After having written about music for nearly eight years, I’ve come to the conclusion that, while trends come and go, music of high quality will always speak for itself and have a following, no matter the genre. Many have written of the death of rock, and while it’s largely been absent from the ridiculous Billboard Hot 100 (which, because it now relies primarily on streaming stats, is heavily weighted to formula pop, hip hop and bro-country), it’s undeniable that rock is still very much alive and loved by millions of fans.
Case in point is British rock act The Petal Falls, the music project of Kent-based singer-songwriter Keith Leahy. I’ve previously reviewed two of his singles “I Won’t Be There”, in August 2021, and “Somebody To Love Me”, in April 2022 (you can read them by clicking on the “Related” links at the end of this post). To briefly reiterate some of what I previously detailed about The Petal Falls’ unfortunate history, Leahy formed the band in the mid 1990s as a performance platform for his music. Consisting of Leahy, who sings vocals as well as plays guitar and keyboards, and four other musicians – Robert Harpum (guitar), Dave Richards (guitar), Marius Ryndziewicz (bass) and Robin Tucker (drums) – they signed with a mid-tier music label in the hopes it would lead to greater success, but it instead resulted in their ultimate undoing. The label stifled their creativity and stalled their career for several years, leading to a great deal of frustration among band members and their eventual demise, without ever being given the opportunity to publicly release any of their impressive output of songs.
Thankfully, their outstanding music catalog eventually became available for release, and Keith jumped at the opportunity to re-master the original recordings into four albums, with help of friend and producer-engineer-drummer John King. The first of those albums, Workin All Night Workin All Day, was released in July 2020 to positive fan and critical response, an amazing feat for an act that had long been given up for dead. Though their songs were recorded nearly 30 years ago and feature an 80s vibe reminiscent of music by such artists as Whitesnake, John Mellencamp and Bruce Springsteen, among others, they still strongly resonate today, garnering over 1.2 million streams on Spotify alone. That first album’s success inspired Keith to resurrect The Petal Falls as a solo project, recording and releasing new music in collaboration with King. They followed with a second album All These Years in September 2021, then a third Everything About You in September 2022.
Now he returns with “Obsession“, the lead single from his fourth album The Rhythm Train, due for release this coming October. For the recording of “Obsession” Keith played guitar and keyboards and sang lead vocals, Robert Harpum played guitar, Martin Corder played bass and Robin Tucker played drums. Backing vocals were sung by Avril Davis and Tracy Tucker, with added guitar by Barry Kitchin and keyboards by Lee Tucker. The track was mastered by John King.
The song is an intense and brooding rocker about a passionate and reckless affair and the burning obsession it breeds. I know from personal experience how easy it is to fall under someone’s thrall, willing to cast all rationality and caution aside in the pursuit of their attention and, hopefully, love. To drive home their message, The Petal Falls unleashes a torrent of searing riffs, pulse-pounding bass and thunderous drums, creating a powerful and darkly sensual soundscape. The combination of three guitarists working their magic results in a rich and contrasting tapestry of shimmery chiming notes, spine-tingling psychedelic runs and grinding buzzsaw riffs. Keith’s arresting vocals are brimming with passion as he wails “I’d jump off a mountain, if I thought you’d stop and stare. I’d swim a raging river, if I knew you would be there. You can beat me, beat me to despair. You can love me, I don’t really care. You’re my obsession!“
The dark, beautifully-filmed video brings the song’s lyrics to life with sizzling scenes of a sexy woman dominating her willing subject.
Friday, May 26th was one of the biggest days for new music releases I can remember, at least in terms of artists and bands I follow, and from what I could tell, at least nine of them released new singles. Because I like all these artists and their songs and want to show them support, I’ve decided to feature them all in a Fresh New Tracks post. To make it easier on me, as well as not overload my readers with too many songs all at once, I’ve broken them into two separate posts. I published the first one two days ago, and this is the second, which includes a collaboration betweeen Scottish synthpop artist Jigsaw Sequence and British electro-pop artist Machina X, American singer-songwriter Johnny Ritchie, American Baroque pop duo Novus Cantus, Australian soul-funk-pop-rock band Thunder Fox, and Canadian alt-rock band Western Jaguar. I’ve previously featured all these acts on my blog, with the exception of Jigsaw Sequence. And true to my blog’s name, each of these five songs couldn’t be more different from one another.
Jigsaw Sequence + Machina X – “Late to the Party”
Jigsaw Sequence is the music project of Scottish synthpop artist Richard Tracey, and Machina X (aka Annie James) is an electro-pop artist based in Yorkshire, England. The two talented individuals have been making music both as solo artists and in collaborations with others, and recently teamed up to write and record a great new synthpop dance single “Late to the Party.” The song and collaboration marks a resurgence for Annie, after she experienced a bit of a slump, as she recently acknowledged on Twitter: “In the last 6 months I’ve thought a lot about closing the door on making music because it feels so much harder than it did. Thank you Jigsaw Sequence for believing there was more inside, and collaborating with me.”
