Terry Gomes is a composer/guitarist from Ottawa, Canada who’s been involved with music his entire life, both as a musician, singer-songwriter and composer of instrumental music, and as a teacher of rock and classical guitar. (He also taught elementary school for 26 years.) He studied classical guitar/composition at the University of Ottawa, where he graduated with honors. Over the years, he’s played in several rock bands and as one half of a flute/classical guitar duo. After writing songs for others, he began recording his own music in 2006, releasing three albums featuring songs in the singer-songwriter/pop/folk-rock genres. He eventually transitioned toward mostly guitar-based instrumental music.
Of Guyanese heritage, he’s long been drawn to Caribbean tropical influences and began releasing a series of Caribbean-influenced works, starting with his 2014 EP Sand in My Shoes, which he followed a year later with his EP Blue.Green.Aquamarine, then The Tropical Dream in 2018, a delightful concept album detailing a tropical vacation written while he recovered from a back injury. In 2019, Terry released an instrumental single “Rumjaro 360”, in which he combined elements of rumba, jazz and rock, and in 2022, he released two beautiful piano-based singles, “Elegy” and the jazzy “Steen’s Reverie”. The following year he released “Dark Riders“, a six and a half minute long instrumental track inspired by composers like Stravinsky, music scores of early TV westerns, and 60s surf instrumentals, accompanied by a clever and quirky animated video. (You can read my review here.) Last year, he released “Eeza Gomes”, a fun mambo pop song written in memory of his late, beloved Guyanese aunt, along with a whimsical video. The song’s title “Eeza Gomes” is a colloquial Guyanese (creolese) way of saying, “He’s a Gomes.”
Now Terry’s back with a wonderful new instrumental single “A Recurring Thought“, accompanied by a tender and heartwarming video. Composed and arranged by Terry, and recorded and mixed by Steve Foley, the song is the first single from his forthcoming album Some Chunes, scheduled for release on April 8th. For the recording of the track, Terry played the rhythm and classical guitar parts, and Arien Villegas played congas.
Describing it as “a poignant song of longing in which a repeated musical phrase (leitmotif) represents a recurring thought“, Terry elaborates on his inspiration behind the song and accompanying video: “‘A Recurring Thought’ began as a simple musical exercise using a leitmotiv (a repeating musical figure representing a person, situation, place, emotion…In the case of the music, it represents a thought that someone can’t escape from. The video has three elements; the sad musician, a gold sand dollar necklace and a remote tropical island. What exactly happened, what he’s remembering, and how these other two elements relate to him, is ultimately up to the listener.“
“A Recurring Thought” is a really lovely and tranquil instrumental piece, the perfect antidote for these quite troubling times. So sit back, put on your headphones, and let those warm guitar notes and gentle congas envelop and sooth you.
Hailing from lovely Bournemouth on the southern English coast is NAVE, the solo music project of British singer-songwriter, multi-instrumentalist, composer and producer Nathan Evans. Incorporating a broad array of genres and styles, including alternative rock, electronica, trip-hop, folk, ambient, orchestral and dark wave, the hyper-talented artist creates dramatic, incredibly compelling music that’s often atmospheric and gorgeous, but sometimes also harsh and unsettling. Though he says he generally shies away from listening to a lot of music, as he prefers to “be naive and not heavily influenced by others’ music” in the creation of his own songs, he admits to finding inspiration from the music of his youth by such acts as Radiohead, Nirvana, Queens Of The Stone Age, Muse, BRMC, UNKLE, Deftones, Limp Bizkit, Morcheeba and Moby. And in fact, Nathan formed a band called Deltorers in his teens, which eventually took him to Australia in support of Queens Of The Stone Age.
Nathan’s a deeply thoughtful guy who’s unafraid to tackle issues relating to social justice, mental health and emotional well-being. A truly prolific songwriter, he’s released a staggering amount of music over the past 12 years or so, both as NAVE and as front man of alternative psychedelic rock band Native Tongue. He’s been on a creative tear since 2021, and has released a ton of music, including numerous singles, several EPs and a monumental album God’s Waiting Room, featuring an astounding 31 tracks, in April 2023. (You can read my review here.) And one of his singles “Broken Record”, a hauntingly beautiful song decrying the addictive nature of social media and its negative impacts on our emotional well-being, went all the way to #1 on my Top 30 chart and ranks #14 on my 100 Best Songs of 2022 list.
His latest release is a fastinating and dark 10-track album titled simply “X“, which dropped January 31st. I’ll discuss the songs and my take on their meanings later, but in a nutshell, the album tells the story of a girl who suffers from a major life-altering trauma at the age of 14, and how she deals with it going forward. When I asked Nathan about the rather obscure title, he responded “The album has intentionally been made for the listener to find their own meaning. Think of it as when David Lynch is asked what it means, ha ha – he leaves it to the audience to make up their mind. So this album has a little privacy behind it but which I think makes it special, as people will ask so many questions. The title ‘X’ refers to the Roman numeral 10 for 10 songs in the album, and also as a symbol for its open interpretation.”
