For my latest and 50th edition of Fresh New Tracks, I’m featuring songs by three acts I’ve followed for quite a long time – ranging from seven to nine years – and have written about numerous times on this blog, though none of them for at least the past two years. They are, in alphabetical order, Norwegian composer and musician Antipole (in a song also featuring his son Ja’kob and Portuguese singer-songwriter Pedro Code), English rock band Black Bear Kiss and American alternative pop rock band Council. All three singles were released on July 11th.
Antipole & Ja’kob featuring Pedro Code – “Echoes”
AntipoleJa’kobPedro Code
Coldwave/post-punk act Antipole is the music project of Norwegian guitarist and composer Karl Morten Dahl, who’s based in Trondheim. The prolific musician has released nine albums and numerous singles over the past 12 years, both as a solo artist and in collaboration with many other artists and vocalists, most frequently British electronic music artist Paris Alexander, with whom he’s released several albums. I reviewed their albums Northern Flux in 2017 and Crystalline in May 2023 (which you can read here).
His latest release is the enthralling single “Echoes“, a collaboration with his son Ja’kob, a budding guitarist in his own right, and Portuguese singer-songwriter and producer Pedro Code (aka Pedro Mota), who’s half of the electronic duo IAMTHESHADOW along with Vitor J. Moreira. The song was written and recorded by Antipole, Ja’kob and Pedro, who sings vocals and also produced the track. I love the insistent fast-paced beat and mesmerizing soundcape of swirling industrial synths, haunting jangly guitars and arresting percussion, accompanied by Pedro’s deep baritone vocals. The beautiful black and white video, filmed in Lofoten and Granåsen, Norway and Lisboa, Portugal, was edited by Karl and his wife Anne-Christel and features Karl, Ja’kob and Pedro performing the song in various settings.
Black Bear Kiss – “Calling Out”
Photo by Paul Richardson
Since the release of their terrific debut single “Hooks” in the spring of 2018, English alternative garage rock band Black Bear Kiss have consistently released outstanding songs, and I would know, as I reviewed every one of their first seven singles. On the strength of their exciting guitar-driven sound, strong charisma and rowdy live performances, they’ve built a loyal following in their home base of the West Midlands/Shropshire region of England and beyond. Unfortunately, in June 2021 the band was shaken by the tragic and sudden passing of one of their members Rob Jones due to a previously undisclosed heart ailment. Undaunted by that terrible blow, the guys decided to soldier on as a four-piece consisting of Chris Leech on lead vocals, Colin Haden on guitar, Rich Sach on bass, and Chris Bagnall on drums.
They released their debut self-titled album in March 2023, and since then have dropped three more singles, the latest of which is “Calling Out“. The song is a smoldering melodic rocker, with an intricate mix of darkly beautiful guitar notes and fiery riffs, accompanied by a driving bassline, snappy drums and what sounds like a mellotron in the bridge. As always, Chris’s distinctive warm vocals are a highlight for me as he plaintively sings the lyrics that seem to be about reaching out to a loved one who’s struggling emotionally: “Calling out to bring you in. Oh fight this feeling, my headspace I want you to lift. Call me again. Call me in time. Call me whatever your state of mind. Call it in close. Pull it apart. Never forget baby who you are.”
Council – “Never Let You Go”
I’ve been following New York alternative pop rock band Council for the past nine years, and have featured them on this blog a number of times. Comprised of the three strikingly handsome Reeves brothers – twins Patrick (bass and lead vocals) and Doug (drums) and their younger brother Andy (guitar) – they were raised on a farm in rural upstate New York and now split their time between tending the family farm and working on their music in New York City. Through their signature sweeping melodies, bold instrumentation and anthemic choruses, Council’s dynamic sound has sometimes been compared to Imagine Dragons. Their magnificent life-affirming debut single “Rust to Gold” received worldwide acclaim, including being played at the opening ceremonies of the 2018 Winter Olympics and the FIFA World Cup, as well as on American Idol, So You Think You Can Dance, World Of Dance and Premier League. It’s been streamed more than 14 million times on Spotify, and ended up on my list of 100 Best Songs of 2017.
The guys have released numerous singles over the past nine years, including an original Christmas song nearly every December since 2020. Their latest offering is “Never Let You Go“, their first non-Christmas single in nearly three years. In an Instagram post, they stated that the song is about two toxic people in a relationship who can’t seem to walk away from each other, yet end up slowly destroying each other because each of them wants to change the other into who they think they should be, something I’m sure is the cause of many a break-up. Musically, the song is the kind of powerful soaring anthem we’ve come to love and expect from Council, highlighted by Andy’s intricate guitar work, Pat and Doug’s hard-driving rhythms and Pat’s fervent vocals. Great job guys!
Unobliterated is the music project of England-born and now Portugal-based singer-songwriter and musician Gary Taylor, who’s been making music for many years in one form or another under various guises. While living in the UK, he started out making EDM/Ambient music under the name Agent Orange just for fun, never releasing any of it. Then he played in a number of bands – most recently The Tasers, with whom he served as songwriter – who recorded a few demo tracks though nothing was ever officially released. After relocating to Portugal partly in response to Brexit, Gary felt like he still had some unfinished business with regard to making music, as he had a few songs he’d started during his time with The Tasers that had never been fully developed or recorded. Discovering how easy it was to release music on platforms like Spotify, Bandcamp, YouTube, etc., he dubbed his project “Unobliterated” and began releasing alternative pop-rock songs in March 2024, starting with “Truth is Nothing” and “Slipping Through Your Fingers”.
When I asked Gary about his unusual moniker, he explained: “I came across the word ‘Unobliterated’ many years ago on a Dymo label – I just found it at a bus stop along with a bunch of other unused labels. I absolutely fell in love with the word [at first it appears ridiculous but you definitely can make it work in a sentence] and the question of why it was there in the first place, and geekily named my music making computer ‘Unobliterated’, and that tradition carried on until this day. So when it came to finding a name, that was top of my shortlist and won out when I was able to verify that there were no other Unobliterated artists.“
He continued releasing more singles throughout 2024 and into 2025, and today returns with “light years apart“, a majestic song he describes as a “tale of love, loss, fragility, pain and the [misplaced] hope we often cling to in desperate times.” Gary wrote and recorded the song, played guitar and programmed synths, and sang lead and backing vocals, with his wife Anna providing additional backing vocals. The track was mixed and Mastered by Charles Connolly.
To drive home his message, Unobliterated starts with a haunting melody driven forward by a strong pulsating groove, then layers swirling atmospheric synths and warm guitar notes, creating a mesmerizing backdrop for his arresting vocals that masterfully convey a sense of both despair and hopeful optimism. I really like his marvelous vocals that go from breathy and sensuous to plaintive and impassioned, as well as his and Anna’s subtle harmonies in the choruses. “light years apart” is a great song, and I think it’s one of his best yet.
