing-into-being a world of gender diversity, sexual positivity, individual growth, and healing” as they “advocate for the underdog and the demonized, rejecting oppression and celebrating life & death in all of their majesty.” 

The duo released their debut album Galaxie in November 2018, and followed in June 2019 with Crane, Breed. Now they’re back with LaSabre, their most ambitious work yet, with 13 tracks exploring their ongoing themes of queer love and loss. The album opens strong with “Gravitron“, a dramatic and powerful celebration of love and lust, and one of my favorite tracks. Starting off with a mix of swirling synths and guitar notes, the song quickly explodes into a maelstrom of pulsating psychedelic synths, thunderous percussion and gritty riffs, dramatically conveying the intense euphoria of unbridled sexual desire. I love the contrast between Pretty Boy Floyd’s beautiful lilting falsetto and Story’s deeper, commanding vocals as they sing “Lay your magic body heavy down upon me, In my ready arms, protecting you from harm. Tell me that you want me.”

The colorful, trippy and sexy video produced for the track shows Reversels performing the song, interspersed with scenes of two men, played by trans actors, passionately kissing and exploring each others bodies.

Azael” quickly follows, a darkly beautiful cinematic feast for the ears featuring a complex array of both spooky and magical psychedelic synths, overlain with heavy, fuzz-coated guitars. Pretty Boy Floyd’s lovely, ethereal vocals contrast nicely with the harsher instrumentals, softly crooning the lyrics that speak to a character named Azael’s sexual yin and yang: “You put on your makeup, both a warrior and a queen. Mastering the magic that we’ve all been kept from seeing. Are you male or female, are you somewhere in between? Make me filthy also make me clean.”

It’s Story’s turn to shine on the darkwave gem “Relentless“, their deep, sensual, and almost menacing vocals conveying a strong sense of foreboding. Another favorite of mine, “Absurdity” has a dark, goth rock vibe with symphonic overtones, thanks to Reversels’ rich blend of otherworldly industrial and orchestral instrumentals and their gorgeous choral harmonies. The lyrics address the absurdities and mysteries of life that often defy reason or logic: “No sense in trying to understand the point of all of our lives. Lie down, take in the mystery. Unknown absurdity thrives.”

Torch Song” is a smoldering song of carnal desire sung with raw, animal-like ferocity by Story that brings chills. Sung from the perspective of a drag queen, the lyrics speak to the promise of satisfying another man’s sexual fantasies: “I’ll be your toy. I got what you need. I’m just a boy. You’re just like me. I’ll help you burn.” In the video, which was filmed by Marquana Michael Burgess, directed by Story, edited by Danny Boyer and produced by Jennifer Love Lee, the drag queen singing the song is played by Natasha Noir Nightly, and the dancers are Clara Zander and Rebecca Miller. Story and Pretty Boy Floyd portray two men watching the proceedings.

The Real Pretty Boy Floyd” is an ode to the famous bank robber Charles Arthur Floyd. Born into poverty in Oklahoma in 1904, he led a life of crime starting in his late teens, and is believed to have killed at least 10 people before being shot and killed by federal agents in 1934. Over the years, he’s endured in American popular culture as both a notorious gangster and as a tragic and altruistic figure. While he did indeed rob many banks and killed in the process, he also reportedly provided food to at least a dozen families who would have otherwise starved during the depression. And when he robbed banks, he allegedly destroyed mortgage documents, making it impossible for those banks to foreclose on poor farmers and homeowners. He was often protected by people across many states who referred to him as “Robin Hood of the Cookson Hills” or “Sagebrush Robin Hood”, because he stole from the rich and gave to the poor. He’s been immortalized in song by Woody Guthrie, and referred to positively by John Steinbeck in his seminal novel The Grapes of Wrath.

