DAY – Single Review: “Keep the Euro, Keep the Pound”

Day single art

Like many people, British singer/songwriter James Day, performing under the artistic moniker Day, has become weary of the deep political divide that’s plagued The United Kingdom over the past several years with regard to Brexit. Wanting to spread a message of hope and understanding, he released a new single “Keep the Euro, Keep the Pound” in March 2019, along with a video showing him performing the song in the studio and on the streets of what I’m guessing is London, along with images of different cities and peoples throughout the UK and Europe. Taking a neutral stance, Day advocates that people must come together for the greater good, and that democracy must always prevail to ensure the continued trust of the people in their democratically elected government.

Day3

About the song, Day explains “‘Keep The Euro, Keep The Pound’ is about our modern world, it’s togetherness, love, hope ingenuity and inventiveness. Over the past 12 months we’ve been touring Europe and doing art and music. Learning the different cultures and traditions and seeing the history and landmarks whilst interacting with the locals who all are so friendly. Europe is such a rich and diverse mix of cultures and traditions, steeped in history that captivates tourists the world over every year by it’s beauty and ability to intrigue romantics. Visiting Malta, Milan, Sicily, Cyprus, Barcelona, Malaga, Bruges, Paris, Kiev, Lviv, Kharkiv and London to name a few, the 12-month tour of Europe was eye opening and enriching, and helped ideas flow for the new album called ‘Day the Album’ that we are currently working on.”

Musically, the song is a catchy rock tune with some nice guitar work, accompanied by subtle bass and snappy drumbeats. Day’s vocals are commanding as he passionately urges people and politicians to stop fighting with one another, find common ground and complete the will of the British voters.

So why’s it so hard to complete?
Are we controlled by the elite?
Keep the Euro, Keep the Pound
I’m sure we’ll find some common market ground

People want their country back
The farmers want their farms
The fishermen to fish again between Dover and France
It’s easy to forget, that just with half a chance
We liberated all of it by entering through France

Why we diluting all the truth and screening bad press news?
No use in going a second round
We gotta find us some common market ground

Keep the Euro, Keep the Pound
I’m sure we’ll find some common market ground

People got their voices so, give ’em sound
stead of controlling situations by just keeping ’em down
Keep society together with the freedoms they’ve earned
and improve their way of living with the lessons we’ve learnt

We’ll trade with you anyway, just gotta go our own way.
Live in the future, ain’t to live in the past
It’s your people gonna make the EU last

And see the gathering crowd, why don’t you give ’em sound?
They all got choices, they all got voices
and they can make their countries proud

Keep the Euro, Keep the Pound
I’m sure we’ll find some common market ground

Connect with Day:  Facebook / Twitter / Instagram
Stream/purchase on  Soundcloud / iTunes 

RUBBER CLOWN CAR – Album Review: “Horse Logic”

Rubber Clown Car album

One of my absolute favorite-named bands has got to be Rubber Clown Car.  Based in Oswego, Illinois, on the far western outskirts of greater Chicago, they were one of the earliest bands I featured on this blog, three years ago in April 2016. The band is the brainchild of singer/songwriter Dirk Prysby, a wildly imaginative and zany guy who creates songs that are thoroughly original, sometimes serious but often hilarious, and unlike anything else you’ve ever heard. He also happens to be a thoughtful and creative lyricist who’s quite skilled on the six-string. His quirky, off-kilter vocal style wouldn’t get him very far on The Voice or American Idol, but that’s okay, as it’s perfectly suited for their eccentric songs. Besides Dirk, Rubber Clown Car includes Fred Beasley (drums, backing vocals, guitar) and Tony Pantalones (bass, keyboards and everything else).

