HEALER – Single Review: “London Town”

Artwork by Joel Hewitt

HEALER is an outstanding alternative indie rock band who’ve become one of my favorite British music acts over the past couple of years. Based in the historic fishing port of Grimsby, on the central eastern coast of England, the band is currently made up of Steve Dean Smith (lead vocals), Dave Harries (guitar), Jazz White (drums) and newcomer Joel Hewitt, who created the single artwork and filmed the video, on guitar. (For the recording of their latest music, Tony Edmondson played bass, however recently departed the band.) Their powerful songs explore themes of love, loss, and hope, wrapped in infectious melodies and beautiful arrangements, and delivered with masterful instrumentation and Steve’s wonderful distinctive vocals that make HEALER’s songs immediately identifiable. 

Since forming in 2022, the talented and charismatic five-piece have built a strong following in the British music scene on the strength of their exceptional music and riveting live performances, as well as garnering recognition and airplay on BBC Music Introducing and Amazing Radio UK/USA. Since the release of their debut single “Hurricane” in December 2022, the busy guys have followed with eight more singles and two remixes. I’ve previously reviewed three of their singles – “Bones“, “Wake Me Up” and “War” – with “Bones” and “War” each spending many weeks on my top 30 chart and “Bones” ranking #67 on my 100 Best Songs of 2023 list and “War” ranking #84 on my 100 Best Songs of 2024. (You can read some of those reviews by clicking on the ‘Related’ links at the end of this post.)

Photo by Joel Hewitt

Now they’re back with their ninth and latest single “London Town“, a gorgeous rock song that continues their unbroken string of stellar releases. The track was recorded and mixed by Pieter Rietkerk at Chapel Studios and mastered by Grant Berry of Fader Mastering. About the song, the band says it “explores the burnout of big-city life and the identity crisis that follows — when chasing your dreams starts to feel like losing yourself. It’s spacious, urgent, and speaks to the modern struggle of finding meaning in chaos. In the song, we personify London as a magnetic, almost haunting character — reflecting what it feels like to be on the outside looking in, and losing yourself in the city that was supposed to save you.”

To gain a bit more insight into HEALER’s new song and the Grimsby music scene, I had a brief interview with the band’s drummer Jazz:

EML: I’ve been following you guys for two years now, and first wrote about you when I featured your powerful song “Bones” on my blog in late May 2023. At that time, you’d been together as HEALER for about a year. In your bio on your website, you begin with the following line to describe your hometown: “Rising from the ashes of a once thriving but now forgotten fishing town, HEALER are...”, which I find both brutally honest and endearing. Is there much of a music scene in Grimsby? And what brought the five of you together to form a band in the first place?

Jazz: There is currently a great music scene in Grimsby. Historically, Grimsby (and Cleethorpes) has always had an amazing music scene, filled with bands that have done great things and have been on the edge of making it big. The scene seemed to die down a bit a few years ago, particularly throughout the dreaded Covid years, but that also seemed to be a bit of a catalyst to inspire a lot of the bands that had previously broken up to reunite or create new bands. Which is what brought us together. We all knew each other through either being in previous bands together or being in bands that did gigs together and we all just wanted to start making and playing music again, which is what we did. Now the scene is thriving, with an abundance of bands doing great things, even young bands getting signed, venues like Docks Academy and Yardbirds providing platforms for local artists to perform and support bigger bands and the best thing of all, is all of the local bands know each other and are supporting each other.

EML: Are any or all of you still living in Grimsby?

Jazz: We all still live in Grimsby. I think we would find it hard not to all live in the same area. We meet up regularly to rehearse, make band plans and just generally socialise together so it would be really difficult if we didn’t all live near each other.

EML: In addition to sounding great, your songs also feature intelligent, relatable and often poignant lyrics. How do ideas for new songs come about, and do all band members contribute to writing the music and lyrics, or does that job generally fall on one or two of you? 

