Today I have the pleasure of featuring my first ever band from Germany, a three-piece from Erlangen, Bavaria called Le Poisson. They formed in 2012 and, like many bands, underwent some personnel changes over the years, but now have a solid lineup consisting of Louisa Stegmeyer on Vocals, Michael Le Noir on Guitar & Bass, and Antonis Kop on Drums. They play an eclectic style of progressive rock, with elements of hard rock, metal, and what they refer to as ‘vampire’ rock. Following up on their 2016 EP One in a Million, they just released a mesmerizing new single “Crush/You.”
The song opens with a beautiful guitar riff, immediately hooking us in with a captivating and rather haunting melody before Louisa’s lovely vocals enter the proceedings. With an earnest longing in her voice, she sings of the fervent passion we feel when falling for someone, but insecure and uncertain of their feelings for us. We search for a light that will reveal the truth:
There’s a light that shines on, shines on everyone We hold on We can reach an understanding Dreams are ascending Life is so demanding
Michael’s layered guitar work is really quite exquisite, going from a gentle riff to a more intense hard rock sound at the halfway point that conveys feelings of anxiety and uncertainty. Louisa’s vocals become more impassioned along with the music, as does the intensity of the percussion. The instrumentals and vocals calm back down in the outro, leaving us with a sense of resolution. It’s a wonderful song.
Listening to the music of Guy Paul Thibault, it would be easy to assume he’s from somewhere like Nashville, Tennessee. In reality the singer/songwriter/guitarist – who plays tremendously satisfying folk music with strong country and rock influences – hails from beautiful Nova Scotia, Canada. An accomplished musician, Guy Paul has written, recorded and produced six albums on his own. He’s also played acoustic, electric, bass and slide guitar, and sang vocals for original acts and cover bands. In June he released a new album It’s About Time, an appropriate title given the span of 17 years since his last solo album.
I’ve always loved songs that tell a story, and It’s About Time is loaded with them. Let me state right here that Guy Paul is an incredible wordsmith. Through poetic, heartfelt, and sometimes humorous lyrics, his songs address the oft-covered subjects of life, love and heartbreak, but in ways that reveal the contradictory facets of good and evil inherent in each of us. Furthermore, these colorful stories are delivered with his sublime vocals and accompanied by some pretty nifty acoustic and electric guitar. I usually like to highlight a few song lyrics in my reviews, but in this case I’ll be featuring quite a lot of them.
“Here She Comes” kicks off the album with a pleasing country-rock rhythm. Guy Paul instantly hooks us in with his laid back vocal delivery and nimble acoustic guitar. Gentle percussion sets the beat and the sweet violin in the bridge is a nice touch.
One of the best ‘story’ tracks is “Misdemeanor,” a catchy, guitar-driven and wry tune about an older woman who’s still got it, and always out looking for a good time:
Takes the complications with a delicate smile Avoids one night affairs, well she has for a while That’s what she says
Well, hello boys is her natural style
Moves on her prey like a cat in the wild With a closer look, well she’s showing her age But she’s still got her wit and she’s still got those legs
Ahh those legs
Guy Paul turns serious with “Hills,” a compelling song about people living a hardscrabble existence in rural America who’ve endured more than their fair share of military service and the consequential casualties, PTSD and societal breakdown:
You can hide a body forever in these hills A thousand square miles and a hundred little stills They took us from our homes and taught us how to fight Now justice comes in the middle of the night Now terror comes in the middle of the night
He strums his guitar with a forcefulness to match the searing lyrics, backed by an assertive military drumbeat and mournful harmonica. The generous use of electric guitar and bass also lend greater impact to the track.