Rubber Clown Car

Their sound has been compared to a mixture of XTC, Bob Mould, the Damned, the Who, GBV, the Replacements, and Matthew Sweet, with one reviewer observing they’re like “the Beatles on Quaaludes”. Formed back in the mid-2000s, Rubber Clown Car started out making fairly straightforward music drawing from rock, grunge and punk elements. Their first release was the excellent 2006 album Make the Noise, featuring one of my favorite of their songs “Home in the Suburbs”, a clear-eyed commentary on the American Dream. They subsequently began experimenting with their sound and lyrical themes, incorporating more psychedelic and alternative elements into their music. This can be clearly heard on their follow-up 2008 release Music “They” Don’t Want You To Hear, with songs like “The Boy With the Plexiglas Head” and “Gene Pool Party”. Since then, they’ve been prolific in their output, releasing eight more albums, including such wonderful titles as Jesus is not a Weapon, Cake Solves Heartaches and Let’s Go Bowling.

Their latest effort is Horse Logic, an ambitious and trippy tour de force featuring 18 tracks, which dropped in March. It’s perhaps their most experimental and eclectic work yet, with songs ranging from rock to psychedelic to blues to ballads, and everything in between. Employing lots of unusual sound effects and discordant melodies, and incorporating snippets of song, voice, sound, and spoken-word contributed by several of the band’s Twitter friends, they’ve created interesting and sometimes outlandish compositions. Because it’s such a long album with so many tracks, I’ll discuss what I feel are the highlights, along with a few others that provide a good representation of the work.

Kicking things off is the delightfully psychedelic “Where Have All the Mushrooms Gone?“, an appropriately-titled song that sounds pretty much like what I would expect an hallucinogenic trip on magic mushrooms to sound like. It begins with a woman in a distinctly British accent saying “Right. So, what shall I see?” followed by sounds of a horse neighing a response to her question. We’re then greeted by an onslaught of exuberant cinematic rock, accompanied by dramatic soaring choruses, bouncy xylophone, and a colorful assortment of weird sound effects you might hear in a carnival funhouse, along with more of those neighing horses. The guitars, bass and percussion are all perfection, more than ample proof that Rubber Clown Car are incredible musicians. Dirk croons the whimsical lyrics that include “Rub-a-dub, where the dub, where do I put my bubba? Wubba wubba it’ll come out if ya scrub it. And the clouds all turn to oil. Telepathic banana.” The song closes with horses neighing in rather diabolical-sounding tones.

The next track “Unusual Ducks and Rainy Days” is even trippier, opening with a creepy voice declaring “I don’t want a goddam robot serving me a chicken!” A slow drumbeat kicks in along with riffs of funky guitar and bass, and Dirk’s quirky vocals backed by his own choruses. From there on out, the song becomes an extended psychedelic trip that lasts nearly 11 minutes, growing increasingly strange with the addition of all sorts of crazy carnival, barnyard and zoo sound effects, including honking horns, buzzing mosquitoes, monkeys and elephants. Through it all, the guys lay down some fine bluesy guitar runs.

Abruptly changing the vibe, the band turns wistful and serious on “Girl I Left Behind“, a sweet but melancholy song about a lost love. The twangy guitars and keyboard synths are really wonderful, and Dirk’s heartfelt vocals are great, with nice backing vocals by the Inflateable Girls, who also appear on several other tracks on Horse Logic. “Sandbox” sees the band getting in touch with their playful inner child:  “Didn’t matter what anyone would say. We only want to play in our sandbox.” Musically, the song features a catchy tempo, upbeat jangly guitars and effervescent spacey synths, accompanied by sounds of children having fun at a playground.

The lovely title track “Horse Logic” is a brief instrumental interlude with beautiful jangly strummed guitar and sweeping string synths creating an enthralling atmospheric soundscape. Next up is “Action Brats“, one of the more bizarre tracks on the album. It starts off with the opening lines from the Elvis Presley classic “Heartbreak Hotel” sung by The Quiet Professor (the band’s and my Twitter friend Logos Pilgrim, who’s an author, artist, blogger and singer). Then a repetitive thumping drumbeat and funky bass line take over, accompanied by an eerie assortment of sounds, including creepy childrens’ voices, gregorian chants, and munchkin-like noises. The track ends with a snippet from what sounds like a Japanese song. That magic mushroom trip that started off the album is now on full-blown steroids!