In contrast to the exuberant, pulsating dance beat and luxurious retro 80s synth grooves, the lyrics are rather bittersweet, speaking of living in denial about a relationship that’s breaking apart, hoping things will turn around. Machina X’s lilting vocals are wonderful and heartfelt as she sings “Behind a mask where no-one sees. Hiding for the sake of sanity, ‘cos hearts like mine bruise easily when they’re washed up on the shore.Late to the party. Always early to leave. Scared by the truth, but always wanting to believe.”
Johnny Ritchie – “Chirp”
Johnny Ritchie is an engaging, intelligent and wildly imaginative young singer-songwriter and multi-instrumentalist who I’ve previously featured three times on this blog. Originally from Indiana, Johnny’s now living in Spokane, Washington. With a lifelong love for music, he began learning to play piano and drums as a child, then went on to study Contemporary, Urban, and Popular Music at Columbia College Chicago, and in 2020 earned a B.A. degree in Music at Western Michigan University. He now has his own business teaching others to play piano, keyboards and drums, as well as giving lessons in music theory, songwriting and improvisation. He also writes and records music in which he fuses alternative and experimental rock with neo-psychedelia and contemporary jazz to create incredibly fascinating and sophisticated soundscapes.
Ever-creative and continually willing to push musical boundaries, every new release of his sounds totally original and distinctive. His latest single “Chirp” is an unusual instrumental piece that couldn’t be any more different from his previous alternative psychedelic hip-hop single “Elite Deviance”. Already his fourth single of 2023, with another one on the way in a couple weeks, “Chirp” is the first that Johnny’s both recorded and produced entirely by himself. Featuring a relaxing synth groove, accompanied by deep bass and punctuated by a sharp percussive beat and beguiling piano trills, the song also features delicate bird chirps throughout that lend a charming atmospheric air to the proceedings. Johnny never fails to dazzle my senses with each release, and I cannot wait to hear what new experimental sounds he comes up with next!
Novus Cantus – “Caterpillar”
Novus Cantus is an innovative music act comprised of brothers Alexander (vocals and guitar) and Christian Herasimtschuk (drums and percussion). Based in the Hudson River Valley roughly halfway between Albany and New York City, the duo draw from a broad and eclectic mix of influences ranging from traditional ethnic music like flamenco and Hungarian folk, to classical Medieval, Renaissance and Baroque, to alternative rock, in the creation of their uniquely enchanting and exotic sound. They’ve been performing and recording together since 2010, and have released a fair amount of music. I’ve written about them four times over the past five years, most recently when I reviewed their hauntingly beautiful Civil War-themed song “Georgia”.
Now they’re back with “Caterpillar“, a bewitching song originally written for a children’s concert last year that the brothers decided was too good to not release as a single. The lyrics tell the story of a humble-looking caterpillar who starts out crawling upon the ground and feeding on plants (“and I walked in the cool of the night“), then climbs into the trees to become a chrysalis (“and I slept in the cool of the night“), finally emerging as a beautiful butterfly (“and I flew in the cool of the night“). The most striking aspect of the song for me are the beautiful sounds from a Wot, a Thai pan flute played by Christian. I love how his fluttering notes evoke the sounds of a butterfly’s wings unfolding for the first time. Of course, Alex’s lovely acoustic guitar and warm, emotive vocals, accompanied by Christian’s percussive beats, are really wonderful too.
Thunder Fox – “Feels Like Forever”
Mere words cannot express how much I adore Australian band Thunder Fox. The Sydney-based five-piece is one of the most creative, wickedly funny and insanely talented – not to mention sexiest – acts I’ve ever encountered, and have gushed about them and their music numerous times on this blog over the past four years. Now comprised of the charismatic and silky-voiced Sam Dawes (Lead Vocals/Guitar), Travers Keirle (Sax/Vocals/Rhymes), Jesse Tachibana (Trumpet/Vocals/Synths), Max Vallentine (Drums), and Casey Allan (Bass), they skillfully blend generous helpings of funk, soul, blues rock, hip hop, jazz and pop into their delectable music stew. And while their often bawdy lyrics and playful antics would seem to indicate a juvenile zaniness, their music has a stylish and jazzy sophistication, thanks to their great songwriting and musicianship, including having both a saxophone and trumpet player in their lineup.