Oceans of empty bottles can’t drown the thoughts of you Red eyes and chemicals in smoky rooms don’t blur these apparitions My Skies grow darker now, day by day Storms flush my colours out and turn my world to grey
Oh I’m devastated to my core But tell me are you really sure Why don’t you hear me out why don’t you give me just one more try And maybe… We can take it back to the start, we’re only light years apart and I would bend space for you
Memories that taunt and tear me down, deride my hollow virtues Caught in this clouded mirror; fading echoes of a better man Oh these scars run deeper now, every day As tortured fragments of my soul are ground to dust and blown away
Let’s take a minute to gather all the moments we have scattered to the wind We don’t know how the story ends but let’s turn the page and see how it begins Yeah I would bend space and time; turn water to wine. I’d take it back to the start; we’re only light years apart and I am light speed
Oh I’m devastated to my core But tell me are you really sure Why don’t you hear me out why don’t you give me just one more try And maybe… We can take it back to the start, we’re only light years apart and I would bend space for you
For the latest installment of my Fresh New Tracks series, I’m featuring new songs by an international array of acts. They are, in alphabetical order, Italian indie garage rock band Blake Rascals, English alt-rock band Future Theory, American shoegaze/indie rock band Icarus Phoenix, and Canadian Country collaborative Shimmer Road.
Blake Rascals – “Conspiracy Of Snakes”
Hailing from Ancona province in central Italy are Blake Rascals, an indie garage rock trio formed early this year. With a name inspired by their shared love for British poet and painter William Blake, who often used the image of a snake to represent the complexity of the human soul, its temptations and its rebellions, their sound is a distinctive blend of British indie rock and garage / post-punk revival influences by such acts as Arctic Monkeys, Queens of the Stone Age, Black Rebel Motorcycle Club and The Raconteurs. The band is comprised of Giuseppe Palumbo (vocals and guitar), Andrea Marcellini (bass and backing vocals) and Simone Raggetti (drums and backing vocals). Andrea previously released music under his solo acoustic folk music project Andy K Leland, and I featured him numerous times on this blog between 2017-2019.
On June 10th, Blake Rascals released their debut single “Conspiracy Of Snakes“, and it’s a glorious hard-charging banger! The song opens with a powerful stomping drumbeat which is soon joined by heavy bass and a sensuous reverby guitar riff, then explodes into a maelstrom of distorted guitars and thunderous percussion, creating an electrifying soundscape for Giuseppe’s commanding vocals. And just when we think the guys have taken things as far as they can, they let loose with a furious onslaught of raging guitars and pummeling rhythms at the end for an exhilarating finish. I love it!
Future Theory – “Reality Buzz”
A long-time favorite British music act of mine is alternative psychedelic rock band Future Theory, a Lincolnshire, England-based four-piece comprised of Max Sander (rhythm guitar and vocals), Chris Moore (lead guitar), Jacob Brookes (bass) and Rohan Parrett (drums). Blending elements of alternative and progressive rock, psychedelia, grunge, shoegaze and funk, they create arresting songs featuring complex melodies and arrangements, and delivered with lavish instrumentation and Max’s mesmerizing vocals. Since first learning about them in early 2017, I’ve been consistently impressed by their intelligent songwriting and strong musicianship, and have written about them and their outstanding music numerous times. Their single “One and the Same” reached #3 on my Top 30 chart and ranks #42 on my 100 Best Songs of 2022 list, while their gorgeous “Why” went all the way to #1 and ranks #18 on my 100 Best Songs of 2023.
Now this talented band is back with “Reality Buzz“, their first new single since “Skin” in December 2023, and it was worth the wait! The song grabbed my attention right away with its swirling psychedelic guitars, Max’s distinctive sultry vocals and infectious head-bopping groove propelled by an insistent drumbeat. As the track progresses, we’re treated to more of Chris and Max’s awe-inspiring guitar prowess as they lay down a barrage of scorching riffs, fortified by Jacob’s grinding bass and Rohan’s boisterous drums. Future Theory never fail to deliver a quality song, and “Reality Buzz” instantly ranks among my favorite songs by them.
Icarus Phoenix – “Mark & Kyle”
The wonderfully-named Icarus Phoenix is a shoegaze/indie rock band originally formed in Missoula, Montana in 2020, but now based in and around Baltimore, Maryland. Fronted by silky-voiced singer-songwriter and guitarist Drew Danburry (who’s independently released a staggering amount of solo music since 2002, including over 400 songs on over 20 albums and 13 EPs), Icarus Phoenix has released quite a bit of music as well, starting with their self-titled debut album in 2021, followed by two more albums that year, another in 2022 and their most recent, I Should Have Known the Things You Never Said, last August (2024). In Nov 2022, Drew recorded 40 songs in three days at June Audio in Provo, Utah with producer Jed Jones (Post malone, The Killers), also recruiting the help of longtime friends Jake Bellows of the band Neva Dinova to play additional guitar, Justin Pacheco on bass, and Icarus Phoenix bandmate Andrew Young on drums. Since the release of I Should Have Known the Things You Never Said, Icarus Phoenix has been dropping singles at a rate of one every three weeks, many of which will be included on a deluxe edition of their aforementioned album, to be released next month. In March I wrote about their gorgeous song “Poor Sad Indie Everything”, which recently spent 15 weeks on my Top 30 chart, three of them at #10.
Their latest offering is “Mark & Kyle“, a heartwarming song about his English friend Mark who adopted a young boy named Kyle. Drew explains: “Mark has been a long time friend for twenty years at least. He’s always wanted to be a parent. Dreams come true. Sometimes those dreams are difficult and wonderful. It’s all part of the process of life I guess.” I love the song’s breezy melody, chiming guitars and what sounds like a mellotron. And it goes without saying I also love Drew’s warm vocals as he sings the poignant lyrics “When Kyle first met Mark and called him “Dad” he coulda cried. Adopting someone changes more than one life, if its right. So they play hide & seek to find their feet and then they dodge the cracks so they don’t fall in.” Kyle created the sweet artwork for the single.