The great tracks keep on coming. On the brooding goth rocker “SoftBoy Rabbithole“, they touch on the good and bad aspects inherent in each of us. Along a similar vein, the dreamy, atmospheric “Dreamland” is a celebration of queer and trans love: “Queen inside a king. She’s inside all things. We’re inside a dream Infinitely possible ways to love another being. All that’s wanted is allowed, Trading organs, feel new things.” Another favorite of mine is “Cupcake“, featuring terrific guest vocals by Asheville rapper/emcee Vvitchboy, and trumpets by Jay Widenhouse. The song has a delicious trap beat, overlain with ominous industrial synths, wonderful blaring trumpets and soaring vocal harmonies that give the track a dark, cinematic vibe. Though somewhat ambiguous to me, the lyrics seem to speak to finding respite from life’s problems by indulging in carnal desires: “Drown in my madness, but I can’t contain it. Refrain from engaging with haters, and faithless. Don’t make me a martyr, I’m tryna live greater. We making out- banging these dryads and Satyrs. Worship at the altar of decadence. We’re having dessert, what did you make? We have offerings of sweetest debauchery. We got swords, cunnilingus, and cupcakes.”

Reversels channels a bit of Marilyn Manson on the gothic shock rock-esque “Boom Kitty“. With its intense and spooky industrial synths and blaring horns, this would make a great soundtrack for a horror film. Story and Pretty Boy Floyd’s dual growling vocals sound downright diabolical. “Skin” features a mesmerizing repetitive piano chord, overlain with dramatic gnarly guitars that sound fucking spectacular. Story’s raw, impassioned vocals are pretty terrific too. One of the more melodic tracks on LaSabre, “Dissolve/Resolve” has a more upbeat tempo, highlighted by beautiful strings and the duo’s lovely vocal harmonies. The closing track “My My” touches on the subject of sadomasochism, namely, how far two people are willing to go in order to fulfill their sexual fantasies: “If you wanted more of me it could be a tragedy. It would be the death of me to keep you satisfied. But if you must have more I guess you could put me to the test.” The song has a brooding, atmospheric vibe that turns more intense in the bridge, courtesy of Story’s blistering guitar solo.

What more can I say about this amazing album? While the subject matter may turn off some listeners, there’s no denying that Pretty Boy Floyd and Story are very good at what they do. Their songwriting, musicianship and vocals are outstanding, and I applaud their boldness and courage to explore provocative topics head-on with unflinching honesty and candor.

Follow Reversels:  FacebookInstagram

Stream their music:  SpotifyApple MusicSoundcloudYouTube

Purchase:  BandcampAmazon

Top 30 Songs for July 25-31, 2021

  1. WELCOME TO THE PARTY – Jack Droppers & the Best Intentions (1)
  2. WE ARE BETWEEN – Modest Mouse (2)
  3. CAN WE GO BACK – The Frontier (5)
  4. BED HEAD – Manchester Orchestra (3)
  5. MARTYR – Oli Barton & the Movement (7)
  6. SINNER – Young Decades (8)
  7. MONTERO (Call Me By Your Name) – Lil Nas X (30)
  8. DEVIL – Two Feet (N)
  9. FOLLOW YOU – Imagine Dragons (6)
  10. ZITTI E BUONI – Måneskin (9)
  11. FLATLINE – Two Feet (4)
  12. CRAWLING KINGSNAKE – The Black Keys (13)
  13. STARGAZING – The Neighbourhood (14)
  14. LIKE I USED TO – Sharon Van Etten & Angel Olsen (15)
  15. YOUR POWER – Billie Eilish (11)
  16. BETTER – Michigander (12)
  17. ALL YOU EVER WANTED – Rag’n’Bone Man (17)
  18. NOTHING2 – Strange Souvenirs (20)
  19. METRONOME – Polarizer (10)
  20. SOLAR POWER – Lorde (24)
  21. STOP MAKING IT HURT – Bleachers (22)
  22. STICKY – The Maine (23)
  23. MISSING PIECE – Vance Joy (25)
  24. EVERY WINDOW IS A MIRROR – Joywave (26)
  25. ENNUI – Dawning (27)
  26. HIGHER POWER – Coldplay (21)
  27. TYPHOONS – Royal Blood (16)
  28. SHY AWAY – twenty øne piløts (19)
  29. NOT DEAD YET – Lord Huron (18) 20th week on list
  30. SATURDAY – twenty øne piløts (N)