They’ve released an impressive amount of music since 2015, including three terrific albums – Mother Machine in 2016, Love at First Sniff in 2019, and Sanctuary in 2021 – the most recent two of which I’ve reviewed. One of the singles from Sanctuary, “Head in the Clouds” reached #4 on my Weekly Top 30, and ranks #47 on my 100 Best Songs of 2022 list. On their new single “Feels Like Forever“, Thunder Fox channels Prince, Morris Day & the Time and James Brown to create a rousing slab of old-school soulful funk. I love the song’s stomping groove, courtesy of Casey’s deliciously funky bass and Max’s spirited drumbeats, and fortified with Sam’s gnarly riffs, Travers’ hot and jazzy sax notes, and Jesse’s bold trumpet blasts. It’s one of the most exuberant songs they’ve released in a long while, and I love it!
Western Jaguar – “Better Daze”
Hailing from the picturesque Fraser River Valley of British Columbia, east of Vancouver, alt-rock act Western Jaguar was born in 2012 when singer-songwriter and multi-instrumentalist Jeffrey Trainor turned to music to get him out of a low point in his life. With the help of an evolving lineup of musicians, Western Jaguar released three stellar EPs and several singles between 2013 and 2019, including their beautiful song “Disappear”, which went to #1 on my Weekly Top 30 in 2019. When the pandemic hit in early 2020, bringing things to a halt for just about every musician and band, the social isolation gave Jeffrey time to reflect on how unhappy he’d become as a musician. He’d become fixated on, in his own words, “likes, a following, positive feedback…and became hyper focused on making music other people liked.” By the end of 2020, he decided he didn’t want to make music anymore, essentially walking away from Western Jaguar, which he conveniently blamed on the pandemic.
Thankfully, after a long break he came to realize that, just like in 2012, music could once again lift him out of his slump. He decided to resurrect Western Jaguar as essentially a solo act, and beginning last November, went to work writing and recording songs in his home studio for what would become his new album Oblivion, scheduled for release on July 7th. For the recording of the album, Jeffrey sang vocals and played most instruments, though his former Western Jaguar bandmates Davis MacKenzie Zand played bass and AJ Buckley played electric guitar and drums, and sang backing vocals on two tracks, and KC Roces played electric guitar on a third track.
The first single from the album is “Better Daze“, a poignant song about going through hard times after a tragedy and trying to get back to better days. Musically, the song has an upbeat dream pop feel, with a breezy melody, beautiful chiming guitars and snappy drums. Jeffrey’s clear, pleasing vocals have a hint of sadness as he sings the lyrics about a woman named Suzie, whose fiance Harold died suddenly after a fall in the shower just before they were due to be married. Suzie falls into a deep depression, and with the best of intentions, her father insists she take medication to help improve her mood. Unfortunately, the drugs only make her feel worse: “Suzie’s felt worse since the medicine. Her lungs are burning and she can’t breath in. Her father insists on the vice, it’s the only way for a normal life. But a normal life was lost last June when Harold fell in the bathroom. She hasn’t taken them for 6 weeks. If only it was that easy. Her father asks if she’s feeling well. She gives him a smile though she feels like hell. She wants him to think that she’s okay, even though she’s thinking of better daze.”
It’s a wonderful, albeit melancholy song, and it’s great to have Western Jaguar back. I’m looking forward to hearing the rest of the songs on Oblivion.
Friday, May 26th was one of the biggest days for new single releases I’ve ever seen – at least with regard to artists and bands I follow who chose that day to drop new songs. From what I could tell, at least nine of them released new singles. Because I like all these artists and their songs, and want to show them support, I’ve decided to feature them all in a Fresh New Tracks post. To make it easier on me, as well as not overload my readers with too many songs all at once, I will break them into two separate posts. For the first of two, I’m including (in alphabetical order) British singer-songwriter and producer Frank Joshua, American singer-songwriter The Frontier, American alt-rock band Gooseberry, and British indie rock band Healer. I’ve previously written about Frank Joshua, The Frontier and Gooseberry, whereas Healer is new to me. All four songs deal with navigating through the challenges and uncertainties of romantic love, in hopes of emerging a better person in the process.
Frank Joshua – “Patent Leather Car”
In just the past few months, London-based singer-songwriter and producer Frank Joshua (who wishes to remain anonymous, thus posts no photos of himself) has become a favorite of mine, on the strength of his beautiful silky vocals and enchanting music style. The prolific artist has released an impressive amount of music in a little more than two years, including two albums and numerous singles, one of which, his gorgeous song “Bluebell Wood”, has spent the last three months on my Weekly Top 30. Remarkably, his latest single “Patent Leather Car” is his 25th release since last December! It’s another superb song, with a breezy and mellow groove, and as with all of Frank’s songs, flawlessly-arranged and produced.