And here’s Drew singing an acoustic version of the song:
Shimmer Road – “Branson”
Shimmer Road is a collaborate country music project fronted by the enormously talented and versatile singer-songwriter and musician Shimmer Johnson. Born and raised in Edmonton, Canada where she still resides, Shimmer also spent her teenage years in Branson, Missouri, as well as some time as an adult in Los Angeles. She began her music career singing country songs, but eventually branched out into adult contemporary pop, rock and even dance music, all of which she handles with ease. She’s recorded music both as a solo artist and in collaboration with numerous other songwriters and producers from around the globe, creating a truly impressive repertoire of outstanding songs. I’ve featured her numerous times on this blog over the past seven years, and two of her songs, the terrific 2021 dance single “Starts With You” and “Essence”, a stunning 2023 collaboration with Danish composer and producer Refeci, have reached #1 on my Top 30 chart, the latter also ranking #7 on my 100 Best Songs of 2023 list.
The prolific artist must be running on some kind of bionic energy force, as today she drops not one but two new singles – an enthralling collaboration “All I Need to Know” with Dutch producer and songwriter Plux, and “Branson” with her country band Shimmer Road. And this is on the heels of another single she released only a week ago! I’ve chosen to feature “Branson”, as I rarely write about country music. Co-written with her husband Corey, the song is a lovely autobiographical ode to the Missouri town where she spent her formative years. Shimmer explains: “This is about my life in Branson throughout my teenage years and how it will always be my home no matter where life takes me.” In addition to Shimmer on vocals and Corey on bass and keyboards, Shimmer Road also includes Jay Road on drums, Alan Tymofichuk on guitar and Ryan Williams on steel guitar. It’s a beautiful song that has a more traditional country vibe, which in addition to Shimmer’s captivating vocals is why I find it so appealing.
Few acts I know of have mined a novel theme as successfully and consistently throughout their career as has Nashville rock band Rusty Shipp. I’ve previously featured them numerous times on this blog, but to summarize, the band is the brain child of singer-songwriter and guitarist Russ T. Shipp (his actual birth name is Russell Thomas Shipp), who call themselves a “Nautical Rock’n’Roll” band with a sound influenced by “the melodic chord progressions of The Beatles, the surf guitar of Dick Dale, the grunge rock of Nirvana, and the heavy metal of Led Zeppelin“. As their name suggests, their music is characterized by a dark, immersive sound, unforgettable melodies, electrifying guitar work, and Shipp’s vibrant tenor vocals. Like many bands, they’ve undergone numerous personnel changes since forming in 2014, and now consist of the aforementioned Russ Shipp on guitar and vocals, AJ Newton on drums, Dave Gajda on lead guitar, and Doug Webster on bass.
Band photo from their Facebook account.
In keeping with their name, all Rusty Shipp albums have been concept albums built around nautical themes, starting with Mortal Ghost in 2017, followed by Liquid Exorcist in 2019, Dark Side of the Ocean in 2022, and now their fourth and latest album Capsized Empire (its official title is Cosmic Innuendo, Vol. II: Capsized Empire), released on June 27th. (I reviewed both Liquid Exorcist and Dark Side of the Ocean, which you can read here and here.) Whereas Vol. I: Dark Side of the Ocean explored the balance between dark and light, descent and ascent, and men and angels, Vol II: Capsized Empire tells the fictional story of an evil band of pirates who set sail on a sinister mission, dismissing the prophetic warnings of an old sailor on the pier who warns of a worse fate for them than the gallows if they stay on their course. The band further states that the fictional story “is ultimately a masked philosophical message warning of people living their lives in a self-inflicted apocalypse.”
To accompany their ambitious album, which features 17 tracks – ten full length songs and seven interludes that drive the story forward and provide a connection between the primary songs – the band has also written a detailed narrative for the story, some of which I’ll include here:
“The story of ‘Capsized Empire’ is actually two stories. One is clearly told through this album’s narration and imagery-laced lyrics, and picks up where ‘Cosmic Innuendo Vol. I’ left off: when the warrior sea angels with the royal title ‘Nautical Sea Lords’ ascended from The Dark Side of the Ocean up to its surface to find out why the souls of men are sinking down to their kingdom with increasing frequency. And what do the Nautical Sea Lords find when they reach the land of men? Probably the worst example of man there is, which leads to the second story…
The other story is the more covert one that’s told through the philosophical lyrics of each song, creating a parallel undercurrent to the surface-level fiction story. This story addresses the problem of evil in the world. Each song responds to this problem from a different angle – as we hear from the voices of those grappling with the painful consequences of evil, as well as from those inflicting the pain. As the album progresses, philosophical layer is built upon layer to expand the intellectual understanding and emotional empathy to all affected by this problem (which is ALL OF US) to hopefully stir up outrage that leads to activism, but also to filter that justice through the ultimate solution (which is love and grace).“
Back cover of the album
The album opens with the slowly-building and ominous 40-second-long instrumental track “What The Tide Washed In“, quickly followed by “All Aboard!“, which I featured on a Fresh New Tracks post in February. As I wrote then, the song is a wonderful hard-driving rocker, with a roiling torrent of grungy guitars joined by blistering surf guitar solos in the second half, and nicely accompanied by AJ’s aggressive drums, a terrific organ and Russ’s dynamic spine-tingling vocals. The band calls this their first theme song, as expressed by the lyrics “All aboard this hallowed, rusty ship. Won’t you join us on our voyage away from suffering, into our destiny? With love and spirit pointing us true north, we’ll make it through the storm and build a kingdom we can call our home.“
Next up is “Espionage“, another hard-hitting track fueled by gnarly guitars and thunderous drums, detailing the sea angels’ efforts to observe the ways of mankind: “Call it Espionage in ocean camouflage, spinning up and down between two kingdoms, searching for a sign of intelligent life. Find out what these men are made of.” Their search leads them to a pub where they find a group of salty sailors singing the old traditional sea shanty “Spanish Ladies“: “Farewell and adieu to you, Spanish Ladies. Farewell and adieu you ladies of Spain. For we’ve received orders for to sail for old England, and we may ne’er see thee fair ladies again. We’ll rant and we’ll roar like true British sailors. We’ll rant and we’ll roar all on the salt seas until we strike soundings in the channel of old England. From Ushant to Scilly is thirty-five leagues.“
“On The Docks” explores the dichotomy between men who inherently strive to be good people and make a living through honorable means with those who choose a darker path of thievery and exploitation of others: “The difference in a sailor and a pirate is their consciences. And if his conviction is growling louder than the howling of his stomach could it be that a pirate’s greed is the same old thing as a shark’s instinct? Who didn’t have the pedigree or luck to evolve into a sailor’s breed. ‘Cause on the docks we swim with sharks, trying to get a bite. ‘Cause who has time to tread the lines between the dark and light, But if you would pay my daily wage, then I’ll put away my net. Show me something I need more than food and I’ll fish for that instead.” I love the song’s breezy melody and the wonderful mix of twangy and surf guitars.