THE MARIGOLDS – Single Review: “Smash and Grab”

The Marigolds are an alt-rock group based in Liverpool, a city rich in music history and the birthplace of many a band. I’ve featured more artists and bands from Liverpool than I can recall, and The Marigolds are the latest. They formed in 2018 when bassist/vocalist Joe Green and guitarist Joe Morgan met at the University of Liverpool, and bonded over their love of such acts as Nirvana, Sonic Youth, Mudhoney, Weather Report, Stevie Wonder and Tame Impala. Drummer Lucas Pidgen was soon added to the mix, and they began writing songs together and playing gigs in and around Liverpool. Their rather bucolic sounding name stands in contrast with their music, which is an intense, high-energy blend of punk, funk and psychedelic elements, delivered with blistering riffs, crushing bass and fierce vocals.

The guys released their terrific debut single “Magnetic” in May, which was well-received by fans and music publications alike. Now they’ve returned with an explosive new single “Smash and Grab“, which dropped July 12th. The song’s title is a fitting description, as the song literally blasts through the speakers, laying waste to the airwaves and sending shivers up and down our spines. Wow, these guys really know how to rock! The song opens with Green’s deep, gnarly bassline, then erupts into a hard-driving, fast-paced onslaught of Morgan’s scorching, fuzz-coated riffs and Pidgen’s smashing drumbeats that never let up for a single moment.

Green’s vocals are downright fearsome as he wails and screams the lyrics touching on themes of insecurity, loneliness and poor self-esteem, viciously railing against those who are making him feel this way: “It’s a smash and grab at my feelings! Eat me, cause I feel numb. Just tear into my flesh cause I’m so done. Consume me, and swallow me whole. Keep me inside you in that deep, deep fucking hole!” Two and a half minutes into the song, the tempo abruptly shifts to a frantic punk groove that’s even more intense than before. Now Green screams with such ferocity, it’s a wonder he has any vocal chords left! I’ve written about some pretty hard-hitting music lately, but this song blows them all out of the water, and I love it!

Now that restrictions against live performances have lifted in the UK, the guys are excited about returning to the stage and sharing their new songs at their first scheduled gig on the 7th of August at Jimmy’s Liverpool.

Band photo by Joseph Conlon.

Connect with The Marigolds:  FacebookTwitter

Stream their songs: SpotifyApple Music / Soundclouddeezer

EML’s Favorite Songs – “Moonglow and Theme from Picnic” by Morris Stoloff

One of my favorite songs from the 1950s is “Moonglow and Theme from Picnic” by composer Morris Stoloff. Stoloff served as music director at Columbia Pictures from 1936 to 1962, and was subsequently tapped by Frank Sinatra to be music director of his label Reprise Records.

The beautiful instrumental piece is actually a medley arranged by Stoloff that combined the popular 1933 song “Moonglow”, written by Will Hudson, Irving Mills and Eddie DeLange, with the “Theme from Picnic”, written by George Duning for the 1955 film starring William Holden, Kim Novak, Rosalind Russell, Betty Field, Cliff Robertson, Arthur O’Connell and Susan Strasberg. Based on the Pulitzer Prize-winning play Picnic by William Inge, the film was adapted for the screen by Daniel Taradash, and directed by Joshua Logan, who also directed the Broadway production. Stoloff’s piece was used in the film, and later released as a single in early 1956. The song spent three weeks at #1 on the Billboard Most Played by Jockeys chart that spring (from 1955-57, Billboard had four distinct, and rather childishly-named, pop charts: Best Sellers in Stores, Most Played by Jockeys, Most Played in Jukeboxes, and Top 100).