Titled after the famous London taxicab, the song speaks to “fear and love and finding solace in something you know probably isn’t good for you“. The video shows an old wrecked and rusted Austin being rescued and restored by a man whose face we never see, then driven across scenic landscapes. Frank says “Rebuilding is like reworking the past. Only by looking back can we take steps forward and keep the flame of dreams alive.”
A long-time favorite of mine is The Frontier, the music project of singer-songwriter and multi-instrumentalist Jake Mimikos. Based in northern Virginia, the talented, gracious and funny guy has released an impressive amount of music since 2015, and we’ve been following each other for nearly that long. Jake skillfully blends elements of pop, folk, rock and electronica to create memorable and pleasing songs about love, relationships and loss. His lyrics are honest and straightforward, as if he were having a conversation with a friend, and delivered with comforting vocals.
I’ve loved all of his songs, three of which – “Dark Places”, “Can We Go Back” and “Closer” – have reached #1 on my Weekly Top 30 charts. His latest offering, “Walk Through The Fire“, serves up three minutes of catchy toe-tapping grooves and beautiful jangly guitar notes. The lyrics are a plea to a loved one for a second chance: “Everyone falls sometimes. Dying to stay alive. Everyone has their fight. It’s how we walk through the fire.”
Gooseberry is an utterly delightful and talented trio from Brooklyn, New York who formed in late 2019, and now consist of Asa Daniels (guitar, vocals), Evin Rossington (drums), and Will Hammond (bass). Together they blend indie rock, R&B and light jazz to create their own distinctive and sophisticated style of alternative rock. Their wonderful song “Sleep” spent many months on my Top 30 chart, and ranks #29 on my 100 Best Songs of 2022 list.
Their latest single “Orbit” has a grittier, more bluesy vibe than most of their previous songs, and addresses the toll that being a musician takes on relationships. Asa elaborates: “Orbit is a love song. Or at least I’d argue on its behalf! Though I suppose it’s really about the selfishness that is required for an artist to chase such an ill-fated pursuit with such single minded obsession as is needed for fame and success in this industry. Knowing that the hours dedicated to the craft, to being on the road ultimately disrupt (and, potentially, unravel) meaningful relationships outside of music. Like a loved one. I argue this is a love song because its self awareness of its selfishness makes the sting of love that much more present.” Asa’s vocals have never sounded this raw and impassioned as he wails “I know it’s taking me further away from your orbit. I know it’s selfish and it’s ugly. I know that there’s nothing I can do.” God, I love this band!
HEALER is a five-piece indie rock band based in Grimsby, England, comprised of Steve on lead vocals, Kirk on guitars, Dave on guitars, Tony on bass, and Jazz on drums. They’ve only been together for one year, but have already built a strong following in the local music scene, as well as garnering recognition from BBC Introducing. They released their terrific debut single “Hurricane” in December 2022, followed by the equally great “Fire” this past February, and now their latest single “Bones“. Their songs explore themes of love, loss, and hope, with “Bones” addressing the latter. Band vocalist Steve explained “It’s about finding the strength to keep going, even when things are tough. We wrote it after going through a difficult time ourselves, and we wanted to share our message of hope with others. [Specifically], it addresses the fear of falling in love and the idea of it not lasting forever at the same time. The anxiety of giving yourself completely to someone but the inner need to be with them forever. Loves flickering momentary happiness being on a knife edge and enjoying your feet getting cut while you walk through it.”
Musically, the song starts off slowly, but gradually transitions to a fantastic full-on rocker, with aggressive, gnarly but beautiful riffs, driving bass and pounding drums. Steve’s vocals are passionate and heartfelt as he apologizes for the hurt and pain he’s caused, promising to be a better man: “And problems, we’ve had a few. I know now what not to do. And these bones, they’re for you, sorry for what they do. It’s your choice, it’s what you do. These bones will follow you.“
The sweet video, directed by the band and filmed and edited by Lincolnshire-based photographers and filmmakers Lola and Joel, was filmed at Howlin’ Jacks Record Store and Fryer Tuck’s Take Away. It stars Lucas Albion and Lisa February as a young couple who meet at a record store, are quickly attracted to each other, then spend the day together as romance blossoms. Their wonderful skeletal face makeup was done by Micky Stephenson Jade Wilson.
Soda Cracker Jesus is the solo music project of the wildly imaginative, enormously talented and flamboyant singer-songwriter and producer Regan Lane. Based in Tacoma, Washington, Regan has been actively involved in the Pacific Northwest music scene for 40 years, with his hands in many projects, including serving as front man and ringmaster for psychedelic punk-rock band Strangely Alright. He created Soda Cracker Jesus in early 2021 as a way of expressing his punkier power pop side, releasing his first single “My Anthem” that April. Since then, he’s followed with five more singles, his latest of which is “Space Boy“, which dropped May 15th.