Jazz: There isn’t really a clear process for how we write our songs. Steve generally writes most of the lyrics but we all contribute musically to each song. Sometimes Steve might come to a practise session with a new idea or maybe an old idea that he wants to rework, sometimes Dave might come to practise with a new riff that we all build on or sometimes we just randomly start jamming and come up with something brand new together. Sometimes these songs feel like they ‘fall from the sky’ and, sometimes, those are the best songs.

EML: You write that your new song “London Town” “explores the burnout of big-city life and the identity crisis that follows — when chasing your dreams starts to feel like losing yourself.” Is the song autobiographical, and have one or more of you spent any time living in London? Or do the lyrics speak more to the challenges and conflicting emotions that sometimes result when an artist or band puts so much of their time and energy into “making it big”?

Jazz: ‘London Town’ is definitely autobiographical and is about the time that Steve spent living in London and some of the lyrics are directly about Steve’s experiences whilst living there. The song does also link to the challenges of being an artist from a small town and trying to make it and the frustrations of a lot of opportunities being more readily available for artists from ‘bigger cities’.

EML: You’ve released eight singles and two remixes since late 2022, with “London Town” marking your ninth original single. Are there any plans for a full album on the horizon?

Jazz: We recorded a batch of new songs in the studio recently which we will be releasing over the new few months, starting with ‘London Town’ but we have also been writing more new material, which we hope to get back into the studio later in the year to record. We’re not sure whether we will be releasing an album yet but we will definitely be releasing more new material, regularly over this year.

EML: If you could perform with another artist or band in a billing of your dreams, who would that be?

Jazz: That’s such a tough question, there are so many bands we would love to play with, especially because, although we’ve all got similar music tastes, we also all have our own individual tastes. Overall though, U2 seem to be a band that we all take inspiration from and all for different reasons. Bono is certainly a huge inspiration for Steve as a vocalist and they are one of the biggest bands in the world so we know that it would be a huge, packed out stadium show with high quality production throughout. 

“London Town” opens with a plucky guitar riff, then quickly builds into an anthemic rock banger. That smoldering riff continues throughout the song as more of Dave and Joel’s formidable guitar work enter the mix, fortified by Tony’s driving bassline and Jazz’s emphatic drumbeats. It all creates a powerful dynamic backdrop for Steve’s emotionally-charged vocals as he plaintively laments about the strong, unforgiving psychological hold London had on him and so many other musicians: “Can the city hear me singing in my town? Will London listen, does it even hear my sound? Am I loud enough, loud enough for you? We don’t have the same view. You’ve got England ’round your finger. Every song, every singer wants to call you home, while we’re just left alone. Can you hear me? Can you hear me now? Can you hear me London Town!” I love it, and it’s now one of my favorite HEALER songs.

The video, shot at the Grimsby Bus Depot, was filmed and edited by Joel Hewitt and features the band members as passengers on a bus.

Healer Socials: Facebook / X (Twitter) / Instagram / TikTok

Find their music on Spotify / Apple Music / Amazon Music / YouTube / Pandora

ART BLOCK – Single Review: “Love Is A Fire”

Photo by Michael Robert Williams

Art Block is a brilliant and innovative singer-songwriter and multi-instrumentalist based in East London, England who I’ve been following for nearly seven years. Possessing a uniquely distinctive and highly emotive singing voice, he creates a hauntingly beautiful style of alternative folk, characterized by stirring melodies, lush arrangements and gorgeous instrumentation built around his poetic, often deeply moving lyrics. A prolific artist, he’s released an impressive catalog of music for more than a decade, including numerous singles, EPs, remixes and four albums, his most recent of which, Tiger, dropped only a month ago on April 30th. I’ve featured him several times on this blog, most recently in March 2024 when I reviewed his lovely EP Dandelion. (You can read a few more of my reviews by clicking on the ‘Related’ links at the end of this post.) One of his songs, “White Horses”, reached #1 on my Weekly Top 30 chart in December 2022, and ranks #26 on my 100 Best Songs of 2022 list.