From the 1940s to the early 1980s, instrumentals were quite popular and often released as singles. Beginning with the Big Band era and continuing all the way through to the Rock and Disco eras, numerous instrumentals became big hits. Some of the iconic instrumentals that went to #1 include the Benny Goodman classic “Sing Sing Sing”, Perez Prado’s “Cherry Pink and Apple Blossom White”, Percy Faith’s “Theme from A Summer Place”, Booker T & the MGs’ “Green Onions”, Paul Mauriat’s “Love is Blue”, Hugo Montenegro’s “The Good, The Bad & The Ugly”, Mason Williams’ “Classical Gas”, MFSB’s “T.S.O.P”, Barry White’s “Love’s Theme” and Vangelis’ “Theme from Chariots of Fire”. For me, “Moonglow and Theme from Picnic” ranks among the best of them. The cool percussion, jazzy piano keys and stirring orchestral strings are positively sublime.

The song is wonderful all by itself, but what makes it even more significant is the fact that it was used for one of the most important and memorable scenes in Picnic. A rather intoxicated Hal, played by William Holden, dances to the song with his college friend Alan’s girlfriend Madge, played by the devastatingly beautiful Kim Novak, while her younger sister Millie, played by Susan Strasberg, watches with teenage envy as she swigs liquor from a bottle hidden in Hal’s jacket. The also intoxicated middle-aged schoolteacher Rosemary, played by Rosalind Russell in one of her finest performances, and the hapless Howard (Arthur O’Connell) watch from the sidelines. Rosemary stews with bitter jealousy as she watches the younger, more beautiful Madge dance with Hal, who she finds both attractive and repellant. It’s an incredible scene taut with sexual tension and desire, and the sensuous song sets the perfect mood.

BUEL – Single Review: “Small Talk”

When I first featured the beautiful and talented Los Angeles-based singer-songwriter BUEL exactly four months ago, I fawned over her brilliant reimagining of Nirvana’s classic “Smells Like Teen Spirit” (read my review here). With her distinctive and beguiling vocals that range from smoky purrs to sultry vulnerability, combined with a sophisticated pop-rock style, she’s captured the attention of music critics and fans alike, garnering airplay on radio stations across the U.S. and in the UK. Her video for “Lemon Smile” won an award at the 2021 London Music Video Festival. 

Now BUEL is back with a another marvelous single “Small Talk“, along with a stylish and entertaining video. The song addresses the superficiality of small talk people often make to fill the time and airspace when there’s no meaningful connection between them. She elaborates “Small Talk is about the ingenuine daily conversations between people. Even though it’s pretty common and seen as an innocent aspect of our daily lives, I observed that oftentimes it tends to make people feel uncomfortable because talking to someone without giving any depth and sharing words to pass the moment can only be kind but not real.”

I love how the song opens with BUEL’s breathy gasp, accompanied by airy, otherworldly synths, setting a sultry tone for what’s to come. Soon, she croons “Some are scared of silence, when I need it so bad. And I’m calculated nihilist for the questions you ask to evaluate my life. Innocently creeping in, just to say ‘Hi, I’m alive, are you too?’ The way you look has left me blind. Are you too? I like you. Small talk, can find you anywhere.” Musically, the song features a slow, seductive dance beat, with a wonderful pulsating bassline creating a sultry smoldering groove that aims straight for the hips. The instrumentals are punctuated with exquisite keyboards, percussive synths and guitar notes, resulting in a beautiful and compelling soundscape for her enchanting vocals.

“Small Talk” is another winning single by BUEL, and if she continues turning out music this good, her star can only continue to soar.

Follow BUEL:  Facebook / Twitter / Instagram

Stream/purchase her music:  Spotify / Apple Music / Amazon

New Song of the Week – BEALBY POINT: “Talk To Me”

After being unable to perform live or even see one another during most of 2020, Vancouver, Canada-based alt-rock band Bealby Point are having quite a productive 2021. Starting with the release in February of their debut single “I’m So Bummed Out Right Now” (which I featured in a Fresh New Tracks post), they followed up in April with their second single “Telescope”. On July 15th, they dropped their third single “Talk To Me“, which I’ve chosen as my New Song of the Week. All three songs will be included on their forthcoming EP, due out later this year.