Dirk sings the blues on “The Hanging Mess“, baring his soul with heart-wrenching vocals lamenting his fragile state: “Blue, oh I don’t know which way to turn / I just can’t get through to you.” The bluesy, twangy and distorted guitar work is really outstanding. “Evil Shrimp” is another bizarre track that had me thinking ‘what the hell?’, yet loving it’s great hard-driving noise rock vibe. The song features some terrific gnarly guitar work and snappy percussion, accompanied by sounds of wailing police sirens and strange muffled vocals that are completely unintelligible.

One of the best rock tunes on the album is “Our Magic Sauce“, a musically complex track featuring a killer psychedelic guitar solo by British musician Leg Puppy. There are some background murmuring vocals that are indeciferable, so this is essentially an instrumental track. On the folk-rockish “Turn the Wheel Earl” Dirk yearns for home, sampling lines from the Beatles “A Hard Days Night” (“when I’m home, everything seems to be right“) and Simon & Garfunkel’s “Homeward Bound” (“home, where my thought’s escaping“).

My personal favorite on the album is the captivating ballad “Sleep Tight“. The jangly and chiming guitars are gorgeous, and I’m elated that the band did a duet with The Quiet Professor, who has a voice like spun silk. Her vocals harmonize beautifully with Dirk’s as they croon “Your heart will be broken a thousand times. By words unspoken or a thousand lies. You’ve got it all behind you, dream away, dream away.” The charming video for the song was created by another Twitter friend of the band’s and mine – Sherry Ruth.

Closing the album is “Cabbage” a quirky two-minute long rock’n’roll ditty that ends things on a fun, upbeat note. The song consists of just strummed guitar and Dirk crooning “If you wanna be my baby, this is what you gotta say”, followed by a lot of melodic gibberish. At song’s end, he exclaims “Woo, that was in interesting tune!

I think Horse Logic is brilliant, and their best work yet.  Rubber Clown Car won’t appeal to everyone, but if you’re the type of person who goes for music that’s offbeat, completely original and fun, you’ll enjoy this album. I certainly do!

Connect with Rubber Clown Car on  Twitter 
Stream:  Spotify / Soundcloud
Purchase:  Bandcamp  / iTunes / cdbaby

Top 30 Songs for April 7-13, 2019

1. READY TO LET GO – Cage the Elephant (1)
2. POWER OVER ME – Dermot Kennedy (3)
3. TRAMPOLINE – SHAED (4)
4. SUPERPOSITION – Young the Giant (2)
5. SIGUE CON EL AMOR – John Defeo (6)
6. VOLCANO – Feather Weight (7)
7. ASSUME FORM – James Blake (9)
8. S.O.S. (Sawed Off Shotgun) – The Glorious Sons (5)
9. HOME – morgxn featuring WALK THE MOON (10)
10. CHLORINE – twenty one pilots (16)
11. LONGSHOT – Catfish and the Bottlemen (13)
12. DISAPPEAR – Western Jaguar (14)
13. EXITS – Foals (15)
14. HARMONY HALL – Vampire Weekend (17)
15. MOVEMENT – Hozier (12)
16. CHANGE – The Revivalists (8)
17. FEAR THE FUTURE – IAMWARFACE (20)
18. DARK PLACES – The Frontier (21)
19. DELTA BLUES – Jetstream (11) 19th week on chart
20. TIME – Morosity (24)
21. BURY A FRIEND – Billie Eilish (25)
22. SECRET THAT LIES BEHIND – The Gear (19)
23. ESCAPE – Ships Have Sailed (26)
24. LOVE CRAZY – Karolina Rose (27)
25. NORTHERN LIGHTS – Death Cab for Cutie (18)
26. LO/HI – The Black Keys (30)
27. SUNFLOWER – Post Malone & Swae Lee (23)
28. HURT – Oliver Tree (N)
29. STILL FEEL. – half alive (N)
30. GENERATION Y – Guide Dog (N)

THE IVINS – Single Review: “Certain”

Certain (Cover Art)

Two years ago, Nashville, Tennessee alternative rock band The Ivins blew me away with their monumental debut album The Code Duello, which I had the pleasure of reviewing. Now they return with a hard-hitting new single “Certain“, which I’m certain will further advance their star within the Nashville music scene and beyond. The Ivins is comprised of the handsome Ivins brothers Jim and Jack (with Jim on guitars & vocals and Jack on drums), Hatton Taylor on lead guitar, and Regan Akers on bass & vocals.