“Black Market Jam” is a spoken word track describing some of the sailors engaging in nefarious activities like black market trade and human trafficking beneath the pier, followed by “Neck Breaker“, a bluesy and grungy rock song of warning to those sailors by an old prophet who predicts the harrowing fate that awaits them: “You’re wanted dead or alive, up to you which one they decide. So ride, but you gotta land sometime, and when you do, oh, you fool, the gallows will be waiting for you. You’re gonna hang from the head until you’re dead, dead, dead. Make your bed with the fishes.” The prophet then issues a curse on their captain on the spoken word interlude “The Curse of Robert Williams“, in which he warns him to turn the ship around and not proceed with their evil mission.
Bound and determined to go forward with their piracy, the sailors are self-proclaimed “Tough Guys“, blinded by their bad-ass bravado as they snarl “Yeah, we’re bad dudes, rockin’ tattoos, with our black shoes. Yeah, we’re tough guys, giving black eyes, as we’re cruisin’ by. Blame it on our daddy issues, blame it on whatever you want. Glad you got us figured out ’cause now we’re gonna come burn down your town!” Over a powerful chugging rhythm, the band layers some blistering guitar work, accompanied by gruff vocals that nicely convey their menacing message. Next up is “Aquamoto“, a terrific little instrumental tour de force of killer surf guitars that would make Dick Dale proud, making it one of my favorite tracks on the album. This is then followed by the spiritual track “Don’t You Grieve Us“, ostensibly sung by the kidnapped trafficking victims huddled in the hull of the ship.
Every Rusty Shipp album includes a cover of a classic rock song by a famous band – Mortal Ghost featured the Beatles song “Helter Skelter”, Liquid Exorcist featured Audioslave’s “Show Me How to Live”, and Dark Side of the Ocean includes a shortened cover of Pink Floyd’s “Us and Them“, from their masterpiece Dark Side of the Moon. For Capsized Empire, the band chose Paul & Linda McCartney’s “1882“. I wasn’t familiar with this rather unusual McCartney song, which tells the story of an impoverished boy of the servant class who faces stern consequences for stealing a loaf of bread from the big house upstairs. Rusty Shipp has reimagined and elevated the song into a darkly beautiful and gut wrenching number that here applies to slaves freed by President Lincoln’s Emancipation Proclamation, but who were unlawfully kidnapped and taken to Cuba where slavery was still legal at the time – sadly echoed by the cruel and unlawful deportations now being perpetrated by the Trump regime (my opinion). The guitar work and Russ’s impassioned vocals are stunning.
Russ unleashes the fury of his wrath for those who would prey on the innocent on “Nefarious“: “You, you are so despicable. Herding little girls like some kind of cattle, but you’re the animal. You have all devolved into a primal impulse. No trace of a soul, you’re nefarious.” The song is sonically magnificent, though, with haunting piano keys and a grandiose arrangement that reminds me of a few songs by English rock band Muse. And in fact, Russ’s fervent falsetto seems to channel Matt Bellamy when he really lets loose. I love this track!
“Scallywags” is another gorgeous and powerful rock song, with intense reverb-soaked guitars, throbbing bass and thunderous percussion creating an explosive, yet highly melodic soundscape. The lyrics speak to the ideas that evil is inherent in all of us to some degree, who are we to judge others, and that only through grace can we overcome our sins: “Scallywag buccaneers, black market blackbirders. So easy pointing fingers at the Neros and Blackbeards. But Rome wasn’t built in a day, and neither was its tyrant. It took centuries to make a culture to enthrone them. Love these enemies, and turn your cheek till they nail your hands and feet. Grace alone can save the world by breaking the chain of revenge. But I’m seething, can’t hardly see a thing except this blinding rage. Don’t wanna give the Lord all the revenge. ‘Cause I hate you, but I create you when I treat them the same way you were treated.” This immediately segues into “Counsel of Sea Lords“, a brief interlude featuring spoken word vocals of multiple Shippmates detailing the findings and judgements against the pirates by the Nautical Sea Lords.
The interlude track “Upside Down Kingdom” continues with the theme laid out on “Scallywags”, that so long as humans continue their endless cycle of retribution and revenge for wrongs committed against them (sound familiar to a certain evil President?), the world and mankind will never fully recover: “Ooh, Hell and Heaven are two kingdoms waging war within us. And every choice you make builds one, either death or life to come. When you repay good for evil you pull a brick out from the wall of Hell to build up the kingdom of Heaven. A step closer to Shalom.”
The album closes with “Sinners In The Hands“, a raucus rock song that brings everything full circle, that we are all sinners in the hands of a loving God who through his son set an example for us to follow of giving love and forgiveness to the sinful people in our lives, lest the world topple over as a capsized empire: “So never judge an evil man, for the greatest of all saints were once the vilest sinners who got a taste of saving grace. The same grace is calling out, reaching out for you right now. And has been for all your life to make you fully alive!“
To sum up, Capsized Empire is another epic, brilliantly-executed concept album by Rusty Shipp. As with their previous albums, everyone involved in its recording and production did a masterful job creating a work that’s flawlessly arranged and beautifully crafted on every level. But most of all, a great deal of credit must go to Russ Shipp’s incredible vision, imagination and talents as a songwriter, musician and vocalist.
Time sure does fly by with increasing speed the older I get, and I can’t believe I’m nearing the 10 year mark of writing about music for this blog (though I didn’t begin writing reviews in earnest until Spring 2016). One of the artists I wrote about in those early days was Nashville-based singer-songwriter and guitarist Bryan Howell, when I reviewed his excellent debut album Take the Risk, which he recorded with his backup band The Standalones. Released in August 2016, the album featured ten stellar tunes drawing from a variety of influences, including rock and roll, rockabilly, garage rock, power pop, country, surf and indie rock, as well as the timeless soul music of Motown, Sun and Stax records.
In the years since, Bryan has released a handful of singles on a sporadic basis – “Against the Storm” in 2020, followed by “Still Hungry” and “Like Summer Thunder” in 2023 – yet we’ve remained connected on social media, where it’s been gratifying to know he and I are of similar minds with regard to the music industry and our nation’s insane political situation.
Photo by Andrew Hutto
Though rather quiet with regard to releasing new music, Bryan’s remained active in the Nashville music scene, frequently playing gigs and shows with his backup band The Standalones, where he’s garnered a growing fan base through his high-energy performances. Now, Bryan is back and sounding better than ever with his first single in two years, “An Untamed Heart“, and I thought it high time I featured him again. Written by Bryan, who sang vocals and played guitars, the song was co-produced by him and Drew Boals, who engineered and mixed the track. Other musicians who also played on the track include Wes Burkhardt on bass, Tyler Peck on drums & percussion, Eric Robert on piano, organ and synths, and Austin Rothrock on saxophone. Melo Nelson provided additional vocal arrangments, and Bobbi Giel did the mastering. The song will be included on Bryan’s forthcoming second album Shouting Back At The Brink.