First and foremost, the songs on X are equal parts melancholy, disturbing and beautiful. The music consists predominantly of pensive acoustic guitar notes, accompanied here and there by haunting atmospheric orchestral synths, gentle piano keys and soft percussion, lending an enchanting texture to the otherwise moody tracks. Another interesting feature is how Nathan sings in both his deeper voice and an ethereal falsetto, which almost gives the impression of having two different vocalists on a few tracks, as well as providing a bit of contrasting tension.
The album opens with “The Tide”, in which NAVE introduces us to a young girl who is harmed, possibly raped by someone she’d trusted: “Innocence and wonder were the lights that she stood under. When she turned 14 the world wasn’t what it seemed. Predatory eyes, devils in disguise. Cartoons had not prepared her for the pain that god declared her. To clip an angel’s wings, and tie them up strings./There’s nothing left to say, only bide your time and wait.”
On “The Ashes”, she’s taken somewhere where she’ll be safe, but the effects of her trauma continue to haunt her, with her possibly resorting to cutting or burning herself to try and deal with her emotional pain: “Her stomach grows sick, her wings were clipped, and slowly her blood had drained. She felt so weak, wiping the ashes stuck to tears on her cheek./Emotional wreck, digging her nails in the back of her neck.”
One of the most disturbing but sonically beautiful tracks is “The Scars”, which continues to explore her coping mechanisms, this time focusing on her dreams of exacting revenge on those who hurt and/or failed to protect her, and erecting walls to keep her safe from predators: “She would awake from nightmares with tears in her eyes.Dreams of torture, her family burned alive. Plagued by corruption by her own broken mind.What kind of asshole rips an angel’s wing? She built a castle to stop them getting in.“
Just past the halfway mark of X we’re hit with quite a surprise on the haunting track “The Apology”, in which NAVE reveals that the young girl and her story were fabricated in order to make the listener take notice and connect with him and his music. The lyrics are incredibly poignant, and probably accurately reflect the sentiments of more than a few musicians and authors: “We’re over halfway and I’m sorry to say I fed you all a lie. The girl never existed. I had to stop writer’s block, so I made her up. Can you forgive me? I’m sorry to disappoint, emotionally exploit. I’m just playing the game so you would remember my name. I know it’s kind of pathetic. I hope you still think I’m poetic. Please forgive me for lying through my teeth. I’m trying to make you feel something that is real. I must connect to gain all of your respect. To stop me from feeling worthless and give me some kind of purpose.”
Then, on track eight “The Moment”, he returns to the girl who’d been victimized, indicating that she is in fact real after all. “The moment she couldn’t speak of. The moment she was afraid. The moment no one listened to a word she had to say. The moment she was a victim as an innocent young girl. This world makes me angry. It’s no joke, that’s a real person in pain. What’s the matter with you, that’s a real person, broken and bruised…screaming for help.”
On “The Strangest Secret”, it appears that the passage of time has allowed the girl to heal somewhat and take back control of her own life: “That little girl has discovered a secret. Now she gets to keep it all for herself. Silence growing, her life is glowing. Attracting nature to her, power runs right through her. Knowledge now she knows she’s reaping what she sows.”
On the stunning closing track “The Lost and the Found”, NAVE sings to the young woman who’s now become his muse, joyous in the fact they’ve found each other and in the process, rescued themselves from their demons and emotional traumas”: “I wanna freeze time, and stay here forever now I’ve found you, I wrote us these songs to heal our wounds and free us at last. You are my muse. You are my lost and found./ Time goes so fast, I’m grateful for every second I have that passes me by.”
It’s a beautiful, heartwarming and comforting end to both the story being told and the album itself. And once again, I’ve been blown away by NAVE’s artistry, creative imagination and soul-baring honesty.
I still love “The Faithful Heart” by Australian-born and now L.A.-based artist Wons Phreely and his backup band The Horses with all my heart, and so it remains at the top of my chart for a fourth week. Sliding into second place is Green Day‘s “Bobby Sox, while “Arrow” by The Head and The Heart moves up two spots to #3. Moving up five spots to enter the top 10 at #6 is “So Cold” by New Zealand-born and now New York-based Balu Brigada, comprised of brothers Henry and Pierre Beasley. The biggest upward mover is “The Line” by twenty one pilots, jumping six spots to #23. Their beautiful song “Routines in the Night” is also at #10 again this week. The sole debut this week is the wonderful “Who’s a Fraud?” by English alternative pop-rock band Still Traffico, which I reviewed a few weeks ago.
THE FAITHFUL HEART – Wons Phreely + The Horses (1) 4th week at #1
It’s time once again for another edition of Fresh New Tracks, and today I’m pleased to feature terrific new songs released over the past week by four talented acts I’m especially fond of from both a musical and personal standpoint. They are, in alphabetical order: Portland, Maine-based alternative dream rock artist Darksoft, English singer-songwriter and producer Frank Joshua, English singer-songwriter, composer and producer Kiffie, and L.A.-based indie pop-rock band Koyal.