Regan’s been honest and candid on social media about his former struggles with alcohol and substance abuse, and the happiness and joy that sobriety now brings him. With an unwavering sense of optimism, he creates music that looks to the future, but also understands the power of the past, and that duality helps shape his unique and signature sound. I’ve featured both Strangely Alright and Soda Cracker Jesus on this blog numerous times over the past four years, most recently in April of last year when I reviewed his upbeat banger “Hoping For The Best”.
“Space Boy” – which Regan describes as “a little Velvet Underground and a little Bowie in the bass-driven spoken word verses and driving punky choruses, with a lesson from the universe to slow the fuck down” – was inspired by a near miss with a semi on his way home one day. He elaborates: “A near head-on collision on my way home ended up being a message from the universe. In my mind, anyway…lol. I’d been pushing myself pretty hard and it caught up to me. I’d been listening to Billy Nomates and really dug the simplicity of her arrangements and how the bass was incorporated in each song. So after dodging the semi-truck that I had almost hit running a red light, I blew one of my tires and ended up at a gas station. Freaked out but alive, I had a conversation with a friendly guy from a homeless camp who helped me out, and what he said to me really spoke to me. Life can be cool that way.“
In addition to writing the words and music and singing vocals, Regan played all instruments and produced the track, which was mastered by his longtime collaborator Todd Ensminger. The song starts off with a great little bass riff, backed by a faint wobbly synth, which are soon joined by a strong thumping drumbeat as Regan begins to sing in his colorful vocal style: “I was driving home from work, a little spaced out. You know, my busy fucking life. I ran a red, the semi didn’t care. Speeding up to let me know that life ain’t really fair.” Eventually, the song turns into a fist-pumping punk rock anthem in the choruses, with an explosion of stomping drumbeats, swirling spacy synths and grinding riffs – “Space Boy, you better slow down. Going to explode before you hit the ground.” It’s a terrific banger, and another stellar single from this brilliant artist.
Calling themselves a “half decent band from the sonic wastelands of Warrington“, British indie rock trio 32 tens are an assault on the senses, but in a good way! Named after the classic 90’s Nokia phone, and influenced by such acts as Jack White, Jamie T and The Arctic Monkeys, 32 tens play a fierce and gritty brand of indie post-punk that’ll immediately shake away whatever ennui that might be plaguing you. Making this awesome noise are Max Vickers on vocals and guitar, Sam Glancy on lead guitar and Danny Hall on drums, with Ed Dowling of alt-rock band The Zangwills (another terrific band with a lead singer also having the surname Vickers but no relation, who I’ve also featured on this blog) as guest bassist.
I recently learned about 32 tens when their manager Jackie (who also manages The Zangwills) reached out to me about their latest single “This Just Ain’t My Year“, and it knocked me for a loop. I was so intrigued, I had to go check out their back catalog of songs, and immediately became hooked on their high-octane edgy sound and Max’s unusual vocals. I love their music, and have been listening to them nearly on repeat the last few days.
From what I can tell, they’ve been releasing only singles since 2017, and have garnered some very impressive streaming stats. Their 2017 single “Lost” has racked up over 2.1 million streams on Spotify alone, with six other singles earning over 100,000. “This Just Ain’t My Year” is their 15th single, and has already been named Record of the Week on XS Radio, and last week, it garnered the top spot on Tom Robinson’s Fresh on the Net.
The song’s a rip-roaring banger, storming out of the gates with a torrent of shredded guitars, hard-driving basslines and explosive drums. The pace is fast and relentless as 32 tens blow our minds and ears for two minutes and 51 seconds. It’s the kind of song you want playing when you feel like breaking some shit. The one brief moment we’re able to catch our breath comes in the bridge at 1.37, where we hear only the wonderful thumping rhythm of Ed’s bass and Danny’s drumbeats. Max’s warbly vocals are a thing of wonder, at once both sweet and raw, a winning combination that’s perfectly suited to their dynamic and gnarly sound.
The lyrics touch on the struggles of the everyday person trying to make it through a difficult time: “Hard to see what’s real when you’ve been living by sin and I know you’re tired. People only really give in when there’s no fight left. Everytime you’re getting close, just enough fear to face my ghost. I swear, this just ain’t my year.”
“This Just Ain’t My Year” is another fantastic single by this amazing band, and I can’t wait to hear what they come up with next!