The Ivins Promo 2

“Certain” was recorded in Nashville with producer Matt Leigh at the legendary Tracking Room (U2, Beach Boys, Bon Jovi). Jim told me that, musically, the track is a re-imagining of an ancient Lebanese folk song. For the video’s premiere on the website Pure Grain Audio, he further explained “The song’s creation actually stems from an audition we had for a cultural emissary program with the U.S. State Department, where we were asked to update an old international folk song. We chose ‘Bektob Esmak,’ a folk song from Lebanon, and off we went. The audition never panned out, but [we] knew we had a great skeleton of a song.”

Also in the Pure Grain Audio article, Jim described the song’s meaning: “’Certain’ is a commentary on the world of infinite options in which we live in 2019. Whether its jobs, relationships, music, what-have-you, at our fingertips all times, we have an unending sea of options for whatever we want out of life. Some people really take to this, and relish in never committing to anything, hence the lyric in the song, ‘Connection calls for arson, potential hangs a noose.’ Me, on the other hand, I crave certainty. I need it. It is my safety blanket. But certainty is scary, and sometimes it can bring you down a path you never thought you’d travel. For me, the lifestyle of unlimited options is the one that is claustrophobic and that’s why the hook of the song is, ’my one wish is to be certain’.”

The song storms through the gates with an explosion of blistering guitars, rumbling bass and thunderous drums, letting us know from the get-go that we’re in for a real ripper of a tune. After 30 seconds, the tempo calms as Jim starts to sing “Paralyzed, paralyzed by choice.” From there, the music alternately swells to a raging storm in the choruses, only to slow back down in the verses, keeping us on the edge of our seats as the track unfolds. The guys’ impressive musicianship is on full display here as they deliver a flawless performance, their respective instruments totally in sync to create an exhilarating and powerful track that raises goosebumps. During the song’s most dramatic moments, Hatton rips his guitar until it wails, while Jack is a literal beast on his drum kit. This photo perfectly captures the ferocity of Jack’s power drumming, which is also clearly evident in the video of their electrifying performance.

Jack Ivins drums

The Ivins will be performing at their home base of The Basement Nashville to rock New Faces Nite on Tuesday April 9. They also have a show at The Back Corner in Nashville on April 24.

Connect with The Ivins:  Website /  Facebook /  Twitter /  Instagram
Stream their music:  YouTube /  Spotify /  Apple Music
Purchase it:  iTunes /  Amazon

THIRD TIME LUCKIE – Single Review: “Love and Violence”

Third Time Luckie single art

Third Time Luckie – is that a great band name or what? – is a 3-piece alternative rock group based in the southern England resort town of Bognor Regis, Sussex. Formed back in 2006 by founding member Chris Horner (guitar & vocals), like many bands, Third Time Luckie has undergone some personnel changes in the intervening years, and now includes Carl Swietlik (drums) and Andy Clare (bass & vocals). Drawing influences from some of their favorite bands like Blink-182, Green Day, Alkaline Trio and Sum 41, they play a high-energy style of melodic pop/punk rock.

The band has recorded a number of fine tracks over the years, including their recent single “Wide Eyed Thinking” (you can check them out on their Soundcloud page). Their latest release is “Love and Violence“, a terrific song that will be included on their forthcoming EP Face the Beast, due out later this Spring.