The poignant “Tallest Man on Earth” addresses the realization that the father you once idolized, thinking you wanted to be like him, wasn’t so high in stature after all:
When I was just a young man, trying not to fall The only thing that seemed to matter was growing up and being tall Growing tall brings great things, like seeing past the trees You can’t hear the whispers, your head up in the breeze He seemed the tallest man on earth
His heart died alone they say, running against the wall He never could comprehend life wasn’t about being tall He seemed the tallest man on earth The smallest man on earth
Another powerful and standout track is “We Just Don’t Care,” a hard-hitting country-rock anthem that speaks to the apathy and sense of futility caused by feelings of betrayal by society and our government. Those sentiments are expressed by an attitude of entitlement – ‘I want what’s owed to me, and to hell with everyone else’:
Sacrifice is such a lonely word There’s not much left in this world We’re all trying the best we can Can’t see the beach for the grains of sand Belief is just a long-lost dream Slowly fades from what I’ve seen Lack faith in our fellow man Lost in time a simple slight of hand This is how we are now And we just don’t care
Guy Paul shows us his rocker side on “Saving Grace,” a rousing song with a driving beat and lots of terrific electric and rhythm guitar riffs. One of my favorite tracks is “Saturday Night,” a catchy and breezy country song about hooking up with strangers to avoid being lonely. The lyrics are rather bittersweet until he lightens things up at the end:
It’s alright, I still got my friends That’s what I’m talkin’ about Hey wait a minute, is that another bottle over there? Same time next week?
“Stay (For Riley)” is a lovely but wistful ballad about saying goodbye to a loved one – or a pet perhaps? “You were my best friend, chased all of my fears. Now you live in every tear. Stay.” Guy Paul serves up jangly guitar riffs on “If I Had,” a really nice folk tune about dreaming of enjoying life by hitting the road in his car with a girl and guitar. Wrapping up the album is the sorrowful “How Far Could I Fall.” The country song speaks of hitting bottom after his girl left him and he sought comfort with booze and drugs.
It’s About Time is well worth the wait of 17 years, as it’s superb on every level. In addition to Guy Paul’s impressive songwriting and musicianship, he was assisted on the album by the musical talents of David Bradshaw and Shawn Cherry.
Cary Balsano is a talented young singer/songwriter originally from Italy who’s now based in Liverpool, England. He’s written and recorded scores of songs both as a solo artist and in collaboration with others, and recently released a beautiful new single “Horizon,” accompanied by a stunning video.
The song and video convey a sense of powerful connection with the world and, to my mind, the title “Horizon” symbolizes the brief but meaningful time we spend on this earth. Cary’s deeply personal and moving lyrics speak of life, love and loss, most notably of his father:
Living by the day, dealing with your grace All I want is a kid to name Hoping for some fun, looked in a grave where I saw my father’s face We got a love and I made my mistakes And I’ve got nothing to prove to you We’ve got a lot to learn ’round this fire place It’s called life and I have lost
Musically, the track has a quiet intensity, with soothing acoustic guitar and gentle percussion that keeps the track grounded but never overpowers. Cary’s beguiling vocals are filled with emotion, yet comforting at the same time. Take a listen:
Threefold Maze is an indie progressive metal/hard rock band based in Fort Worth, Texas. Formed by long-time friends Doug Whittenberg and Mike Smith, who originally called their fledgling band Aura Caelestis, they released a respectable self-titled album in 2010. Moving forward, as they state in their bio: “it was decided that the next album needed more production, better gear, and a much better name.” After an exhaustive name search, they decided upon Threefold Maze, and spent several years writing and recording songs for their debut album Dollar of Dust. Regarding the album title, Mike explained that it’s “the approximate value of all the stuff in the human body – if dried up. Kinda morbid but sounded cool.” Indeed it does!
Dollar of Dust was released in July 2016, and it’s an ambitious work containing 12 tracks and running an hour in length. Both Doug and Mike played guitar and keyboards on the album and Doug also played bass and provided the lead vocals, while Mike sang backup. Doug’s son Derek Whittenberg was recruited to play drums, and Caitlin Smith provided guest vocals on some of the tracks. The album was self-produced by Threefold Maze, and mastered by Mika Jussila at Finnvox Studios in Helsinki, Finland. The band chose Mika based on his work with other bands that fall into the same genre, and the wide-open dynamic sound he delivered that they wanted for Dollar of Dust.
I’ve given the album multiple listens and discover another melody, lyric or instrumental nuance each and every time. It’s truly monumental in scope – the kind of album Styx, Boston and Dream Theater would create if they combined their talents and music styles. (In fact, to my ears, Doug’s vocals are reminiscent of Dennis DeYoung.)