Since the release of Tiger, Art Block has dropped two new singles – “You & I” on May 2nd and “Love Is A Fire” on the 22nd, the latter of which I’m featuring today. The track was produced and mixed by William “Wheeliemix” Robertson and mastered by noted British mastering engineer Pete Maher (whose clients include U2, The Killers, Noel Gallagher, The Rolling Stones, Nick Cave, Paul Weller, Jack White and Lana Del Rey, to name just a few). Art Block played all instruments except for drums, which were played by his frequent collaborator Raphael Bouchara.

As its title suggests, the song is a smoldering beauty with sweeping cinematic synths, haunting, reverb-drenched guitar chords and crunchy percussion, all of which create a magnificent incendiary backdrop for Art Block’s fervent spine-tingling vocals. It’s a darker, more dramatic sound than many of his previous songs, and I love it. The lyrics seem to speak of a tempestous love affair in which feelings of unbridled passion and longing are intertwined with the lasting pain from past mistakes and betrayal. Art Block told me he was inspired by The Cure’s latest album Songs of a Lost World, who played a special concert at the Troxy in East London neighbourhood this past November.

Our love is a fire
Do what you desire
Don’t hold it in
Don’t hold it in
So much to forget
So much to remember
Why don’t you bleed?
Why don’t you bleed?
Our love is a fire
Do what you desire
Hold it in
Life was empty without you
Do what you desire
Don’t hold it in
Don’t hold it in
Our love is a fire
So much to forget

Both “Love Is A Fire” and “You & I” are available exclusively on Bandcamp.

Art Block’s socials: Facebook / X (Twitter) / Instagram
Find his music on Bandcamp / Spotify / Apple Music / Soundcloud / YouTube

Fresh New Tracks, Vol. 47 – Bealby Point, Between Daze, Guardrail, Royel Otis

I seem to have gotten into a pattern of publishing at least one Fresh New Tracks post each week, and hopefully I’ll keep at this until I burn out or fall back into another of my periodic funks again. For my 47th edition, I’m featuring songs by, in alphabetical order, Canadian indie rock band Bealby Point, Maryland alternative pop-rock band Between Daze, Chicago pop-rock-punk band Guardrail, and Australian indie pop-rock duo Royel Otis.

Bealby Point – “Better Off Eventually”

Vancouver, British Columbia is a wellspring of musical talent, as there are several terrific acts from that fair part of Canada I’m especially fond of. I recently wrote about two of them – dwi and Western Jaguar – in a previous Fresh New Tracks post, and another favorite is alt-rock band Bealby Point. Named after a local beachside vacation spot, the four-piece consists of 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“, and their sound, particularly due to Jack’s vocal style, at times reminds me of The Strokes. Their description of themselves as “four 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. I’ve been following them for more than four years and have featured them four times on this blog, most recently two years ago when I reviewed their single “America”. Their 2021 single “Talk to Me” ended up on my 100 Best Songs of 2021 list.

On May 13th, they dropped their latest single “Better Off Eventually“, a rousing indie pop song speaking to feelings of frustration amid superficiality in the world and yearning for a life filled with meaning. The band elaborates: “This song was conceived in Clay’s basement as part of a batch of songs we wrote and tracked almost 3 years ago with our long-time friend and confidant Matt Di Pomponio (who mixed and produced the track). It’s been sittin’ in the Bealby Vault ever since and we have been patiently awaiting it’s time to be unleashed unto the world. Now is that time. It’s about struggling through life’s battles, learning along the way, owning who you are and being unapologetically true to yourself, no matter what! This song means a lot to us and we hope you find something in it for you.” I love the song’s breezy, upbeat melody, highlighted by Jack and Clay’s colorful intricate guitar work and driven by Jordan’s thumping bassline and Zack’s spirited drumbeats. All of Bealby Point’s songs are so good, and “Better Off Eventually” is no exception.