Starting things off with a flourish of drumbeats, they quickly hook us in with an arresting guitar riff overlying a driving bass line and accompanied by a gentle drumbeat. The music then explodes into a stirring crescendo in the choruses, thanks to a speaker-blowing barrage of raging guitars, wildly crashing cymbals, and deep, buzzing bass. The guitar work is fantastic, and there are some nice piano keys in the final chorus as well, providing another texture of sound that makes for a really interesting and highly satisfying listen. Chris has a pleasing vocal style that sounds great whether he’s earnestly crooning the calmer verses or passionately wailing the dramatic choruses. The guys’ backing vocal harmonies in the choruses are wonderful too.

The poignant lyrics are a plea from one partner in a fraying relationship to another, urging her to stay with him and try to work out their problems. The words “love and violence” represent the highs and lows – the good times and bad – of a relationship.

Stay with me now
Cause I know we’re forever
And evermore it’s you and I in love and violence

Cry with me know
It doesn’t really matter
We’re living for today
Come on let’s run away

The guys’ skill at songwriting and crafting memorable melodies is strongly evident on “Love and Violence”, and they’ve got a bonafide hit on their hands. I really like this band, and am looking forward to hearing Face the Beast when it comes out.

Connect with Third Time Luckie:  Facebook / Twitter / Instagram
Stream their music on Spotify / Soundcloud / Reverbnation
Purchase on iTunes

THE DIOMEDES – EP Review: “Rabbit”

The Diomedes Rabbit

As I continue to revisit artists I’ve previously featured on this blog, today I’m happy to discuss the exciting new EP Rabbit by alternative electronic rock duo The Diomedes. Based in London, England, The Diomedes is the studio project of friends Mark Champion (guitars and vocals) and David Myers (drums and synths). Two years ago, almost to the day, I wrote a review of their phenomenal debut album Traps. I was so impressed by it, I was inspired to write what I consider to be one of my finest reviews, and you can read it here.

For Rabbit, which was recorded at Narcissus Studios in North West London, the guys teamed up with John Catlin (who’s produced albums for the likes of Led Zeppelin, Nine Inch Nails, Foals and The Killers) and Drew Smith. The influence of NIN is strongly evident, as all three tracks are intense, gnarly and loud, with rather bleak lyrics that speak to feeling used, unloved or losing one’s mind. It’s music that raises the adrenaline, and I felt my heart race every time I listened to the songs.

The title track “Rabbit” sets the overall tone for the EP, with a barrage of Mark’s gravelly riffs and David’s tumultuous percussion that build and build to an ear-splitting crescendo. Along the way, piercing industrial synths add to the sonic cyclone that evokes images of swirling down a rabbit hole. Mark practically shrieks the lyrics that seem to address the feelings of someone under siege by everyone and everything, and the only thing worth living for – that which will plunge him down the rabbit hole – is the love he needs and desires from a certain woman.

I’m taking punches
Pressures building stack up the bricks
I’m feeling hammers
Sculpting a hole in what was me
Tear me up
Tear me up into bits
Tear me up, up, up into pieces
The only thing I need they can’t take from me

Eyes that turn my world
Something that’s worth fighting for
So they can tear me up
I’m taking shots, blows
Bruised to my core
But I only need her glance to fall down the hole

The Diomedes really show what they’re capable of with “Con Debris”, a magnificent slice of melodically complex, industrial noise rock. Things start off gently with some jangly guitar chords and reverb, then the song explodes into a thunderous maelstrom of grungy riffs, swirling synths and hammering drums. Mark’s intricate guitar work and David’s powerful drumming are impressive, and I love Mark’s resonant, quirky vocals and strong British accent as he sings the lyrics:

Come in from the cold
Rest your feet, warm your bones
Build a fire, take my chair
Put my kettle on
Make yourself at home

We’ll pretend like we’re old friends until you’re OK
Until you move on again
Because I think that you just need a little help and a day or two won’t hurt
In any case, you’ll help yourself to everything I’ve left
It’ll always be this way