Darksoft – “After All”
I love dream pop/rock in all its forms, and the music of singer-songwriter, producer and multi-instrumentalist Darksoft is right up my alley. Originally from Seattle, he relocated in late 2021 to Portland, Maine, where he’s continued creating music that’s both sumptuous and pleasing, with compelling lyrics addressing timely and relevant issues related to technology, social media and disillusionment, and delivered with his soothing ethereal vocals. Starting with the release in late 2018 of his brilliant debut album Brain, a concept work named for the first computer virus to attack the internet back in 1986 (which I reviewed), the imaginative, talented and hard-working artist has released five more concept albums, another of which, Beigeification, his beautiful 2023 work featuring songs inspired by overused phrases and idioms like “it is what it is”, “you gotta do what you gotta do” and “only time will tell”, I also reviewed.
Darksoft began the new year by dropping a new single “Devil’s In The Details”, the first from his forthcoming seventh album Rationalism, slated for release on February 21st. Now he returns with a second single “After All“, released via Spirit Goth Records. Once again, he serves up an enchanting and dreamy slice of ear candy, filled with crystalline jangly guitars and assertive but gentle percussion. His captivating vocals beautifully express a sad resignation as he croons the lyrics touching on feelings of loss and regret over a romantic relationship’s that ended: “After all we’ve been through, thought that we’d be close. But all is said, said and done. And you’re so far away.” Given its first two tracks, Rationalism promises to be another superb album.
Frank Joshua – “Walls”
Over the past two years, London-based Frank Joshua – an enigmatic but enormously talented singer-songwriter and producer who, wanting his music to speak for itself, shares no photos of himself – has become a favorite of mine on the strength of his gorgeous baritone voice and beguiling music style. It’s no exaggeration for me to say that Mr. Joshua has one of the most enthralling singing voices I’ve heard in a long while, and I was blown away the moment I first heard his music. The prolific artist has released a staggering amount of music over the past four years or so, including three albums, an EP and 41 singles! Every one of his songs is a captivating feast for the ears, and I love them all. I’ve previously written about three of them, most recently last February when I reviewed his single “On This Night”. His song “Bluebell Wood” ranks #53 on my 100 Best Songs of 2023 list, while “Winter Cowboy” ranks #36 on my 100 Best Songs of 2024.
His latest and 41st single is “Walls“, released via British music label Numen Records. Although Frank writes some of his songs, like the majority of his singles, “Walls” was written by his frequent collaborator Simon Pitheakley, and produced by Tony White. And like all his songs, this one’s a real beauty, with gorgeous reverb-drenched bluesy guitars accompanied by warm piano keys, soaring orchestral synths and gently crashing cymbals layered over a sensuous pulsating beat. It all creates a glorious cinematic backdrop for Frank’s melancholy yet captivating vocals which are both passionate and heartfelt.
The poetic lyrics speak of the challenges of growing older and maintaining a long-term relationship, in which there’s often a tug of war between the comfort and security that comes from being with a devoted loved one, and the primal urge to be independent and free of responsibility or commitment – which is something I’ve long struggled with myself. “It has to be love though it hurts to let go. The blue of your eyes and the shame of the know.I am in it too deep and I can’t let you go. I can’t let you go. Makes no sense to be sunny. But there she is sipping Mai Tais with honey. Confused this boy is.” The lyrics then address the added element of trying to raise children amidst all this drama, which I think is a brilliant addition to the song: “Our children are smashing up downtown, spouting logic and facts without sense. Rootless sensationless moody and cute, they just pound on the walls of their age.” “Walls” is another oustanding addition to Frank’s already impressive repertoire.
Kiffie – “The Exclusion Principle”
British artist Kiffie (the music moniker of Daniel Paul Kiff) is a creative and fascinating singer-songwriter, composer and producer of electronic music based in Norwich, England. Drawing from a wide range of music genres including electronica, hip-hop, rock, folk and classical, his arresting songs are inspired by current events, as well as the oft-covered topics of love, lies and betrayal. Kiffie records and produces all his own music at home using hardware instruments, synthesizers and drum machines. In a space of only four years, the incredibly prolific artist has released an astonishing 15 albums, 12 EPs, two compilation albums, two CDs, and numerous singles. His songs have received critical acclaim, and garnered airplay on BBC Radio 6 and other internet radio programs. In July 2023, I reviewed his album The Product, a powerful work addressing such timely issues as creeping authoritarianism, income inequality, misinformation and fake news, anti-science/conspiracy mongering, and political corruption. (Read that review here.)