From the ominous heavy sounds and eerie tinkling piano at the beginning of the opening track “Phear,” it’s clear we’re about to hear some amazing music, and Threefold Maze does not disappoint. They deliver an onslaught of blistering, razor-sharp guitar riffs, thunderous percussion and soaring harmonizing vocals. Toss in some amazing keyboards and exuberant orchestral synths, and we’ve got songs of incredible complexity and depth. This is strongly evident on “Hope,” one of the many standouts on Dollar of Dust. The guitar solo at the bridge is mind-blowing.
Many of their song lyrics address the search for meaning and purpose in life, and the challenges we face in finding our own truth. With pummeling bass and guitars blazing, the hard-hitting “To Visit the Darkness” tackles this head on:
Speculation about the world around me. Never knowing what might be found. I try to find my way. Struggles of the mind are great. Love and fear and often hate permeate my thoughts and take control.
The guys serve up more killer riffs and pulse-pounding drums on the melodic tracks “Lost My Way” and “Frozen in Time.” In fact, the brilliant “Frozen in Time” is pretty darn close to being a perfect progressive metal anthem, and is my favorite track on the album.
Next up is the beautiful instrumental interlude “Caelestial Intermission,” a nod to the band’s previous name and album. This track is loaded with magnificent guitar work and mesmerizing synths, and is another one of my favorites. The relative calm is abruptly shattered by the pummeling heavy metal sounds of “Vacant Eyes.” At 2:30, the song shifts to a soothing 30-second interlude featuring keyboards, sweeping synths, and the sublime guest vocals of Caitlin Smith, before the metal riffs return for the outro. Caitlin appears again on “If I” and the epic “What Truth,” a seven and half minute long tour de force of rhythmic shifts, chord change ups, hammering percussion, buzzing bass lines, intriguing synths, mindbending guitar work and lovely vocal harmonies. The track is so melodically and musically complex that it has the feel of a mini rock opera.
At this point, one would think the guys would begin to run out of steam, but nothing could be further from the truth. Their phenomenal musicianship continues to shine on “Beyond the Grey” and “This Moment Calling,” another standout track with jaw-dropping power riffs. The fantastic hard-driving “Neverwake” is a reworking of a track that originally appeared on Aura Caelestis, and a fitting closer to a superb album.
UK metalcore band Burn Down the District is aptly named, because their music leaves a charred path of destruction in its wake. The Chesterfield, Derbyshire five-piece released their debut EP This Is Not The End in October 2016, hell-bent on melting our faces off. Making this ferocious music are Dean Roberts (Guitar), Roy Shaw (Guitar), Dan Wilkinson (Bass), Paul Whibberley (Drums) and Steven Navin (Vocals).
The guys waste no time launching a full-frontal assault on our ears with the brutal first track “Burn.” With two guitarists and a bassist, they deliver a relentless onslaught of razor-sharp wailing riffs and pummeling bass, aided and abetted by Whibberley’s thunderous drums. Navin displays jaw-dropping vocal power as he screams at the top of his lungs: “We will burn it down! You can’t see the whites of, the whites of their eyes!” The distorted guitar fadeout, which lasts nearly half a minute, is freaking awesome.
There’s no letup in the ferocity of the proceedings as we segue to “Flocks.” This track is a beast, with scorching jack-hammer riffs and Wilkinson’s bone-crushing bass. At this point, I’m wondering how it’s possible that Navin has a shred of vocal cords left as he wails: “I am so tired of flying in flocks! Give me my freedom, it’s all that I’ve got!”
The title track “This is Not the End” offers up more savage intensity, with merciless guitars and speaker-blowing drums. Roberts and Shaw lay down some mind-blowing power riffs as Navin screams the lyrics about refusing to give up, despite everything appearing hopeless: “This is a fucking wasteland! Grab my hand, give me a hook. This is not the end.”
This Is Not The End is a must-have for fans of serious metalcore, though with only three tracks it leaves us wanting more. That said, I hope the guys will bestow upon us some more brutal gems for our listening pleasure – and soon!
As someone who cannot sing, play an instrument of any kind, nor read or compose music, I never fail to be impressed by people who can do those things, especially when they do them well. Even more impressive is when people create music that’s completely original and innovative, leaving me wondering how their minds ever came up with those sounds and melodies in the first place.