With nary a second to catch our breath, we’re instantly bombarded with sounds of pummeling drums and very grimy guitars announcing the arrival of the hard-hitting “Bring Out Your Dead”. The guys deliver roiling riffs of fuzzy, distorted guitars, blustery percussion and pulsating industrial synths, punctuated by occasional melodic flourishes, all making for an electrifying listen. The song seems to address the eternal struggle to maintain one’s sanity in this crazy thing called life:

And in the end crazy makes sense
So just kiss goodbye to shattering up inside
All heart and soul and head
All you’ve left is bring out your dead

While short in length, Rabbit packs an enormous punch in its 12 1/2 minutes. Mark and David are creative and talented songwriters and musicians, and their work continues to impress me. If you like alternative electronic rock that’s intense and out of the ordinary, you will enjoy this EP.

To learn more about The Diomedes, check out their website.
Connect with them on  Facebook / Twitter / Instagram
Subscribe to their YouTube channel 
Stream their music on Soundcloud and  Spotify
Purchase on Bandcamp / iTunes

Top 30 Songs for March 31-April 6, 2019

1. READY TO LET GO – Cage the Elephant (2)
2. SUPERPOSITION – Young the Giant (1)
3. POWER OVER ME – Dermot Kennedy (3)
4. TRAMPOLINE – SHAED (9)
5. S.O.S. (Sawed Off Shotgun) – The Glorious Sons (6)
6. SIGUE CON EL AMOR – John Defeo (7)
7. VOLCANO – Feather Weight (8)
8. CHANGE – The Revivalists (5)
9. ASSUME FORM – James Blake (13)
10. HOME – morgxn featuring WALK THE MOON (12)
11. DELTA BLUES – Jetstream (4) 18th week on chart
12. MOVEMENT – Hozier (14)
13. LONGSHOT – Catfish and the Bottlemen (15)
14. DISAPPEAR – Western Jaguar (16)
15. EXITS – Foals (17)
16. CHLORINE – twenty one pilots (18)
17. HARMONY HALL – Vampire Weekend (20)
18. NORTHERN LIGHTS – Death Cab for Cutie (11)
19. SECRET THAT LIES BEHIND – The Gear (21)
20. FEAR THE FUTURE – IAMWARFACE (22)
21. DARK PLACES – The Frontier (23)
22. LOVE IT IF WE MADE IT – The 1975 (10)
23. SUNFLOWER – Post Malone & Swae Lee (19)
24. TIME – Morosity (27)
25. BURY A FRIEND – Billie Eilish (28)
26. ESCAPE – Ships Have Sailed (29)
27. LOVE CRAZY – Karolina Rose (30)
28. SALVATION – The Strumbellas (25)
29. IN THE WATER – The Underground Vault (24) 21st week on chart
30. LO/HI – The Black Keys (N)

EML’s Favorite Songs – THE CURE: “Just Like Heaven”

I’m starting a new blog feature “EML’s Favorite Songs”, in which I post an old classic that’s an all-time favorite of mine. A few weeks ago, I wrote about “Nature Boy” by Nat “King” Cole, and today my pick is the brilliant “Just Like Heaven” by The Cure. The song is from their 7th studio album Kiss Me, Kiss Me, Kiss Me, and along with “Lovesong” is my favorite among their scores of great songs. It was released in October 1987, and was the band’s first song to break the top 40 in the U.S. though, shockingly, only peaked at #40 on the Billboard Hot 100! Over time, the song has come to be recognized as one of The Cure’s finest, and Pitchfork ranked it as the 12th best song of the 1980s. It certainly ranks among my favorites of the 1980s.

Band frontman Robert Smith was inspired to write “Just Like Heaven” after a trip to the seashore with his girlfriend and future wife Mary Poole, who he met in high school and to whom he’s been married for over 30 years. The song immediately grabs hold with Boris Williams’ fantastic opening drumroll, then Smith’s jangly descending guitar line enters, chiming its way through waves of glittery synths, tinkling piano keys and crashing cymbals, sweeping us headlong into a gorgeous and dreamy soundscape. Simon Gallup’s pulsating bass line and Williams’ powerful thumping drumbeat provide a solid rhythmic vibe, propelling the song into the sonic stratosphere. It’s a masterpiece!