“An Untamed Heart” is a rip roaring banger, blasting open with an electrifying barrage of wailing gnarly guitars, hard-driving bass and explosive drums. Throughout the song, we’re treated to marvelous piano keys and exuberant sax, echoing some of the great songs by the likes of Bruce Springsteen and John Cafferty & the Beaver Brown Band. Bryan’s intricate, fiery guitar work is truly spine-tingling and I love it!
In his spirited gravelly vocals, Bryan fervently sings of a “fiery vixen” who just might have what it takes to tame his wild heart and get him to finally settle down: “I’m an outlaw on the road of love. Robbin’ every heart I come across. No use for any knife or a gun, cause there’s no defense when that feeling comes. Cause an untamed heart makes its own rules. It might be time to leave this town. Gotta headstong woman chasing me down. A fiery vixen with eyes that smolder. But when I see her my breath gets shorter. And if that woman catches up to me, I’m afraid of what I may see. I may not be as man as I want to be. Cause an untamed heart makes its own rules. I’ve been mixed-up for a while now, ever since she and I crossed paths. I never thought I’d be tied down. But maybe those days are in the past.”
Time for another installment of my Fresh New Tracks series. Today I’m featuring new songs by, in alphabetical order, Italian electronic/synthwave duo eLxAr, English singer-songwriter Joe Peacock, Scottish singer-songwriter Kevin Robertson, and Los Angeles-based indie pop/rock band Sorry Ghost. I’ve previously featured the first three on this blog, while this is the first time I’m writing about Sorry Ghost.
eLxAr – “Lights at the Edge of the Road”
eLxAr is a fascinating electronic/synthwave act from Italy consisting of Luca, a pianist, composer, producer and game designer, and Alex (short for Alexandra), a singer-songwriter, digital designer, illustrator and multi-faceted artist. Not only are both of them multi-talented and creative, they’re also passionate about social justice and environmental issues. I first wrote about them in March 2024 when I reviewed their powerful anti-cyberbulling single “Nessuno Vede”. They’ve since released a lot more music, and I thought it was time I featured them again on this blog. Their latest single is the enchanting instrumental track “Lights at the Edge of the Road”. About the song, the band states: “I think there’s something mystical about traveling at night. Look out the window and it’s only darkness. Darkness and the streetlights, passing by the car as if they were divine fires, falling directly from the sky.” The darkly sensuous groove and crystalline synths beautifully capture the aura and mystery of a night drive.
Joe Peacock – “Not Love”
Joe Peacock is a British singer-songwriter and musician born and raised in rural Herefordshire and now based in Birmingham. Describing himself as “a genre-hopping storyteller, whose music has been compared to Bowie, Blur and Costello”, he’s a hard-working, thoughtful and talented musician who continually experiments and pushes himself beyond his comfort zone. And like eLxAr, Joe also cares deeply about the environment, social justice and inequality. The prolific artist has released a tremendous amount of music over the past four years, including three albums – I’m Only Here in 2021, Before the robots told us where to go in 2021, and Mirror Neuron Generator in 2022 – as well as numerous singles and five EPs, two of which, The curse of the mind and Beast Mode, I reviewed. He’s also one half of art-folk duo The Missed Trees, his side project with singer/fiddle player Louisa Davies-Foley.
His latest single is “Not Love“, an alternative rock song exploring the futility of trying to make someone love you when they’re just not interested. Joe elaborates: “The single’s about reversing the traditional lines in songs about unrequited love, as I find that a bit creepy and people should realise that going after someone who doesn’t reciprocate never works and just makes both sides unhappy. All the incels and toxic masculinity stuff comes in there a bit, too.” I love his shimmery and grungy psychedelic guitars as well as clever lyrics like “I tried to woo her with charm and wits, but she was just not having it./ I danced close to her in a club to get the opportunity to rub myself against her body.”
Kevin Robertson – “Kings Of Most Of Yesterday”
Hailing from Aberdeen, Scotland is KevinRobertson, a singer-songwriter and guitarist who makes a very agreeable style of jangle and psych pop. Strongly influenced by a range of influences including 60’s pop, classic and psychedelic rock, 80’s jangle music and 90’s Brit pop, he’s been actively recording and releasing music both as a solo artist and as a member of Aberdonian (I love that word) jangle pop five-piece The Vapour Trails since 2019. In a relatively short period of time, Kevin has released an impressive amount of music under his own name, including four albums – Sundown’s End in 2021, Teaspoon of Time in 2022, Magic Spells Abound, an aptly-titled collection of nine exquisite songs I reviewed in 2023, and The Call of the Sea in 2024.
Now’s he’s back with his latest single, “Kings of Most of Yesterday“, which dropped yesterday, June 20th. The song is the second single from his forthcoming fifth album Yellow Painted Moon, to be released July 11th. Written and sung by Kevin, who also played acoustic and electric guitars, the song includes additional eclectric guitar and bass played by his son Scott Robertson, with drums and mellotron by Nick Bertling, who also produced the track. The song features Kevin and Scott’s beguiling twangy guitars that remind me in spots of Dire Straits’ “Sultans of Swing”. It’s a beautiful song with an understated, yet powerful message about the ephemeral nature of each generation’s dominance within a given culture, with each gradually passing the torch to a younger generation who will then lead: “Change it has to come. The generations live and die. The kings of most of yesterday shall fall. Tomorrow goodbye.”
Sorry Ghost – “polyester (yes sir)”
Without question, one of the most irrepressibly charming – and might I add best-looking – bands around today is indie pop/rock four-piece Sorry Ghost. Originally formed as a pop punk band in Baton Rouge, Louisiana by guitarist and vocalist Matt Polito and bassist and vocalist Dan Anton, along with Ryan DeJean and Nick Broyles, they released their debut EP Win By Default in late 2016. Ryan and Nick later left the band and Tyler Hernandez briefly joined the lineup as drummer, at which point they released their debut album The Morning After in April 2020. Tyler departed in 2021, after which Matt and Dan relocated to Los Angeles, where they were eventually joined by Tate Silver on drums and Sean Duong on guitar and vocals to complete their current lineup. The new location and lineup steered their musical direction toward a breezier indie pop/rock sound, and their popularity has continued to grow.