Named after their favorite beachside vacation spot, Bealby Point consists of four childhood friends, Jack Armstrong (lead vocals), Jordan Studer (bass), Clayton Dewar (lead guitar) and Zack Yeager (drums). Drawing inspiration from fun times spent at Bealby Point, the guys aim to create music “that captures the most cherished memory of your favourite summer and turning it into the perfect sound.” Their buoyant, high-energy garage rock sound has earned them favorable comparisons to The Strokes.

As with their previous singles, “Talk To Me” was recorded with veteran producer Matt Di Pomponio. About the song, the band explains “It’s about balancing heavy emotions with stifled logic – doing something you have reason to believe is wrong, but it feels right because you want it. The track follows a pair who previously revealed their intimate feelings to each other. Now, they have closed off their real feelings and resist the urge to speak from an open heart, in order to save themselves from the perceived consequences of revealing their true thoughts. They long for things to go back to how they were.”

The song opens strong with a wonderful swirling guitar riff, accompanied by a superb rhythm section, courtesy of Zack’s assertive thumping drumbeats and Jordan’s prominent chugging bassline, which is fucking fantastic! The dual guitar work by Clayton and Jack is brilliant, highlighted by what I’m guessing is Clayton’s blistering guitar solo in the final chorus. Jack’s colorful, emphatic vocals are marvelous, with a hazy lo-fi quality that reminds me a bit of The Strokes lead singer Julian Casablancas, even when they soar to a falsetto. We can feel his exasperation when he implores his partner to just communicate with him in an open and honest fashion: “Talk to me and I’ll talk back. I never lied to you. I don’t want that. But if you have to lie to me then I’ll lie back. And that’s the back and forth I can’t stand.”

“Talk To Me” is a terrific song, and with three excellent singles to their credit, Bealby Point have firmly established themselves as one of Canada’s best indie bands. Hell, they now rank highly among my own favorite indie bands as well. I look forward to hearing their upcoming EP.

Band photo by Sam Fazio, and single artwork by Quinlin Gustin.

Follow Bealby Point:  Facebook / Twitter / Instagram

Stream their music:  SpotifyApple MusicSoundcloudYouTube

Purchase:  BandcampiTunesAmazon

Top 30 Songs for July 18-24, 2021

  1. WELCOME TO THE PARTY – Jack Droppers & the Best Intentions (2)
  2. WE ARE BETWEEN – Modest Mouse (1)
  3. BED HEAD – Manchester Orchestra (4)
  4. FLATLINE – Two Feet (3)
  5. CAN WE GO BACK – The Frontier (7)
  6. FOLLOW YOU – Imagine Dragons (5)
  7. MARTYR – Oli Barton & the Movement (8)
  8. SINNER – Young Decades (9)
  9. ZITTI E BUONI – Måneskin (10)
  10. METRONOME – Polarizer (6)
  11. YOUR POWER – Billie Eilish (14)
  12. BETTER – Michigander (15)
  13. CRAWLING KINGSNAKE – The Black Keys (16)
  14. STARGAZING – The Neighbourhood (20)
  15. LIKE I USED TO – Sharon Van Etten & Angel Olsen (21)
  16. TYPHOONS – Royal Blood (11)
  17. ALL YOU EVER WANTED – Rag’n’Bone Man (19)
  18. NOT DEAD YET – Lord Huron (12)
  19. SHY AWAY – twenty øne piløts (13)
  20. NOTHING2 – Strange Souvenirs (23)
  21. HIGHER POWER – Coldplay (22)
  22. STOP MAKING THIS HURT – Bleachers (24)
  23. STICKY – The Maine (25)
  24. SOLAR POWER – Lorde (26)
  25. MISSING PIECE – Vance Joy (27)
  26. EVERY WINDOW IS A MIRROR – Joywave (28)
  27. ENNUI – Dawning (29)
  28. COME FIND ME BACK – Philip Morgan Lewis (17)
  29. SAVE YOUR TEARS – The Weeknd (18)
  30. MONTERO (Call Me By Your Name) – Lil Nas X (N)