Smith’s distinctive vocals, which occasionally sound off-kilter on some of their songs, are perfection here as he sings of the dizzying love and lust two people feel for each other:

‘Show me, show me, show me how you do that trick
The one that makes me scream’ she said
‘The one that makes me laugh’ she said
And threw her arms around my neck
‘Show me how you do it and I promise you
I promise that I’ll run away with you
I’ll run away with you’

Spinning on that dizzy edge
I kissed her face and kissed her head
And dreamed of all the different ways I had to make her glow
‘Why are you so far away?’ she said
‘Why won’t you ever know that I’m in love with you?
That I’m in love with you?’

You, soft and only
You, lost and lonely
You, strange as angels
Dancing in the deepest oceans
Twisting in the water
You’re just like a dream…

Daylight licked me into shape
I must have been asleep for days
And moving lips to breathe her name
I opened up my eyes
And found myself alone, alone, alone above a raging sea
That stole the only girl I loved
And drowned her deep inside of me

You, soft and only
You, lost and lonely
You, just like heaven

The Cure are finally being inducted into the Rock and Roll Hall of Fame today, March 29, 2019.

APRIL ART – Single Review: “You Want it All”

April Art

April Art is an exciting and attractive alternative/modern rock band based in Geissen, Germany who formed in 2014. Comprised of Lisa-Marie Watz on vocals, Chris Bunnell on guitar, Nico Neufeld on bass, and Ben Juelg on drums, the quartet has been making a name for themselves in Central Hessen and beyond with their hard-driving melodic sound and powerful, charismatic live performances. 

They released their first singles “You Remind Me (Of the Things I Hate)” and “Comeback” in 2015, and followed in 2018 with the anthemic “We Got the Wheels”. In October 2018, they released “Not Fair”, the first single from their forthcoming debut album Rise & Fall, due for release in late April. The album was recorded at the Horus Sound Studio in Hanover and in the legendary Principal Studios, under the guidance of producers Fabio Trentini (Donots, Guano Apes) and Frank Bornemann (Scorpions). In late December, April Art dropped their second single “You Want it All“, and like “Not Fair”, it’s a monster of a tune, and a good indication that Rise & Fall is going to kick ass!

The band play their respective instruments at full throttle, immediately slamming us against the wall as they engulf us in a torrent of thunderous sound. Chris delivers intricate, jaw-dropping riffs of blistering guitar while Nico lays down a solid bedrock of pulsating bass. Ben beats his drum kit with the ferocity of a rampaging beast, skillfully holding back when necessary for greatest effect. And then there’s Lisa’s vocals – wow, this woman can sing! One moment she draws us in with her seductive croons, then hits us with a battering ram of raw, impassioned screams the next. Like all their songs, April Art keeps us fully enraptured by their exhilarating sound from start to finish. It’s a brilliant song guaranteed to raise goosebumps on any lover of rock.

The biting lyrics speak of someone who surrenders their principles and demeans themselves for material gain and power, not realizing that they’re enslaved by that which they seek:

Ain’t no kids no more
Nobody protects this open door
Living a lie right now
But the truth you can’t allow

You made it
Now you must lie in it

You want it all
But you just fall
Why can’t you see
That you’re not free, so
You want it all
But you just fall
you have agreed, yes you’ve agreed to crawl

Was it an obligation?
Or was it another temptation?
You think you’ve chosen the right way
But this is not a game we play

The fantastic video, which was filmed and edited by Ben Juelg of Loud & Proud Studios, really showcases the band’s charisma and powerful impact.