Such is the music of Manipulant, an imaginative and, dare I say brilliant, multi-instrumentalist/composer based in Lancaster, Pennsylvania. Born David Speakman, Manipulant creates “scientific sound spaces” – as so perfectly described on a few of the tracks on his superb second album Eclectro, which dropped in June. Following up on his 2016 debut album Méthode de Narration, Manipulant once again utilizes hypnotic rhythms, dark synths and unconventional instrumentation on Eclectro to tell his stories. And this time around, he’s joined by British chilled trip-hop artist Stoneygate and Italian Astrophysicist Dr. Fiorella Terenzi, who provide unusual and mesmerizing backing vocals for some of the songs.
The mysterious-sounding “Run” kicks things off with strummed electric guitar and spacey synths, then a powerful throbbing bass line and strong drum beat take over, accompanied by bursts of crashing cymbals and a retro 60’s surf guitar riff – the kind Dick Dale or The Ventures played back in the day. In her sultry, almost whispry vocals, Stoneygate sings the bleak lyrics: “World is changing. Ominous sky. The rats are hiding. The birds are silent. Seems we’ve lost our way. Sides are bickering. / Jump back, turnaround, run.”
As Manipulant explained in an excellent interview with the blog Keepsmealive, he wanted the song to be “Somethingdark and driving. It needed to try to capture the mood I was seeing around me in the aftermath of the U.S. elections and some of the chaos that was happening elsewhere in the world.” I think he succeeded quite well; take a listen:
“Methodical” has the kind of thumping dance beat that immediately goes for the hips, and I love it! The far-off echoed vocals, many of which are not understandable, lend an otherworldly vibe to this infectious track. Things turn ominous again with “Doctor, I Need Your Expertise,” in which the beautiful Dr. Terenzi – ‘Goddess of Acoustic Astronomy’ – speaks in her own tribute song. Opening with a menacing buzzsaw sound, Manipulant asks “Dr. Terenzi, where are you?” Her echoed, sci-fi sounding vocals add to the track’s eerie vibe as she says “You are listening to real sounds, scientific sound spaces,” while a pounding beat continues throughout the track.
Regarding the Kraftwerk-inspired EDM track “Marshmallow Fabrik,” Manipulant explained to Keepsmealive “I think many of us carry on as if we are living in a marshmallow factory. Everything is in order and it’s all fluffy and delicious. We don’t focus on things outside of our own space. We continue on with blinders as long as our personal factories keep producing things that make us happy.” Here, echoed voices spoken in German are accompanied by unusual synths that almost sound like a huge snorting alien animal.
“Faulty Tap” is a 30-second instrumental interlude that begins with a loud drip, followed by pounding industrial-sounding synths to create a mood that Manipulant explained “was an extension of the frustration of “Run” put into something as simple and maddening as a leaky faucet.” The organ takes a starring role on “jusq’à la mort nous sépare (The Organist).” It’s a reworking of “The Organist” from his first album, and the French title translated is “until death separates us.” The track is uptempo, with playful synths and a rapid but delicate drum beat that belies the rather somber lyrics, spoken in his echoed vocals: “OhI’m worried, I have a bad feeling about this.You must understand, as a fellow organist, when I’m thwarted I become agitated. You’re not in control here. I’m in control here.”
Next up is the one-minute long dirge-like interlude “Requiem for the 11th Earl of Sandwich,” which Manipulant explained represents the death of civility – Earl being ‘nobility’ which symbolized ‘civility.’ The mood abruptly shifts on the hauntingly beautiful instrumental “N / A / B / C / F“, which is a reworking of another track “Not All Birds Can Fly,” from his first album. (By now it’s clear that he loves strange and unusual song titles, but I digress…) The key instrument on this track is the sublime piano, accentuated by soaring synths.
Powerful throbbing bass and modulated buzzing synths make a return appearance on “The Doctor Meets 808.” And once again, Dr. Terenzi’s echoed vocals add to the eerie vibe, as she repeats the line “So you are listening to real sounds, scientific sound spaces,” as well as other lyrics. The track is essentially a reworking of “Doctor, I Need Your Expertise,” only with much heavier extended bass, as suggested by the ‘808’ in the song title.
Dr. Fiorella Terenzi
Eclectro is one of the most unusual and sonically amazing albums I’ve heard in a long while. At times disturbing, and other times gorgeous, it’s a brilliant, meticulously crafted album that Manipulant should be proud of. Another thing he – and we fans – are proud of is his winning a third place WIGWAM Online Radio Award for Best Indie/Alternative Act of 2017.