Today I have the pleasure of introducing a wonderful artist named Josephine Pascoe who, together with guitarist and producer Neil Thom, creates exceptional instrumental music with various and ever-changing elements of jazz, acid jazz, classical, blues and funk. Based in the London suburbs, she’s a classically trained pianist, violinist and flautist with a life-long love of music. She began studying piano at the age of five, then violin at eight and flute at thirteen, much of it at Trinity College of Music in London, where she also began composing her own music. She also trained to be a secondary school music teacher, but prefers giving one-on-one instrumental instruction on piano and violin.
According to an article about Josephine on the music blog COOLTOP20, she met Neil in 2016 when she began taking guitar lessons from him. Besides teaching guitar, Neil is a producer and sound engineer with a wealth of experience working with various artists, bands and record companies. One night, after a few rounds of drinks, the two decided to have a go at writing something together, and took some jazzy chords Josephine had been playing with and developed it into what would become their first track “Florescence”, which they released in May 2017. In the years since, they’ve recorded and released 14 more songs, their latest of which is “Starfish“, an exuberant acid jazz tune which dropped May 5th. Josephine and Neil are both big fans of English funk and acid jazz band Jamiroquai, whose influence is strongly evident in their music.
Like most of their songs, “Starfish” was co-written by Josephine and Neil. For the track’s recording, she played piano, Rhodes electric piano, strings and flute, while he played guitar, bass and drums. Neil also produced and engineered the track. As I mentioned at the beginning of this review, their songs incorporate an ever-changing mix of styles that make each one sound unique. Whereas their previous single “Eden” has a mellow jazz vibe, “Zomer” is breezy acid jazz, and “Before The Light Goes Out” is a soothing, contemplative piano ballad, “Starfish” has a more spirited dance-oriented feel, with a strong lively beat. Highlights for me are Josephine’s resonant piano keys, spirited strings and airy flute. Neil’s funky guitars and bass provide a wonderful, edgy counterpoint to the more classical-sounding strings and flute, yet complement both quite nicely. It’s a marvelous track.
One of my favorite indie bands I’ve gotten to know over the past few years is Vancouver, British Columbia-based four-piece Bealby Point. Named after a local beachside vacation spot, they’re comprised of four childhood friends, Jack Armstrong (lead vocals), Clayton Dewar (lead guitar), Jordan Studer (bass), and Zack Yeager (drums). I love their buoyant, high-energy alternative/garage rock they cheekily call “music to fold laundry to“, which has earned them favorable comparisons to such bands as The Strokes. Their description of themselves as “approachable guys making cool music” is genuine, based on the mutual respect, camaraderie, and joy of spending time together that’s so evident in all their photos and little acoustic performance sessions they frequently post on TikTok and Instagram.
Beginning with the release of their debut single “I’m So Bummed Out Right Now” in February 2021 (which I featured in an installment of Fresh New Tracks, and has been streamed over half a million times on Spotify) the engaging four-piece continued dropping a series of excellent singles, including the brilliant “Talk To Me”, which I also reviewed and earned a spot on my Top 100 Songs of 2021 list. They released an EP Fridays in July 2022, and on May 10th, dropped their latest single “America“, a song they say is about falling in love, then falling out of love in tragedy. When I asked the band why they used “America” as the title and the subject of a romantic relationship, drummer Zack told me “The idea to personify America as a girl is tied to the idea of the American dream, [with] living a happy successful life basically culminated into a relationship. All of your hopes and dreams, ambitions and expectations, crushed by falling out of love.”
Like all their music, “America” was recorded and produced by Matt Di Pomponio, however, the song is a bit of a departure from their previous work, with a more serious, introspective vibe. I love how it opens with a gentle fuzz-coated riff, then launches right into the anthemic chorus. As always, the guys’ instrumentation and musicianship are outstanding, with Jack and Clay’s vibrant guitars accompanied by Jordan’s sturdy bassline and Zack’s spirited drums. I really like Jack’s warm, plaintive vocals as he sings of the joys of a new love in the opening chorus: “America, she loves me. I thought it couldn’t be I get down on my knees and scream America. Her shoulder rests on mine, I’ll be here for a lifetime“, then turn emotionally-wrought in the final chorus as he laments about how their love now lies in ruins: “America, I’m a human being. The faults that lie in fate that I don’t want to make. Fuck sakes America. Her shoulder rests on mine. Now let me drift away and wallow desperately again.”
“America” is yet another superb track by this talented and wonderful group of guys, and I remain a loyal fan!
Los Angeles-based singer-songwriter and multi-instrumentalist Beck Black is a veritable dynamo, possessing immense quantities of imagination and creativity, with a colorful persona to match. She’s been releasing music since 2014 (including a terrific album Hollywood Blvd in 2021), both as a solo artist and as a band under the Beck Black moniker, with the help of drummer Adam Alt and guitarist Mo Matatquin. Her music spans across multiple genres ranging from alternative, rock’n’roll and punk to country and pop, and everything in between. Listening to her music catalog, I’m struck by the fact that no two songs of hers sound alike (I adore her 2019 country song “Don’t Call Me Darlin'”). In addition, with her love of make-up and dressing up, she’s continually changing her style, such that she looks vastly different from one photo to the next, and I love it!