Now, the busy artist is back with a new instrumental track “The Exclusion Principle“, the third in a series of tracks from his forthcoming album Approaching the Horizon. The album will be the third and final installment of his ‘Home’ trilogy which began with his 2021 collaborative album Home, followed by his 2022 album Interplanetary Exodus. Kiffie explains “The trilogy is basically a cosmic space opera about love at a distance and the idea that all of us one day will be refugees, escaping some never explained planetary problem that forces us to seek somewhere else to live. The love aspect is that during this upheaval people will become separated. ‘Approaching the Horizon’ is going to reunite the ‘star crossed lovers’ and many of the tracks will have titles based on physics and quantum theory.” “The Exclusion Principle” is a marvelous spacey track featuring an array of ominous sound textures and beats that nicely convey a sense of impending upheaval without ever becoming over dramatic. I like how it gradually builds, then slowly trails off.
Koyal – “hiatus”
Photo by Jeremiah Rafferty
Koyal is delightful and charismatic indie pop-rock band I’ve been following for a couple of years. Originally formed in Atlanta as a six-piece in 2018 while still in college, the band reduced to a trio in 2023 consisting of Pooja Prabakaran (lead vocals), Noah Weinstein (guitar, production) and Henry Wallace (drums & piano). With a shared love of Glass Animals, Yeah Yeah Yeahs and GROUPLOVE – all acts I love too – Koyal draws from an eclectic range of elements, including indie, alternative, rock’n’roll, blues and jazz. They started releasing a series of singles in 2020 which culminated with the release of their debut album Mountain City in July 2021. They followed with more singles, along with an EP Joyride in November 2022, which I reviewed. In February 2024, they began dropping a series of excellent disco/dance-infused singles that will be featured on their second album breathe in. breathe out, scheduled for release on February 28th. And in September (2024), they relocated from Atlanta to Los Angeles.
On January 28th, they dropped “hiatus“, their fifth single from the forthcoming album. Co-written by all band members along with singer-songwriter and musician Tony Doud, who also co-produced the track with Noah and played the wonderful saxophone, the song’s a bouncy, yet sophisticated, dance gem about disconnecting from your phone and enjoying a bit of quiet solitude. Though it seems to pay homage to some of the disco hits of the late 70s, “hiatus” feels fresh and contemporary. I love the sensuous dance groove overlain with swirling synths, sparkling piano keys, funky guitar notes and Tony’s warm sax. Pooja’s lilting vocals are full of unbridled euphoria as she sings the joys of having a bit of alone time to herself: “Where my time, time is my own, I can turn, turn off my phone. Take a hiatus.“
The charming video, shot in a single take at Elysian Park in Los Angeles, shows Pooja singing the song while playfully walking through the park, and features animated artwork and lyrics created by her.
Unquiet Nights is an outstanding rock band I’ve been following for seven years and have featured several times on this blog. Originally started in 2006 as a solo project by Luke Mathers, a talented singer-songwriter and guitarist from Belfast, Northern Ireland, with the help of Rodger Firmin on drums he began recording songs for what would become the first Unquiet Nights album 21st Century Redemption Songs. In 2010, Luke moved to Italy, where he eventually finished and released the album. He was later joined by Italian musicians Francesco Piciucchi on bass and keyboards, and drummer Matteo Bussotti for live shows, though Rodger still played drums on their recordings.
In 2015 they released their beautiful second album Postcards in Real Time. One of the tracks from that album, “George Best City”, which was never released as a single but was used in the Federico Buffa Racconta documentary series, landed them several live national appearances on Italian TV stations, and became their best known and most successful song, garnering more than half a million streams on Spotify alone as of today. Mathers eventually moved back to Belfast in 2016, where he continues to record and release music with Firmin and Piciucchi as Unquiet Nights. In 2022, they released a compilation album First Ten (2012-2022), a sort of ‘greatest hits so far’ work commemorating the 10-year anniversary of their debut album 21st Century Redemption Songs. They followed two years later with their third studio album Seasons in Exile, released last January (2024). I reviewed the album’s lead single “Diamond and the Missing Son”, which ended up ranking #11 on my 100 Best Indie Songs of 2024 list, and #65 on my 100 Best Songs of 2024 overall list. (Also, their 2019 single “Four Winds“ ranks #76 on my list of 100 Best Songs for that year.)
Now they’re back with a double single “Everything Seductive”/”Straight To The Ground” which, like all their music, was produced by Mathers, and mixed and mastered by Neal Calderwood. The songs were recorded during the Season in Exile sessions, but since they didn’t fit in with that album’s storyline concept, they weren’t included. Both being excellent songs, Unquiet Nights decided to release them now as stand-alone singles. The first, or A-side “Everything Seductive”, is an exuberant foot-stomping rocker, with fuzz-coated gnarly guitars punctuated here and there by twangy notes and accompanied by Fermin’s urgent drumbeats. Mathers’ commanding vocals nicely convey a sense of sad resignation as he sings of a romantic love affair that’s hit its end, leaving him feeling dejected and wondering what went wrong: “Tell her I’m discouraged, and she should know the reason why. Everything seductive in this life just seems to pass me by.“
The B-side “Straight To The Ground” is more personal for Mathers, who told me he never had the opportunity to meet one of his grandads because he died of a heart attack after the IRA (Irish Republican Army) destroyed his corner shop in a bombing. The song’s lyrics are meant to describe his grandad’s bitter feelings after seeing his life’s work blown up: “I built all that you can see. I built on solid rock for those who depended on me. You ever tried to make the best out of all that you found? You ever stood and watch it all falling straight to the ground?” To drive home his message, Mathers serves up a distinctly darker tone than on “Everything Seductive”, with an ominous grinding guitar riff layered over a hard-driving rhythm of throbbing bass and pounding drumbeats. His guitar work is fantastic, highlighted by a one-two punch of a gorgeous chiming solo in the bridge, followed by a magnificent wailing guitar solo that leaves me covered in chills before the song quickly fades out. Befitting the subject matter, his vocals are more intense as well, fervently conveying the anger and bitterness expressed in the lyrics.