To learn more about Manipulant, check out his Website
I discovered Welsh rapper Project a few months ago when he contacted me about his new EP Purge. At the time, I had a huge backlog of reviews that I’d already committed to write, but at long last I’m finally getting around to reviewing Purge. I must state up-front that I find a lot of today’s rap and hip-hop music to be dull or uninspiring, but Project’s music is brilliant on every level.
Born Jake Brimble and based in Cardiff, Wales, Project draws inspiration from hip-hop artists such as Tech N9ne, Atmosphere, Macklemore and Hilltop Hoods. Melding sweeping orchestral instrumentals with bass-heavy hip hop beats and gritty riffs, he creates music that’s edgy and melodic, something I find incredibly appealing when it comes to hip-hop. He’s also an exceptional wordsmith, penning authentic and deeply personal lyrics that address relevant topics such as ambition, relationships, loss and substance abuse. With his nimble, rapid-fire rapping style, he delivers those lyrics with an energy and passion that’s electrifying.
Project released his terrific debut EP Rectify in July 2015, which was well received by DJs, music critics and fans, and followed up with Purge, which dropped at the end of May. The EP features five tracks, all of which are excellent. The hard-hitting first track “Vocalise” perfectly exemplifies his dynamic music style. Opening with tinkling piano, xylophone and resonant strings, a strong bass-driven hip-hop beat soon kicks in, and Project raps the poetic lyrics that speak to his struggle with making it as a rapper:
You see I need that sweet release So give me a greasy beat with a fat-ass bassline Now that’s my kind of treat Don’t give a fuck about what anyone else is doing I’ll just keep on spewing verse after verse til my brain feels like I’m abusing it. I’m losing it. I just cant stop All the voices in my head are talking about is hip-hop I’m rhyming in my sleep when I should be counting sheep Has this shit gone too deep, am I a broken fucking freak?
The instrumentals become more complex as the song progresses, with scratching added, along with chorale-like backing choruses that he heavily uses to dramatic effect on most of the tracks. Those soaring choruses are expertly blended with haunting strings, electric guitar and a thumping bass line on “Him” and “Energy,” the latter of which also features a marching band-style drumbeat and some lovely piano keys in the outro.
Project’s skillful use of disparate and contrasting instruments and technique is beautifully represented on the superb “Aftermath.” The track starts with a mournful church-like organ riff and delicate xylophone, then explodes with nu-metal guitar riffs and thumping bass. Backed by an ominous chorus, Project’s fast rapping really showcases his amazing vocal dexterity. The song lyrics seem to address the replacement of his identity as a person with that of his rapper persona:
I put the pistol to my head, the moment we said goodbye I pulled the trigger even quicker and to my surprise I stood up took my pulse but I was still alive Jake was no where to be seen. I’m the only one survived
The dark video shows Project singing the song inside an abandoned graffiti-covered church.
A standout on the EP is “Midnight Rush,” a powerful and rather painful song about acting in a careless and self-destructive manner while under the influence of alcohol that results in tragedy :
I got a chip on my shoulder, better knock it off ‘Cause if I push too hard I’ll have to pay the cost I can’t see through the flames of froth I shoulda took my chances when the coin was tossed Ah fuck it, let’s have another ball What’s the worst that can happen when you hit the bomb? If I’m gonna get pushed then I’ll just push back Talk shit get punched maybe catch a bitch slap That’s a given, but I’m invincible
The track is quite melodic, with an R&B feel and soulful backing vocals by Sophie Adams.
Purge is an exceptional sophomore effort from Project that provides further proof of his amazing talents as a composer, lyricist and vocalist. He’s currently working on his third EP, which he states will take more of an organic musical approach, and I can’t wait to hear it.
I’ve been revisiting a number of artists that I previously featured on this blog, and my latest is the Bradford, UK dark wave/psychedelic/electro-pop band They Called Him Zone. Formed in early 2016, they quickly released their debut EP Miami, then followed up with a stellar mini-album Crow Swan Wolf in February 2017, which I reviewed. Now they return with a double single “Death Drive / I Like Noise,” released today, the 25th of August, through their label Ambicon Records.