Beck has recorded songs with Ringo Starr (“Who’s Gonna Save Rock & Roll” in 2020) and Tony Valentine of The Standells (“Another Dimension” and “You’re Never Gonna Stop Me!” in 2021), and is also is part of the duo JYNX, with two songs licensed to the Netflix film Dumplin. She and her band have played some of L.A.’s most iconic venues like the Troubadour, The Echo, Whisky a Go Go, The Viper Room, and The Satellite. Besides making music, she has appeared on TV, films and many online shows including S.W.A.T., Grey’s Anatomy, and Ruth & Lori.
Photo, makeup and styling by Robert Hayman Flores
I first learned about Beck last month when I heard her marvelous cover of David Bowie’s song “Aladdin Sane”, which she recorded for the album Forget That I’m 50, a magnificent cover of Bowie’s entire album Aladdin Sane, produced by Julian Shah-Tayler. Now she’s back with a delicious new single “Puppet Show“, accompanied by a delightful video. Written and produced by Beck, the song is originally from the album Hollywood Blvd, but has now been released as a single. Beck sang vocals and played keyboards, Mo Matatquin played guitar and Adam Alt played drums. The track was mastered by Magic Garden Mastering.
It’s a lively banger, with an emphatic foot-stomping groove overlain with swirling cinematic synths, intricate edgy guitars and thunderous percussion. The infectious synth-driven melody reminds me a bit of the great 1982 song “Wishing” by A Flock of Seagulls. Beck’s vibrant lilting vocals are wonderful as she sings the lyrics that seem to be telling us that life is like a puppet show, with some people trying to control or influence our thoughts and actions, but we can choose to cast off those strings and life on our own terms: “Telegram the words to me, a puppet sings. People pulling at your strings and other things. Dancing with a back and forth motion, to and fro. Wearing shiny, sequin clothing a puppet show. Chances are interesting a puppet dreams. Reality is what you make it wearing strings.“
The brilliant video for the song, created and produced by Beck, co-directed with Justin L. Smith, and filmed by Eli Wallace Johansson, is utterly charming. It features Beck as a human marionette, along with a marionette miniature of her, created by Rasputin Marionettes. Both Beck and her marionette doppelgänger are dressed in matching hot pink sequined dresses and wigs. Beck is shown singing the song and playing her keytar in a vast outdoor field while the marionette acts out the lyrics. Eventually freed from their strings, they both jump into a lake, where they savor their newfound independence “Swimming in a deep blue ocea, ebb and flow. Life can be your pearly oyster, a puppet show.”
The music industry has long thrived on the collaboration of talented songwriters and musicians, and one of the most successful collaborations I know of is the one between Norwegian coldwave/post-punk project Antipole and British electronic music artist Paris Alexander. Antipole is the music moniker of guitarist and composer Karl Morten Dahl, who’s based in Trondheim, Norway, whereas singer-songwriter, composer and producer Paris Alexander is based in Brighton, England.
Antipole (aka Karl Morten Dahl) & Paris Alexander
While each has released music as solo artists, the majority of their output consists of albums they’ve recorded together or with other musicians and vocalists. I’ve followed them both for quite a while, and have written about some of their previous works – in 2017, I reviewed their collaborative album Northern Flux, and in 2021, I reviewed Alexander’s album Renaissance, featuring his partner Eirene. On May 12, they dropped their latest album Crystalline, featuring eight outstanding tracks.
The music was co-written by Antipole and Alexander, and lyrics written mostly by Alexander, with the exception of the songs “Marble” and “Infractions”, which were written by Eirene. Antipole’s guitar parts were recorded at AGV63 studio in Trondheim, while Alexander’s programmed synths and vocals were recorded at his Blue Door Studio in Brighton. Eirene sang additional vocals on “Marble”. Alexander also produced, mixed and mastered the album. The beautiful artwork for the album cover was created by Anne-Christel Gullikstad.
Listening to Crystalline, I hear strong influences by iconic darkwave and synthwave acts like Joy Division, New Order and The Cure, with a bit of Depeche Mode for good measure. Antipole’s jangly and shimmery guitar work is pretty spectacular throughout, and together with Alexander’s hypnotic beats and dreamy cinematic synths, create darkly beautiful and mesmerizing soundscapes. I also love Alexander’s rich baritone vocals, which have a haunting yet sensual quality, reminding me at times of David Bowie, most notably on “Midnight Shadows” and “Marble”.