Though I really like both tracks, “Straight To The Ground” struck me at first listen, and it’s my favorite of the two.
It’s always fascinating to me how vastly different the various music charts can be, and also how long many songs now remain on each chart, and this particular week is a good example of just how much that is the case. “Die With A Smile” by Lady Gaga & Bruno Mars, which spent September, October and November in the top five on the Billboard Hot 100 before falling below that while the annual parade of vintage Christmas songs ruled the chart for most of December, is now at #1. On the Adult Pop chart, “Stargazing” by Myles Smith has spent seven weeks and counting at #1 (it peaked at #4 on my chart last November). Meanwhile, “Sad in Carolina” by Dexter and The Moonrocks has spent eight weeks and counting at #1 on the Alternative Airplay chart, “Arrow” by The Head and the Heart has spent six weeks and counting at #1 on the Adult Alternative Airplay chart, and “Mayday” by Three Days Grace has spent three weeks and counting at #1 on the Mainstream Rock chart. While “Stargazing” did quite well on both Alternative charts, even reaching #1 on the Alternative Airplay chart for a week, neither “Sad in Carolina”, “Arrow” nor “Mayday” have appeared on the Hot 100. The last time I can remember a song topping all those charts simultaneously was “Somebody That I Used to Know” by Gotye way back in 2012!
At any rate, the delightful “The Faithful Heart” by L.A.-based Wons Phreely + The Horses is still my current favorite song, thus remains at #1 on my Top 30 chart for a third week. “Sad in Carolina” holds at #2 for a third week after previously spending two weeks at #1, making it their seventh week in the top 2. “A Tear in Space (Airlock)” by English band Glass Animals holds at #3 for a second week, while Green Day‘s “Bobby Sox” inches up a spot to #4, and “Arrow” moves into fifth place. Entering the top 10 are “Autumn Leaves” by Welsh artist Secret Postal Society (the music project of singer-songwriter and guitarist Craig Mapstone), and “Routines in the Night” by twenty one pilots. “Die With A Smile”, which peaked at #2 on my chart early last month, moves back up three spots to #17.
Two fantastic songs make their debut this week, the first of which is the enchanting and cinematic “The Line” by twenty one pilots, giving my favorite music act two tracks on this chart. The song is from the Season 2 Soundtrack of the Netflix animated action-adventure series Arcane: League of Legends, which I previously had no idea about but is apparently enormously popular. The second debut is the smoldering rocker “Take This Heart” by Denton, Texas-based singer-songwriter Brian Lambert, which I reviewed a few weeks ago. It’s his fifth song to appear on my chart, two of which were by The Star Crumbles, his collaborative band with Marc Schuster.
THE FAITHFUL HEART – Wons Phreely + The Horses (1)
SAD IN CAROLINA – Dexter and The Moonrocks (2)
A TEAR IN SPACE (AIRLOCK) – Glass Animals (3)
BOBBY SOX – Green Day (5)
ARROW – The Head and the Heart (6)
IN THE LIVING ROOM – Maggie Rogers (7)
NEVERENDER – Justice & Tame Impala (4)
GILD THE LILY – Billy Strings (8)
AUTUMN LEAVES – Secret Postal Society (11)
ROUTINES IN THE NIGHT – twenty one pilots (12)
SO COLD – Balu Brigada (13)
A FRAGILE THING – The Cure (9)
DARKERSIDE – David Kushner (15)
YOU’RE MY DRUG – Talk in Waves (16)
DETROIT – Badflower (17)
SAILOR SONG – Gigi Perez (18)
DIE WITH A SMILE – Lady Gaga & Bruno Mars (20)
SHE WANTS TO GO DANCING – Mt. Joy (23)
DAY & NIGHT – Oli Barton (21)
HARDCORE ROMANCE – Beach Weather (10)
AFTERLIFE – Sharon Van Etten (22)
GIVING UP – Michigander (14)
PEOPLE WATCHING – Sam Fender (24)
BAD DREAMS – Teddy Swims (26)
FAVOURITE – Fontaines D.C. (19) 20th week on chart
One of my favorite female vocalists – and music artists in general – is Lyia Meta, an immensely talented, gracious and lovely recording artist with a vibrant singing voice. Based in Kuala Lumpur, Malaysia and of Creole Portuguese ancestry, Lyia’s a multi-faceted artist in every sense of the word. With her smoky contralto vocal style, she can literally sing just about anything and in fact, has recorded songs in a wide range of genres including blues, jazz, pop, country, rock and even metal, bringing her international recognition and acclaim.