Catch April Art at one of these upcoming shows:

MAY 4              Rise & Fall Album Release Show – Geissen, Germany
MAY 25            Weil’s Rockt – Weilmünster, Germany
JUNE 15            Rock the Wolves – Wolfhalden, Switzerland
JULY 6              Erlensee Rockt Open Air Festival – Erlensee, Germany
AUGUST 2       Big Day Out Festival – Anröchte, Germany
AUGUST 10     Music Forge Festival – Gambach, Germany
SEPT 27           Papalala Festival – Treis, Germany

Connect with April Art:  Website / Facebook / Twitter / Instagram
Stream their music on Spotify
Purchase on iTunes

A BLUE FLAME – 3-Track Single Review: “Blueprints For Time Machines”

A Blue Flame EP art

I’m not quite sure what’s behind the current flood of creative energy, but it seems that nearly everyone is putting out new music in 2019. At least that’s the case for a large percentage of the artists and bands I’ve featured on this blog over the past three and a half years. Another one of them is A Blue Flame, the music project of British singer/songwriter Richard Stone, who’s just released a new three-track single “Blueprints for Time Machines“, the first of four releases that will comprise his upcoming album due out this summer.

A Blue Flame’s songs tell compelling stories about life, love, faith, loss and heartbreak through poetic, heartfelt lyrics and sublime melodies. The passage of time and the challenge of keeping the faith – both in God and yourself – are recurring themes in his songs. Musically, his songs feature an eclectic range of styles from doo-wop and old-school pop to easy listening ballads, folk and rock, delivered with his smooth, pleasing vocal style. I first featured him on this blog in October 2016, when I reviewed his beautiful album What We’ve Become is All That Now Remains. In January 2018, I reviewed his equally stellar follow-up album When Your Whole World Turns to Dust, which dropped in September 2017. (You can read those reviews by clicking on the “Related” links at the bottom of this page.)

A Blue Flame

Stone writes all his songs and plays guitar on all the tracks. He arranges them with assistance from Adam Ellis, who co-produces and also plays guitar.  Other session musicians add their skills to the mix as needed, including Damon Claridge on drums, Andy Robertson on bass and keyboards, and Tony Robinson on keyboards and horns. About these new singles, Stone explains: “Blueprints has the interesting concept that if you went back in time to improve what you’d done, you’d make the past better than the present you have already created through mistakes made in the past!

The exhilarating first track “Blueprints for Time Machines” is short, lasting barely over two minutes, but makes quite an impact with a thunderous mix of roiling riffs and hammering percussion, punctuated by staccato bursts of stabbing guitars and punchy drumbeats. Stone’s passionate vocals are commanding as he loudly proclaims “Blueprints for time machines. I need designs and plans and schemes. So I can make yesterday better than I made today.”

A Blue Flame keeps the energy flowing with “You Blink and it’s Gone”, an exuberant song with a wonderfully complex melody incorporating elements of rock’n’roll, Latin and pop music. The intricate layered guitars are fantastic, and I love the lively trumpet work and backing vocal harmonies. The lyrics speak to a relationship that’s lost the initial spark that drew them together in the beginning, and now looking back with sad resignation: “I wish that I’d known then what I know now. I would have held you high above the crowd. / Feels like forever, then you blink and it’s gone. You need to let go, but you’re still holding on. And you can’t even tell if you’ve lost or you’ve won. You blink and it’s gone.”

Things turn melancholy with the languid “Pull for the Shore”, a track that almost sounds like two songs melded together. It starts off slowly, with acoustic guitars and gentle snare drum, then a smooth organ riff enters as Stone sings in a rather sad tone: “You’re lost again. You feel like you’re running on the spot again. Reached inside and given all you’ve got again. You think you may be headed for the drop again. You’re down my friend.” Eventually, the pace of the music quickens and music builds as he urges self-preservation: “Hey ho, don’t take anymore. Pull for the Shore.” Two-thirds of the way through, the tempo abruptly transitions to a faster rock vibe, with heavier guitars, organ and drums. Stone repeats the affirming line “Hey ho, don’t take anymore”, ending the song on a positive note.

A Blue Flame continues to deliver music that’s meaningful, interesting and always a joy to hear. All three tracks are marvelous, and a great start to what will surely be another superb album.

Connect with A Blue Flame:  Facebook / Twitter / Instagram
Stream his music:  Spotify / Soundcloud / Apple Music
Purchase:  cdbaby / iTunes