Most of the songs have a somewhat similar sound and feel, certainly not a bad thing, as they’re all quite arresting and beautifully-arranged. At 30 minutes and 45 seconds in length, the album seems to pass by quickly, always a sign of a quality work in my book. I like every track a lot, but will touch on some of my favorites. Opening track “Perceptions“, features a strong pulsating groove, overlain with lush industrial synths and Antipole’s intricate jangly guitars. Alexander’s breathy vocals are wonderful, both mysterious and sensual. The video, filmed in black and white and at night, shows Antipole making magic on his guitar outdoors on a cold night in front of a church in Trondheim, while Alexander walks through the abandoned streets of Bath, England.
Perhaps the darkest song on the album is “Bleached“, a beautiful but brooding track for which the guys have also fortunately created a video showing them performing the song, superimposed over rather bleak footage of a large English industrial city filmed along a railroad line. The lyrics speak of a desperate existence in an urban wasteland, which Alexander sings in ominous whispered tones: “Take me. Houses full of lost dreams. Structures gripping the sky. Roads leads to hope, but walking is tiring. Reality is the end. Dead end streets and turnarounds. Windows gaze down upon me. Wandering these city streets, struggling for breath to nourish the blood. Stuck on an island, gotta get off. Get me off my phone, get me off my phone…“
“Marble” is an especially lovely and melodic track, with a rapid, pulsating beat, sharp percussive synths, and marvelous jangly guitar notes. Alexander’s comforting vocals are nicely backed by Eirene’s ethereal harmonies. “Infractions” has a wonderful psychedelic vibe, thanks to a greater use of spacey synths, while “Sentiments” is a gorgeous four-minute-long tour de force of hypnotic beats, dreamy atmospheric synths and jangly guitars, accompanied by Alexander’s brooding but hopeful breathy vocals.
With Crystalline, Antipole and Paris Alexander have gifted us another stellar collection of exquisite darkwave songs. I continue to be impressed by the consistently high quality of their output.
Crystalline is also available on vinyl and CD through Young & Cold Records
Phillip Vonesh is a Canadian singer-songwriter and guitarist from Toronto who makes a pleasing style of alt-country/Americana. Drawing inspiration from a mix of genres ranging from 60s folk revival and 70s outlaw country to 80s pop, Phillip “strives to write songs that will be stuck in your head as well as your heart.” Over the past four years, he’s released music both as a solo artist, including an EP Lost Our Way in 2019, a two-track EP Cold Hands / Warm Heart, and a touching song “Noa-Grayce” for his newborn niece, both in 2020, and as a member of indie-Americana band The Spare Parts, who released their debut album Infatuation in 2021.
On May 5th (apparently a very popular day for releases, as this is the fifth review I’ve written of music released that day), Phillip dropped his latest single “Fly Over State“. The lead single from his forthcoming album If Only For The Night, it’s his first new music in nearly two years. It was well worth the wait, as I think it’s his best song yet.
The track was co-written by Phillip and Canadian songwriter Hannah Gazso, recorded, produced and engineered by Aaron Goldstein, who also played electric guitar, and mixed and mastered by Alex Gamble (who also mixed and mastered the EP Common Fantasies by fellow Toronto singer-songwriter Alex Southey that I reviewed in January). For the recording of the song, Phillip sang lead vocals and played acoustic guitar and percussion, Ryan Gavel played bass, Nick McKinley played drums, Scott Galloway played piano and organ, and Carleigh Aikins sang backing vocals.
“Fly Over State” is a lovely slice of folk-infused Americana, with vibrant instrumentation layered over a soothing melody. All the instruments are well-played, but the highlights for me are Scott’s beautiful piano and organ and the interplay between Phillip’s gentle acoustic guitar notes and Aaron’s edgier fuzz-coated electric guitar that adds a sense of tension to the proceedings.
Phillip’s plaintive vocals, backed by Carleigh’s lovely harmonies, are wonderful, beautifully conveying a strong heartfelt vulnerability and sense of sadness expressed in the bittersweet lyrics about feeling used by a romantic partner who’s emotionally unavailable, only coming around when she wants her needs met. He likens her to an air traveler who treats him like a ‘flyover state’:
I want to be the destination Not a view from above I wouldn’t feel this hesitation in your heart if this were love
But I’m wondering when you’ll be around, sick of trying to chase you down, I want to be more than a map dot town
But I’m a layover ‘tween betty and veronica You only stay-over when it works for you I’m a fly-over state and I got lost on ya What do I have to do?
“Fly Over State” is superb, and I’ve had it on repeat the past few days. It’s a promising prelude of what we can expect on Phillip’s forthcoming album.
ECLECTIC MUSIC LOVER 