BLIGHT TOWN – EP Review: “Blight Town”

Blight Town are a five piece alternative/math rock band based in Nottingham, England. Formed in 2019, the band consists of brothers Jake (vocals) and Sam Hough (guitar), Will Emmerson (guitar), Scott Taylor (bass) and Joseph Smith (drums). Together, they combine elements of progressive, math, pop and metal rock with bold instrumentation, complex time signatures and a dramatic mix of screamo and melodic vocals to create their wildly explosive sound. In short order, they dropped their debut single “Jejunum” in September 2019, but since then have taken their time releasing new music. Nearly a year later in August 2020, they followed up with their second single “Argument Bargument“ (which I reviewed), and now return with their self-titled debut EP Blight Town, which dropped July 16th. The EP features the two aforementioned singles, plus two new tracks.

The guys get right down to business with the opening track “Frostilicus“, instantly demanding our attention both musically and lyrically with an unrelenting thunderous barrage of grungy guitars and pummeling drums as Jake screams “She needs to listen to us right now!” I have no clue as to what the song’s title means, but the lyrics seem to be about confronting a duplicitous and self-destructive person: “Such whack shit is going down. The bullshit she’s churning out. If you don’t say the words to her then I will. Such a shame that you haven’t got the guts to still. Tell me where do I go? I wish that I didn’t know. A slave to the wages of sin. Where do I begin?” The scorching, intricately layered guitar work is fantastic, and a testament to the guys’ impressive musicianship.

Jejunum” continues on a similar theme, delivering another onslaught of fearsome riffs and explosive percussion, accompanied by a marvelous, almost skittering bassline. Once again, the intense, richly-textured guitars are mind-blowing, turning hauntingly beautiful at the breakdown that occurs at the 1:06 minute mark. Jake’s vocals are downright fearsome throughout much of the song, but also soften to an enchanting ethereal calm in the interlude. As for the song title, a quick Google search revealed that ‘jejunum’ is a part of the small intestine in both humans and most higher vertebrates, including mammals, reptiles, and birds, so it’s anyone’s guess as to the title’s meaning. The lyrics seem to speak to a similar type of unpleasant person we were introduced to in “Frostilicus”, who Jake roundly denounces: “You already know you made my life a living hell.

The cheekily-titled “Argument Bargument” is a prog-rock gem, opening with an atmospheric strummed electric guitar that gradually becomes enveloped in wobbly reverb. Suddenly, we’re hit with a burst of chaotic gnarly riffs, throbbing bass and aggressive drumbeats as the song evolves into a rousing, melodically complex and discordant banger. Amid some terrific guitar noodling punctuating the otherwise tumultuous proceedings, Jake’s vocal gymnastics are a thing of wonder as he transitions from pleasing croon to scary screams. The band states that the song is “A wistful retrospective on the transient nature of modern relationships and the lengths we will go to in order to rationalise our lived experience.” Jake emphatically snarls “You never wanted an argument, well now you’ve got it. And that’s why they call me the cynicist.”

The guys unleash their full arsenal of sonic weaponry on the final track “Don’t Touch Me I’m Covered in Poisons“. The instrumentals are heavier and more intense than ever, with Sam and Will’s dual intertwining guitars laying waste to the airwaves while Joseph nearly blows the speakers with his smashing drumbeats. Then there’s Jake’s feral vocals, which are positively spine-tingling as he screams like a wild beast. It’s a wonder he has any vocal cords left!

Blight Town is a great little EP, a literal bundle of explosive TNT packed into 12 minutes and 51 seconds, beautifully showcasing this band’s outstanding songwriting and composition talents, as well as their impressive technical skills. Though their music is both complex and intense, it’s still surprisingly accessible and melodic.

Blight Town also offers an array of merchandise, including tee shirts, hoodies and caps made from sustainable and vegan-friendly materials, which you can purchase at https://slugapparel.com/.

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Stream their music:  Spotify / Apple Music
Purchase:  Bandcamp / iTunes