The guys have a wickedly cheeky sense of humor, calling themselves ‘iconic indie idiots’ whose music is “a potent blend of optimism and frustration, loud and soft edges, encouragement and rejection“, and frequently delight their fans and followers with hilarious and endearing video reels of themselves on Instagram and TikTok. I follow then on Instagram, and their posts never fail to put a big smile on my face. Their videos are also highly entertaining and creative, evidenced by the one for their new single “polyester (yes sir)“, which dropped yesterday. Directed by Jeremy Stewart, produced by Katherine Myers and shot by Luis Adrian Lara, the video shows the guys performing the song in a bucolic setting in the Santa Monica Mountains, with Dan playing a decidedly frustrated office executive. My take on the lyrics is that they speak to feeling stuck in a job or lifestyle you hate, acting out a part that doesn’t feel genuine or fulfilling, with ‘polyester’ representing the wardrobe you’re forced to wear: “When I step right into line. Just a little to the left. Step right don’t you lie, There’s so little to me. Left my life ‘low the frame. Now I’ve found me to blame. Polyester that’s a yes sir, I can’t take another gesture.” I love the song’s mellow vibe that sits in a sweet spot between sunny and melancholy, as well as the colorful blend of jangly and chiming guitars accompanied by pleasing harmonies.
I recently learned about The Brigadier, the music project of singer-songwriter, musician and producer Matt Williams, when he reached out to me about his new album Sailing the Seven Neuroses. Originally from Wales but now based in Devon, England, he’s had music in his blood since his teens. He grew up listening to his parents and older siblings’ records that ran the gamut from rock and roll, country and bluegrass to 80s pop, new wave and rock, plus his dad plays guitar and banjo and was always in bands. Matt started learning to play guitar at the age of 13, and began playing in a series of bands. By the early 2000s he was living in Brighton, where he fronted a band called Brigadier, where he was the main songwriter and singer. Though they rehearsed for quite a while, the band never really took off, and when they eventually fell apart he kept the name as a solo artist.
In 2007, he released his debut album View from the Bath, and over the next 10 years he released another five excellent albums, as well as four seasonally themed EPs. Influenced by some of his favorite acts like Queen, The Beach Boys, The Beatles, Nick Lowe, The Divine Comedy, early Genesis and Pink Floyd, Steely Dan, Black Sabbath and Led Zeppelin, as well as country rock, 60s, 70s & 80s pop, and synthpop, his highly melodic music is a pleasing blend of power pop, rock, folk and synthpop elements, featuring relatable lyrics reflecting his life and relationship experiences expressed through his comforting low-key vocals.
In addition to his prolific music output from 2007-17, Matt also produced and recorded soundtrack work for documentaries and short films, and his music garnered both local, national and international radio coverage, including BBC Radio 1, BBC Radio Wales, BBC Southern Counties and Radio Devon, as well as performing live sessions and interviews for BBC Southern Counties and BBC Devon, and in USA and Europe, as well as magazine coverage. He’d intended to continue with his music, but life, family and jobs took precedence, leaving his time and energy for making music rather depleted. Now, after an eight-year hiatus, he’s back with his seventh album Sailing the Seven Neuroses, which dropped yesterday, June 18th.
Photo by Digital Horse Brasses
All songs on the album were written, performed and produced by The Brigadier, with the exception of drums on “The Purge” and “Hot Solace”, which were played by Emily Dolan Davies, “What about tomorrow?” by James Carmichael Dooley, and “It’s you I think about” and “Don’t go to bed with a bad mind” by 444. Mastering was done by Wayne Bassett (who’s also a member of Welsh electro/art punk band Head Noise, who I’ve featured several times on this blog) at Robot Recordings. And rather interestingly, like all previous albums by The Brigadier, Sailing the Seven Neuroses features 13 tracks.
I’m always a bit apprehensive when an artist I’m unfamiliar with approaches me about possibly reviewing their album, but my reservations were quickly put to rest as I listened to Sailing the Seven Neuroses, as there’s much to like here. The album opens with “Bleak Companion“, a marvelous power pop song that hooked me right from the start. The lyrics speak to dealing with the day to day routines of work and obligations that seem to get in the way of living: “I’m so tired of having to get out of bed to do the things I have to do, but there’s no other way.” In addition to the infectious driving melody and stellar guitar work, I love the airy synths and Matt’s exquisite layered vocal harmonies.
The song gently segues into the lovely second track “The Purge“, and as the song unfolds it’s clear Matt hasn’t lost a step during his long time away from music. In fact, his musicianship and vocals sound better than ever. This song reminds me of some of Todd Rundgren’s early work, though the harmonies seem to channel the Beach Boys in spots.
Those wonderful harmonies are on full display on the incredibly pleasing “Blessings“, which features some gorgeous jangly guitars and spirited piano keys over a lively, upbeat melody. The Brigadier admonishes us to appreciate what we’ve got and not compare ourselves to others: “Count your blessings before you mess things up reflecting on the stuff you haven’t got. Don’t compare and contrast, ’cause you’ll only take a fast track to feeling pretty down about your life.“
The great songs just keep on coming. “Peace within the Poison” has a delightful retro 60s vibe that calls to mind some of the great pop songs by the Lovin’ Spoonful and Beach Boys, but with a contemorary treatment. And once again, I must call out The Brigadier’s lush vocal harmonies, which are also nicely featured on the enchanting “Perfect Surprise“.
The Brigadier takes us into the 80s with the exuberant, synth-dominant beauty “Hot Solace“, a song about not letting petty problems and slights get the best of us: “I won’t let the melancholy come over me. I let the pouring rain wash away the pain.” Midway through the album is the title track “Sailing the Seven Neuroses“, a somewhat quirky but beautiful instrumental track with a bit of a tropical flair that ventures toward ethereal psychedelia at the end. Next up is “Man about the House“, a terrific power pop gem serving up grungy guitar work and insistent piano keys layered over a strong toe-tapping beat.
On “Heaven’s in my Heart“, he creates an enthralling otherworldly soundscape with a colorful mix of spacey and carnival-like psychedelic synths and resonant guitar work that seem to channel Pink Floyd in spots. His little symphonic flourishes and soothing breathy vocals are delicious. Those 80s influences are back on the irresistible love song “It’s you I think about“, featuring sparkling synths and warm guitar lines. And on the effervescent “Everyday an Ordeal“, vibrant piano and organ take center stage, fortified with arresting rock guitar chords and Matt’s joyful comforting vocals as he sings of wanting to find a bit of escape from life’s daily struggles: “Everyday an ordeal. Everyday the frustration is real. Everyday the struggle within. You just want to find a place to hide away.”