They Called Him Zone consists of Mik Davis (lead vocals, drones and production), Steve Maloney (guitar, backing vocals and production), and John Bradford (keyboards and percussion). For these songs, they were joined by Cat McLaughlan who provided backing vocals. In describing their sound, sometimes the band’s own words offer the best explanation: [Our music] “combines sultry electronica with chewed-up, modulated guitars, evoking rain-drenched, neon-daubed streets, proscribed chemicals, and black-clad malcontents wearing mirror shades after dark. And it’s always dark where they come from…“
Both songs seem to address our darker sides. Lead track “Death Drive” evokes a shadowy netherworld of lust and danger with its hypnotic beat and harsh industrial synths. Maloney’s gritty and sometimes wailing guitars amplify the sense of foreboding, while in a rather menacing monotone, Davis sings the lyrics that seem to speak to an addiction – whether it be drugs, sex or some other obsession:
We’ve become so cold, playing out in the rain, Waiting out for June, you make me cold sweat… My body shakes when I’m with you, I feel no pain… The death drive.
The equally dark video for the song was produced by Bradford-based Twenty Twenty Films, and features alternative models Zombie Cat Girl and Miss Gerrish, and method actor Mark Morris.
The B-side “I Like Noise” is a short track with a fast, repetitive beat and pulsating synths that deliver a post-punk psychedelic feel. Like the music, the lyrics are minimalist, and my guess is that they’re about numbing one’s pain by engaging in pleasurable but dangerous or taboo activities:
I like pills, I like noise, I like thrills, I like toys… I like girls, I like boys, I like machines that make noise… I like noise, I like, noise, I like machines, that make noise… I tried love, I tried hate, I tried pain…
Both songs are brilliant, further demonstrating that They Called Him Zone is a cutting-edge band who pushes boundaries to create music that’s distinctive, mesmerizing and always provocative.
NOREiKA is Peter Noreika, a singer/songwriter from rural western New York state, near Buffalo. He started out his music career as a guitarist for a few heavy metal bands, but eventually quit the business to become gainfully employed, get married and start a family. As is often the case, however, Noreika never lost the music bug, and after his young son one day asked him why he couldn’t stay home and play with him, he decided to make a change and get back to doing what he loved, which was writing songs and playing music. And though he still had a fondness for metal rock, his sensibilities now leaned more toward acoustic and folk rock.
Noreika released his debut EP METACOUSTiFOLK in 2015, and followed up a year later with Throw the Switch to Begin, which I reviewed almost exactly one year ago – and you can read here. Now he returns with his third EP BoXaRoX, which dropped today, August 25. Departing from the fuller sound of his previous EPs, he strips down the music to the bare essentials of just guitar and vocals. When I asked about the unusual EP title BoXaRoX, Noreika explained that it was a possible band name he’d once considered years ago. When trying to come up with a name for the new EP, he remembered BoXaRoX and decided it was the perfect name for his mascot – a “beer-drinking, guitar-playing pterodactyl” – that he was using for his EP cover art. I think the cover art and title are both perfect!
The first thing that strikes you about Noreika’s music is the fullness of the sound, given that it consists of only an acoustic guitar and his urgent vocals. This is immediately apparent with the opening track “Who’s Right.” He strums his guitar with an assertiveness that matches his powerful vocal delivery of lyrics about finding truth through honest communication:
I’m right, you’re right, Everybody come along Talk it on over and we’ll find out who is wrong I’m wrong, you’re wrong, Everybody sing this song Talk it on over and we’ll find out who is right.
“What Makes You Smile” is a positive, uplifting track about recognizing the little things that can bring joy and make life worth living – like a box of puppies and kittens.
Find your reason to give. You will see its the way to live There is a brighter side. Keep it up and you’ll hit your stride Think of things that warm your soul Puts a smile on your face and makes you whole Like a box, a box of puppies and kittens.
Noreika makes an emotional plea for love and acceptance on the hard-hitting “Notice Me.” His fervent vocals are pretty intense on this track, as is his guitar playing.
Why don’t you notice me. Am I so hard to see Why don’t you notice me. I fade to black and disappear I’ve got so much to say to you. Believe me when I tell you that its all true Look in my eyes read between my lines. All of my love is for you.