She’s been nominated for, and won, numerous music awards around the globe over the years. Besides Malaysia, she’s also performed in India, Los Angeles and Texas, and has been featured in Rolling Stone, Billboard Magazine, FAULT Magazine and Reader’s Digest, to name just a few. As if all that weren’t enough, she’s also a highly-accomplished visual artist with several exhibits to her credit. (You can see some of her work here.) She even surprised me with a wonderful pencil drawing of myself in 2019.
A prolific artist, Lyia’s released an impressive amount of music over the past nine years, beginning with her debut EP This is Lyia in 2016. Since then, she’s put out two more EPs, two albums Always You in 2023 and Next in 2024, and scores of singles. I’ve written about her and her music many times, most recently last July when I featured her single “Easier and Easier“ in a Fresh New Tracks post. (The song ended up on my 100 Best Indie Songs of 2024 list.
Now she’s back with a new single “I Fall in Love Too Fast“, a sophisticated and jazzy pop number in the style of songs by the late great Ella Fitzgerald or contemporary artists like Diane Schuur and Diana Krall. The song was written by Los Angeles-based songwriter David Sanchez and co-produced by Lyia and her frequent collaborators, Nashville-based musician and recording engineer Bob McGilpin and musician and producer Gene Rabbai. For the recording of the track, McGilpin played guitar, drum and bass, as well handling the arrangement and sound mixing, while Rabbai played piano and orchestration.
I love the song’s lush orchestral arrangement and uptempo melody, highlighted by gently soaring strings, jazzy piano keys and a bewitching flute. As always, Lyia’s pleasing and warm vocals are sublime, flawlessly executed while matching the rich orchestration note for note.
The lyrics speak of letting your heart overrule your common sense, allowing yourself to fall head over heels with someone quickly after meeting them, mistaking intense physical attraction and infatuation for love. As a hopeless romantic in my younger days, it’s something I experienced far too many times myself.
Why do I lead with my heart? Why can't I learn from the past? My head says 'Go slow, when it's too soon to start' Oh I fall in love too fast
Promises made in the night Are just illusions that love will last It's the music and moonlight that I can't deny Oh I fall in love too fast
That voice inside may scold me 'Let love come in it's own time' But the room starts to spin each time he holds me And my resistance unwinds
Did he come here tonight to bewitch me? Should I run from the spell that he casts? And maybe I'll just let him kiss me Oh I fall in love too fast
As we enter the first week of the return of the despicable corrupt authoritarian that is Trump to the American Presidency, with its guaranteed upheaval, at least we have lots of great music to bring us a bit of comfort and solace.
The lovely and endearing “The Faithful Heart” by L.A.-based Wons Phreely + The Horses maintains its firm grip on the #1 spot for a second week, while “Sad in Carolina” by Texas sad cowboy music band Dexter and The Moonrocks holds at #2 for a second week after previously spending two weeks at #1. English alternative pop-rock band Glass Animals move up to #3 with their enchanting “A Tear in Space (Airlock)”.
Three songs enter my chart this week, starting with the very cool “ROCKMAN” by alternative indie rock singer-songwriter Mk.gee (born Michael Todd Gordon in New Jersey but from what I can tell is now based in L.A.). He began releasing singles in 2017, as well as two EPs in 2018, a mixtape in 2020 and his debut album Two Star & the Dream Police in February 2024. Sadly none of them charted in the U.S. until his latest single “ROCKMAN”, which is currently #26 on the Billboard AAA (Adult Alternative Airplay) and #30 on the Rock/Alternative Airplay charts (Billboard has way too many charts!). That said, Mk.gee’s star has risen exponentially over the past year, with him garnering a coveted spot as musical guest on Saturday Night Live on November 9th. He’s also amassed 2.3 million monthly listeners on Spotify and 288,000 followers on Instagram.
The other two debut songs are by acts I’ve recently learned about, and I loved their music right off the bat. Coming in at #29 is the beautiful “Here We Go Again” by Welsh pop-rock band Set the Tone. The song was released at the end of November, and I reviewed it in late December. One of their previously-released songs, “Do You Really Wanna Know?”, ended up on my 100 Best Indie Songs of 2024 list. And last but certainly not least is the mesmerizing and gorgeous “Imposter Syndrome” by English alt rock/synthwave band Fake Empire. I became a big fan the instant I heard this song, which I also wrote about in a recent Fresh New Trackspost.