Between Daze – “Call Out”

Hailing from Baltimore, Maryland is Between Daze, an original songwriting/recording project comprised primarily of Johnny Burkhead (vocals), Scott Rodenberg (guitar) and Kenn (guitar), along with Mike Coyne (bass) and Kevin Walsh (drums). Preferring to remain rather anonymous, they have no photos of themselves on social media or music platforms. They’ve been making alternative pop/rock and roll music together for over 20 years but really began hitting their stride in 2021 with the release of their single “Burn For You”. In the years since, they’ve released a total of eleven singles at the rate of two or three a year. Their latest is “Call Out“, which dropped May 1st. Johnny reached out to me about the song, and as I do with acts who are new to me, I checked out their back catalog to get a better feel for their music. I ended up listening to all eleven of their singles, and can honestly say I like them all.

The band says “Call Out” “tells a story about finding the best in yourself and being able to take on whatever comes your way. It’s about not letting things beat you down for too long, that things will turn for you and eventually be better. Keep believing in yourself, and build the confidence to take on the world!” To drive home their optimistic message, the guys serve up a barrage of roiling gnarly riffs, driving bass and thunderous drums, creating an exhilarating backdrop for Johnny’s fervent vocals. The beautiful cover art for the single was hand painted by artist Jane Link Mangano.

Guardrail “First”

Photo of Xack, Ty, Kevin & Ken by Kennedy Cottrell

Chicago-based Guardrail play a hard-hitting, high-energy style of rock drawn from a blend of punk, pop and metal, which on some songs reminds me of acts like Green Day, Blink-182, Sum 41, and even the Beastie Boys. Formed in 2014, the band has undergone several changes in lineup, and now consists of Kevin Andrew (lead vocals), Ken Ugel (guitar, vocals), Ty Olmstead (bass, vocals) and Xack (drums). (Ken is also guitarist for Chicago bands The Million Reasons and Wild Gravity, while Ty also plays in the band Ghoul For A Goblin.) They released their debut EP wordswords in 2015, and have since followed with two more EPs, numerous singles, (one of which, “Social Meteor”, I reviewed in 2021 and has garnered over 220,000 streams on Spotify), and a full-length album Content in 2023.

Yesterday, May 14th, Guardrail dropped their first new single in two years, appropriately a terrific cover of the Cold War Kids’ 2015 masterpiece “First“. I’m a longtime fan of Cold War Kids and “First” is my favorite song of theirs (it ranks #27 on my Top 100 Songs of the 2010s list). It can be risky for an artist or band to cover a song we love, but the moment I heard Guardrail’s version, I was thrilled. While Guardrail maintains some of the vibe of the original thanks to their chiming guitars, they speed it up with frantic drumbeats, jagged guitar riffs and Kevin’s fervent rapid-fire vocals, giving their version greater urgency and more of a punk feel. Cold War Kids’ original runs 3:20 minutes, whereas Guardrails is shortened to only 3:07 minutes. The band states they “recorded a bunch of covers during the pandemic times, so while we work on new music we’re gonna finally put ’em out.” I say, bring ’em on!

Royel Otis – “moody”