The catchy “Shwoop Dibby Dibby” is a lighthearted ode to a loved one, in which he employs crazy words to describe the depths of his feelings for her:
Love comes round that’s more than real. When I can’t define, or think of the line, I speak from the heart.
The silly words that I say, mean the world to me in every way Shwoop dibby dibby whoop baloo, Shmluega Magluega means I love you.
The nimble guitar riff on this track is terrific. In fact, Noreika’s guitar work on every track is outstanding, making his music a real pleasure to hear. So give this EP a listen and see for yourself!
I love discovering new indie bands who make interesting music that leaves a strong impression. And when they have a fun, quirky name like Sorry Escalator, it’s an even bigger treat. Originally from Middlesbrough but now based in Leeds, the UK band was created in 2012 when guitarist Ryan David Welsh and his drummer friend Sean Graham joined forces to become, as they state in their bio: “a noise-rock duo, playing odd shows to a room of around four people. In the fall of 2013, the sound scientist Shaun Lockwood turned up to track lead guitar at a demo recording session above a bar in Middlesbrough, and he’s never left their side since. Their sound, originally comprised of swelling walls of noise, feedback and whispered vocals, slowly gained rigidity and more poppy elements started to seep into the sound. After several line up changes the band finalized its form, influenced by everything both ugly and beautiful about life and sound.”
Sorry Escalator now consists of Ryan D. Welsh (Rhythm Guitar/Lead Vocals/Lyrics), Sean Graham (Drums), Shaun Lockwood (Lead Guitar/Backing Vocals) and Jamie Hogg (Bass). Their eclectic music style can be categorized as alternative psychedelia/shoegaze, along with elements of alt-punk, grunge and experimental rock. But whatever it’s called, what’s clear is that their sound is like no one else’s.
They released a self-titled debut EP in 2016, and this past April, released a double A-side single “Generation Winter / Street Corner Absurdity” through the new independent label Imagination Engine Records. The label also made the songs available on a limited edition cassette tape. Interestingly, both tracks are almost exactly the same length, at just a few seconds over five minutes.
“Generation Winter” immediately hooks you in with a nifty little bass riff before fuzzy shredded guitars take over, accompanied by Graham’s drums pounding out the hypnotic driving beat. The guitars are mesmerizing, giving the track a retro psychedelic surfer vibe, and I love the occasional bits of distorted guitar reverb. Welsh’s monotone vocals are somewhat overpowered by the music, making them difficult to understand at times, but they fit well with the overall psychedelic feel.
The biting lyrics speak to the current political situation in the UK, but can also be applied to the craziness going on in the U.S.:
Look out your window what do you see? People frying up in their misery. Your folk devils, they don’t wash with me. Your politicised red herring. You spit out your bile, We run a mile, your wry smile, so so so so fucking vile.
We are waiting ever so impatiently. Weathering the storm till we can spread our wings.
You broadcast your insincerity. Red top hacks, lobbyists and daylight thieves. With their brown paper envelopes they rush to the bank. Laughing, laughing cash in hand. Stay asleep in a fire.
We are waiting ever so impatiently. Weathering the storm till we can spread our wings.
You fail to notice we are listening. You fail to notice you are blistering. It’s just a matter of time, just a matter of time, just a matter of time.
We are waiting ever so impatiently. Weathering the storm till we can spread our wings.
Keep the curtains closed. Keep your kids at home. Keep the curtains closed. Keep the kids at home.
Even more psychedelic is “Street Corner Absurdity,” with Lockwood’s crushing, reverb-heavy distorted guitar work being the dominant feature of this noisy track. Welsh’s jangly rhythm guitar and Hogg’s powerful bass add layers of sound to the mix, while Graham beats out the languid pace on the drums. The piercing guitar solo heard in the background that begins at around 2:55 and continues through to the end is terrific, adding emotional tension to the track. Welsh dreamily sings the lyrics about drug and alcohol addiction:
It’s a sign of the times, A daily prescription with no warning signs. You don’t question why you just sit and condone.
As I walk down your street, Scripts and vodka bottles lie at my feet. Street corner absurdity, yeah it’s got to me.
So tell me how things got this way? Forgotten now just like yesterday. Did you play by the rules? Or were you lead astray.
Just take a look at yourself your throwing stones in your glass house. No thought to the madness while we burn out, yes, yet again.
ECLECTIC MUSIC LOVER 