THE FAITHFUL HEART – Wons Phreely + The Horses (1)
SAD IN CAROLINA – Dexter and The Moonrocks (2)
A TEAR IN SPACE (AIRLOCK) – Glass Animals (4)
NEVERENDER – Justice & Tame Impala (3)
BOBBY SOX – Green Day (5)
ARROW – The Head and the Heart (6)
IN THE LIVING ROOM – Maggie Rogers (7)
GILD THE LILY – Billy Strings (10)
A FRAGILE THING – The Cure (8)
HARDCORE ROMANCE – Beach Weather (9)
AUTUMN LEAVES – Secret Postal Society (14)
ROUTINES IN THE NIGHT – twenty one pilots (15)
SO COLD – Balu Brigada (16)
GIVING UP – Michigander (11)
DARKERSIDE – David Kushner (17)
YOU’RE MY DRUG – Talk in Waves (18)
DETROIT – Badflower (19)
SAILOR SONG – Gigi Perez (20)
FAVOURITE – Fontaines D.C. (12) 19th week on chart
DIE WITH A SMILE – Lady Gaga & Bruno Mars (13)
DAY & NIGHT – Oli Barton (23)
AFTERLIFE – Sharon Van Etten (24)
SHE WANTS TO GO DANCING – Mt. Joy (25)
PEOPLE WATCHING – Sam Fender (26)
CAN’T SLOW DOWN – almost monday (22) 19th wk on chart
Lots of new music continues to issue forth from more of the highly creative artists and bands I follow, so time for another Fresh New Tracks installment. Today I’m featuring new songs released over the past week by four acts I’ve previously written about, in alphabetical order: L.A.-based pyschedelic pop-rock duo The Nanners, Texas indie rock trio Onism E, Philadephia-based singer-songwriter and multi-instrumentalist Marc Schuster, along with an array of indie artists he calls “His Amazing Friends”, and Scranton, Pennsylvania-based metalcore band Traverse the Abyss. While each of the four songs couldn’t be more different from one another from a musical standpoint, they all address varying approaches for trying to keep sane in what seems to be an increasingly insane world.
The Nanners – “Jokes”
Hailing from Los Angeles are The Nanners, the wonderfully zany music project of Nicholas Ewing and Thomas Ferraiuolo, who have this to say about themselves: “Welcome to Banana World, where love, curiosity, angst, and nebulous speculations are explored through the lens of two meek and socially awkward grown men in banana costumes.” While at first glance they might appear to be some kind of weird novelty act, they are in fact fine musicians and songwriters who also happen to be both hilarious and charming, with their music a delightful mix of indie rock, psychedelia and jangle pop.
I first wrote about them and their song “New Pony” in a previous Fresh New Tracks post a year ago, and am now pleased to feature their latest single “Jokes“. About the song, the guys say: “When you’re tripping sometimes you trip and fall pretty hard. But when you get your face out of the mud you realize everyone and everything is laughing with you.” To drive home their message, they layer a colorful blend of twangy, jangly and edgy psychedelic guitars over a bed of quirky twinkling synths, all fueling by a pleasing rhythm of subtle bass and percussion. As great as the music is, I really love their warm harmonies as they sing of not allowing life’s trials and tribulations to get the better of us.
Onism E – “Call You Home”
Photo by Jim McKay
When I last wrote about indie rock band Onism E and their powerful song “It’s Not Over” in November 2022, they were a four-piece based in New York City. Now relocated to Austin, Texas, the band is a trio comprised of uber-talented front woman, singer-songwriter and guitarist Eline Chavez, bassist Gabe Chavez and drummer Andre Atalaya. Their latest single “Call You Home“, written by all three band members and produced by Tucker Allen, is another hauntingly beautiful and compelling song in the style for which Onism E have become known.
Like all their songs, “Call You Home” features intelligent lyrics touching on life’s struggles and the human condition. In this case, Onism E explores feeling lost and untethered in a troubled world gone mad, seeking solace in people and places that can bring a little comfort and peace of mind: “The world is lost, and I’m empty. Drifting in sadness of sins I don’t even own. And I’m just trying to hold my own. I’m just trying to hold on, and all I need to know is can I call you home? When the world gets hard, and I’ve got no place to go.” I love the gorgeous mix of chiming guitars and twangy guitars, rich percussion and Eline’s always marvelous, deeply-emotive and heartfelt vocals.
Marc Schuster & His Amazing Friends – “Hole in the Boat”
Marc Schuster is an insanely creative, multi-talented guy from the Philadelphia area who’s not only an educator, author, literary critic and visual artist, but also a prolific songwriter and multi-instrumentalist, recording both as a solo artist and as part of numerous music projects and collaborations with an ever-expanding roster of musicians. As if all that weren’t enough, he also hosts a weekly hour-long music podcast where he features songs by talented indie artists, plus has a terrific blog of his own called Abominations, where he writes about music and interviews indie artists. I honestly don’t know how he finds the time and energy to accomplish all that he does!