With it’s stomping beat, soaring choruses and exuberant blend of chiming, twangy and gnarly guitars, “What about tomorrow?” reminds me somewhat of “Hot Love” by T.Rex with a bit of Pet Sounds-era Beach Boys thrown in for good measure. And saving the best for last, The Brigadier closes the album with “Don’t go to bed with a bad mind“, a glorious five and a half minute-long tour de force that really showcases his impressive songwriting and musicianship. He seems to effortlessly pull together beautiful melodies, numerous time changes and fascinating musical textures from a dizzying array of styles and elements, yet it all works beautifully. And I know I’m beginning to sound like a broken record, but once again I must make note of those gorgeous harmonies that so strongly echo the Beach Boys. And in fact, in a recent interview with Aldora Britain Records, Matt responded to a question as to his favorite artist with “Queen or The Beach Boys depending on the day.”
Sailing the Seven Neuroses is a beautiful album that keeps sounding better with each listen. Every track is superb, with no weak ones that make me want to skip past, which isn’t something I can say about very many albums. The Brigadier is most definitely back!
The UK is overflowing with scores of talented musicians and bands, and among those who’ve impressed me the most in recent years are British four-piece The Zangwills. Based in Cheshire, they consist of Jake Vickers (vocals, guitar, keyboards), Ed Dowling (bass, backing vocals), Sam Davies (lead guitar) and Adam Spence (drums, backing vocals). Influenced by some of their favorite acts like David Bowie, Arctic Monkeys, The Cure, The Rapture, The Smiths and The Strokes, their exciting, highly melodic music is outstanding, with a maturity and excellence in their songwriting and musicianship as fine as many top big-name bands around today.
The Zangwills (from left to right): Sam Davies, Adam Spence, Ed Dowling & Jake Vickers. Photo by Edie Lees.
They began actively making music in 2017 while still in their teens, and have since released 16 singles and two EPs. Two of their singles, “New Heights” and “Patio Paradise”, have each garnered over 1.1 million streams on Spotify alone. I’ve previously featured them twice on this blog, when I reviewed their magnificent singles “Never Looked Back” (2021) and “Backpatters and Shooters” (2022) (you can read those reviews by clicking on the “Related” links at the end of this post). Both songs reached #1 on my Weekly Top 30 chart, with “Never Looked Back” ranking #24 on my Top 100 Songs of 2021 list and “Backpatters and Shooters” ranking #16 among my Top 100 Songs of 2023.
Now they’re back with their 16th and latest single “Beers With The Beekeeper“, which dropped June 6th. Like their previous singles, the song was produced and engineered by longtime colloborator Mark Winterburn (5 Seconds of Summer, The Script, Plan B, James Arthur, Don Broco) and mastered by Ben Booker (David Guetta, Bob Dylan, Elton John, PJ Harvey, Scissor Sisters, 5 Seconds of Summer). The song reflects on the often-therapeutic nature of having deep conversations with near strangers, as well as a nod to unlikely friendships forged with regulars at local pubs.
Band frontman and lead vocalist Jake elaborates: “You often feel that you can say anything to those people, especially when you’ve got no link to them such as mutual friends or family, there’s no judgement. It’s funny because it really does remind me of conversations that I’ve had, when you’re both in a bit of a state and you think you’re both talking about the same thing, but you’re not. Of course, the beekeeper in the song isn’t a real guy, and neither is the country pub where the scene is set, but there are references there to real people, and real conversation.” I know from experience that it can sometimes be easier to confide in or share deep secrets with total strangers than with loved ones or close friends.
They state that the alias of the beekeeper came about early on in the writing of the song. The lyric about being “stung by love” is intended to have a double meaning in both a physical and emotional sense, with a beekeeper acting as a metaphor for someone getting physically stung.
“Beers With The Beekeeper” opens strong with a torrent of jangly melodic guitars and assertive drumbeats creating a glorious cinematic soundcape. The music calms a bit in the verses as Jake sings in his distinctively beautiful plaintive vocals, still accompanied by the dynamic guitars, only to burst back open with the aforementioned cinematic flourishes in the choruses that gradually fade out as the band sings a refrain of “Ooh la la la la la la la la la“. It’s another superb song by The Zangwills, but then, I’d expect nothing less from these talented guys.
Perched up In the corner of a former farmhouse Country pub Talking ‘bout the times that we've been stung By love And the things that we hold dearly Beers with the beekeeper Walk home thinking clearly
Won't you come and listen again tonight? I’m out the door ready to speak my mind After last time things felt so much easier Won't you come and listen again tonight? I’m out the door ready to speak my mind After last time things felt much more clear Be my ear
First up In falling behind Tough rut Tight the rope that binds My words To the post that keeps them near to me Loosen up the knot I need to see them running freely
Won't you come and listen again tonight? I’m out the door ready to speak my mind After last time things felt so much easier Won't you come and listen again tonight? I’m out the door ready to speak my mind After last time things felt much more clear Be my ear
Hailing from Tacoma, Washington is The Rat Utopia Experiment (aka T.R.U.E.), who describe themselves as “a band that can only exist because kids who grew up listening to their parents’ Nirvana and MCR CDs and watching Fight Club, suddenly experienced the world around them falling apart in their most formative years. Informed by grunge, emo, and nu-metal and fueled by late-stage capitalist cynicism, this is music for disaffected youth searching for a greater purpose.” After listening to their hard-charging music that also incorporates generous servings of punk sensibility, I would say that sounds about right.
Formed in 2022, the raucous five-piece consists of 16-year-old frontwoman Phia Lane ( lead vocals, guitar), Evan Fry (drums, vocals), Maddox Mullins (lead guitar), Francis Green (bass), and Casey Waldbauer (rhythm guitar, vocals). All but Evan, who recently turned 21, are still in their late teens. I’m really impressed by their strong musicianship as well as Phia’s intelligent, brutally honest songwriting that reveals a wisdom and maturity beyong her young age. Their musical influences include such artists and bands as Nirvana, Adolescents, The Gits, David Bowie, The Runaways, Korn and Stone Temple Pilots.
After dropping a string of nine hard-hitting singles throughout 2023 and 2024, they bundled eight of them into their debut album No Hit Wonders., released this past March. Now, after a couple of changes in lineup, they’re back with their first single of 2025 “Creature Comfort“, which dropped May 29th. The song is a blistering takedown of corrupt politicians who screw over their constituents and game the system with the help of unscrupulous lawyers and fellow politicians.
The song opens with a quote from President Nixon’s farewell speech to his Cabinet and staff members, in which he quoted a paragraph he’d read in a book about former President Theodore Roosevelt:
And this quote is about a young man He was a young lawyer in New York He’d married a beautiful girl And they had a lovely daughter And then suddenly she died And this is what he wrote This was in his diary
As Nixon’s words progress, the band layers a building reverb that soon explodes into a maelstrom of furious pounding drumbeats and screeching guitar riffs as they repeatedly yell “Hey, hey!“. Then it’s off to the races with an unrelenting adrenaline-raising onslaught of riotous gnarly riffs, deep, chugging bass and thunderous stomping drums, fueled by healthy doses of punk-infused reverb and feedback. Phia’s commanding vocals, which remind me at times of Willow Smith, match the ferocity of the music note for note, resulting in an electrifying spine-tingling performance as she practically spits the scathing lyrics:
It was a hot young day in September When the baby boy was born Lost his mommy in a car crash And his daddy’s gone to war He knew that he was destined to do something that was more But he was pushing drugs He was rotten to the core
Creature Comfort No condolences Gotta show up to whoever’s poll it is
Hey, hey
It was a cold old day in June When the rich man came to town He said, “Listen, boy, I ain’t here to fuck around” The boy said, “Gosh, I ain’t got my law degree” And the rich man just replied, “That shit don’t matter to me”
Creature Comfort No Condolences Gotta show up to whoever’s poll it is Creature Comfort They don’t care About your health or your wealth So grow a fucking pair
Hey, hey
But it all came crashing down When the rich man got cocky The boy ain’t gone to law school And he gets real talky Their secret is out, And the rich man is screwed He tried to cheat the system, But got spat on and chewed
Creature Comfort No condolences Gotta show up to whoever’s poll it is
Hey, hey
But what of the boy? Well, the rich man don’t care He leaves him to fend for himself Don’t even spare a prayer He’s pushing, And drinking, Man, what a swine He takes his bloodline down with him While the rich man stays blind
Creature Comfort No Condolences Gotta show up to whoever’s poll it is Creature Comfort They don’t care About your health or your wealth So grow a fucking pair
Hey, hey
The rich man’s in trouble And he stands before the court The senator, however, Likes the man’s earnings report He fucks his districts and his mistress The justice system, too He makes one call, and the rich man’s free Almost like brand-new
Creature Comfort No Condolences Gotta show up to whoever’s poll it is Creature Comfort They don’t care About your health or wealth So grow a fucking pair
The song ends with the famous excerpt from Nixon’s “I am not a crook” speech made during a press conference in November 1973, when he was facing allegations of corruption related to the Watergate scandal:
I have never obstructed justice I think, too, that I can say That in my years of public life That I welcome this kind of examination Because people have got to know Whether or not their president is a crook Well, I am not a crook I’ve earned everything I’ve got
“Creature Comfort” is a brilliant, hard-hitting song by this astonishingly talented young group, and I can’t wait to hear what T.R.U.E. comes up with next.
Hailing from the war-torn nation of Ukraine are indie rock band Homeless Radio, a resilient group of musicians consisting of Andrii Yampolskyi (vocals/guitar), Fedir Orlov (guitar), Stepan Tkachuk (bass) and Ivan Orlov (drums). Guitarist Ihor Pankieiev is also technically still a member, though he’s been away, fighting in the terrible ongoing conflict with their Russian invaders.
Formed in the city of Kharkiv in 2016, the band incorporates garage rock, alternative rock, skate punk, grunge and pop influences to create music that runs the gamut from pleasantly melodic to relentlessly intense. I first learned about them at the beginning of 2024, at which time I reviewed their terrific hard-hitting single “Submarine“ (which ranks #34 on my list of 100 Best Indie Songs of 2024). Six months later, I reviewed their follow-up single “Sleep Not”. Now they return with “Fed To The Teeth“, their first new single of 2025.
Fedir, Ivan & Andrii taking it to the streets
About the song, Homeless Radio states: “‘Fed To The Teeth’ blends melancholic alternative rock with a fierce skate punk climax, channeling frustration, rejection, and raw emotion into one cathartic release. The track captures a personal transformation from isolation and doubt to indifference and power.” Band vocalist Andrii gave me some background as to what inspired him to write the song while still in his teens: “The song was originally written in 2014, during the war in Donbas which was active at that time. It’s probably the first Homeless Radio song I’ve ever written. At that time, I was finishing high school. We had really shameless and cruel propaganda during those days, so sometimes my classmates were talking real garbage, pushing pro-russian narratives and anti-LGBT agenda. Although it’s possible to find something like this even in modern Ukraine nowadays, at that time, it was almost a trend. I couldn’t agree with it and had numerous arguments that led me to write a song about societal rejection and prejudice. The times have changed significantly. Is it a pro-LGBT or anti-russian propaganda song? I guess so, although it was written during the time when both of these topics were quite different. It’s not a political song, but it was inspired by these political topics.”
The song has somewhat of a retro late 1990s/early 2000s post-grunge feel, starting off with a melancholy fuzzy guitar riff accompanied by a galloping drumbeat, then transitioning into a rather complex melody of relatively quiet verses alternating with louder choruses featuring raging gnarly guitars and pummeling drums. The guys are skilled musicians, as Andrii and Fedir’s dynamic guitar work is truly electrifying, and Stepan’s sturdy bassline powers the song forward while Ivan’s aggressive drumming elevates the song to stratospheric heights. Each time I listen to the song, I discover wonderful little nuances and sounds, like the squealing horn-like guitar notes at the beginning of the line “You will tell and may get only things you’ve never felt“. As always, Andrii’s colorful, highly-emotive vocals bring all the passion necessary to drive the song’s powerful message home.
Invite me to a party, I'll feel like an outsider You did this out of duty, 'Thanks for coming, you're a cutie' 'Hey, what's wrong? Why so sad?' - 'I'm okay, just hear the voice in my head - Humiliation, torment session, 'Please stop now! This is my station!'
Why you running? Why you struggling? You don't know why I am coming! You're talking 'bout unknown Never felt this, all in all
Just cursing and hating - oh no, I'm watching and waiting You will tell and may get only things you've never felt Prosecution and charges, behind them always darkness The clamor of denial, in the name of the void and its empire.
Why you running? Why you struggling? You don't know why I am really coming! You're talking 'bout unknown Never felt this, all in all
Oh, I hear the sound Oh, it is so loud You're always talking 'bout stuff you've never known You're not a pro in this field, that much is shown Oh, I can't stand to be like you, and by the way To talk about anything, you must know it anyway
“Fed To The Teeth” is another impressive release by this talented foursome. And as I stated in my previous review, it’s admirable that Homeless Radio have managed to stay together as a band and make new music, despite the fact their country has been waging a valiant defense again their Russian invaders for more than three years. I hope they can remain safe and able to continue doing what they love.
ECLECTIC MUSIC LOVER 