I’ve featured Marc many times on this blog, most recently last May when I wrote about his collaborative single “All the Same to You” with Portland-based artist Quizboy. Now he’s back with another collaboration, “Hole in the Boat”, which he recorded with the help of Quizboy and a host of other musicians he names below. The song has a somber and rather melancholy vibe, yet offers glimmers of optimism and hope that we can come together to at least achieve a bit of understanding and empathy toward each other, even if we’re unable to totally resolve or overcome our deep-seated differences.
About the song, Marc elaborates: “It’s a plaintive call for solidarity in difficult times. And, I suppose, a request for honesty. I had my own hole in the boat in mind when I wrote the tune back in November, but now I’m thinking of all the holes we don’t talk about. In fact, the line that inspired the song came from a Don DeLillo novel called Mao II, and the line actually refers to “holes,” plural: ‘What about the holes in the boat? All repaired?’ one characters asks. ‘We don’t speak about the holes’ another responds. Times like this, as I say in the song, all we have is each other, so I’m grateful to all of you for listening to my music — and to my friends Nick Cervini, Jim Lorino, Sam Goodman, Jaimee Jacobczak, Brian Lambert, and Quizboy for helping me out with this one!“
Traverse the Abyss – “Reasoning”
Photo by Juliana Soroka
I’ve been following heavy metal band Traverse the Abyss for over eight years, and while this genre of music isn’t one of my favorites, I do like to hear a good face-melting, speaker-rattling song now and then, and this band always delivers the goods. Their intense yet melodic sound draws from a myriad of metal sub-genres, including classic heavy metal, thrash metal, death metal, nu-metal and metalcore, as well as hard rock, rock’n’roll and even punk influences I first wrote about them in early 2017 when I reviewed their impressive debut album Gamble of Life, then again in August 2018 when I reviewed their eponymous EP Traverse the Abyss. In the years since, the Scranton-based act has undergone some changes in lineup, and from what I can tell now consist of original co-founders Eric “Abyss” Ross (Vocals) and “Iron” Mike White (Guitar), as well as Jamie Macheska (Guitar), Justin Coe (Guitar), Nick “Big Shits” Cotillo (Bass) and David “Goblin” Wilczewski (Drums). They’ve dropped a series of additional singles, along with a second EP Smiling in the Suffering, in 2022.
Now they return with a new single “Reasoning“, the first of five tracks from their forthcoming third EP Momento Mori, due for release on April 25th. Musically, the song opens with a somber, darkly beautiful guitar riff interrupted by an occasional stab of a piercing gnarly guitar note. Soon, all hell breaks loose with an explosion of furious raging guitars, pummeling bass and aggressive drums as Eric screams the lyrics in his signature fearsome growl. The combined guitar prowess of Iron Mike, Jamie and Justin is on full display as they inject spine-tingling riffs and solos throughout the song, while Nick and David masterfully drive the rampaging rhythms forward. The lyrics speak to letting go of negative thoughts resulting from unpleasant or unhappy past events that are holding you back, keeping you from growing and achieving your full potential: “The way we feel about everything is based on our past experiences. I know negativity is haunting, lurking, stalking me. Learn from your past mistakes. How we think and respond has the power to rebuild our own lives.”
January 10th was apparently a big day for new music releases, and I featured three singles that dropped that day on my recent installment of Fresh New Tracks. One I missed – because I was not yet familiar with the band who recorded it – is the wonderful song “Who’s a Fraud?” by English alternative pop-rock band Still Traffico.
Originally formed in London as a four-piece named Peach, the band renamed themselves with a rather unusual but certainly distinctive moniker Still Traffico in the summer of 2023, when they reduced down to three members consisting of Cam McColl (lead vocals/guitar, Dan Carabine (lead guitar) and Dan Arthur (bass). Influenced by everything from Chanson Française storytelling to African desert blues to post-rock and more, Still Traffico make a blend of indie pop and post-punk they call “Railway Pop” and cheekily describe as a “sound that clanks and shunts… but soothes.” After listening to their songs I’d say that sounds about right.
Still Traffico released their debut single “Seagull” in September 2023, and since then have dropped three more excellent singles, the latest of which is “Who’s a Fraud?” While not quite jangle pop, it most definitely features some marvelous jangly guitar work, as well as really lovely twangy guitar notes accompanied by a subtle but solid bassline and spirited percussion. It all works beautifully to create an enthralling and memorable backdrop for Cam McColl’s immensely pleasing vocals. I like “Who’s a Fraud?” more with each listen, and think it’s their best song yet.
The poetic lyrics seem to speak to those who think of themselves as pure of heart and mind with the best of intentions, yet are quick to judge others they feel are wrong or inferior to themselves:
I tore the lid off Light hit the eggshell walls What lurks underneath Can't be concealed anymore.
It's coming for you In all your comfort Turn your face away when it matters.
So who are you calling a fraud?
You've seen the world You've got your measure on things Now, hold yourself Like we're the same? It's night and day.
I tread alone in familiar places. Step into the road as the lights turn red. To find that people behind me follow. To feel.. that cars can't kill.
You know the world You've done your own reading So, hold yourself like we're the same? It's night and day.
ECLECTIC MUSIC LOVER 