Australian guitar-pop duo Royel Otis was formed in 2019 by Royel Maddell and Otis Pavlovic over a shared love of the same music and bands. Based in Sydney, their sound draws from elements of indie pop, indie rock, new wave, pop rock, post-punk and psychedelic rock. The duo released two EPs in 2021 and 2022 to little notice until the song “Oysters in My Pocket”, from the second EP Bar n Grill, gained traction in late 2022. Their third EP Sofa Kings, released in 2023, proved more successful, with the breakthrough title track marking their first appearance on American charts, eventually peaking at #12 on the Billboard Alternative Airplay chart. In late January 2024, they released their electrifying cover of “Murder on the Dancefloor”, the 2001 disco pop hit by British singer-songwriter Sophie Ellis-Bextor (which she co-wrote with Gregg Alexander, former frontman of the band The New Radicals, who had a hit in the late 90s with “You Get What You Give”), which they performed on the Australian radio station Triple J for their Like a Version program. The song went viral and reached #1 on the Billboard Alternative chart, as well as my own Top 30 chart. I couldn’t get enough of it, and it ended up ranking #4 on my 100 Best Songs of 2024 list. The guys quickly followed with their debut album Pratts & Pain in February 2024, which debuted at #1 on the ARIA Australian Albums Chart, and went on to win four awards at the 2024 ARIA (Australian Recording Industry Association) Music Awards.

Now they’re back with a new single “moody“, which dropped on May 9th. It’s a love song of sorts, detailing a problematic relationship with a woman who drives the singer crazy in both good ways and bad. She’s jealous, bitchy and cranky, yet he’s hopelessly in love with her: “She’s always givin’ it to me. Late nights, she always accusin’. Last time, she said she would kill me. My girl’s a bitch when she’s moody. But she’s my everything. She’s all that I need.” I love the song’s languid laid back groove, highlighted by Royel’s terrific guitar noodling and Otis’ sweet vocals. I think it’s gonna be a hit.

Fresh New Tracks, Vol. 46 – Atlas Engine, Big Wheels, Matt Csiszar, Josephine Pascoe

With a continuous supply of new music being released, it’s already time for another installment of my Fresh New Tracks series. Today I’m showcasing four songs by, in alphabetical order, Brooklyn, NY-based indie rock band Atlas Engine, Australian rock band Big Wheels, Michigan singer-songwriter Matt Csiszar and English musician and composer Josephine Pascoe. I’ve previously featured Matt and Josephine on this blog, whereas Atlas Engine and Big Wheels are new to me. All songs were released over the past week.

Atlas Engine – “Comfort and Calm”

Atlas Engine is a Brooklyn, New York-based band who make what they call “celestial indie rock”, an appropriate description for their dreamy style of alternative psychedelic rock. Fronted by singer-songwriter, multi-instrumentalist, composer and producer Nick LaFalce, (who relocated to L.A. in 2023 but still spends time in Brooklyn), the five-piece also includes Garrett Hess on guitar, Patrick Cochrane on bass, Katie Glasgow on synths & vocals, and Brendan McGuckin on drums. Starting with the release of their debut EP After the End in 2016, they’ve since followed with numerous singles and EPs, along with their wonderfully-titled and gorgeous debut album When the Compass Resets, There Can Be No Regrets in 2023.

2025 has been a busy year thus far for Atlas Engine, as in March they released a single “Desert Demos: 1” to raise funds for friends affected by the Los Angeles fires, then followed two weeks later with “(Alternate State)”, consisting of three versions of an interlude at the end of “All I Want Is Everything”, from When the Compass Resets There Can Be No Regrets. In April they dropped the beautiful “New Constellation”, and now return with yet another new single “Comfort and Calm” a thoroughly enchanting song that lives up to its title. For the recording of the song, bass was played by Patrick Cochrane, drums by Jonathan Smith and additional vocals were sung by Sally Hatchet. I love the swirling ethereal synths, shimmery guitar notes, crisp percussion and gentle bass, all of which create a dreamy atmospheric backdrop for Nick and Sally’s captivating harmonies.

Big Wheels – “Lazy Bones”

Hailing from Sydney, Australia is Big Wheels, a modern indie rock band comprised of singer-songwriters Cass Ford and Lawson Doyle, along with guitarist Tyler Buchanan. Formed in late 2021 with a shared love for legendary acts like Fleetwood Mac, Jefferson Airplane, and The Black Keys, Big Wheels write songs exploring the highs, lows and complexities of life, while incorporating a sound that feels both timeless and fresh. Also, Cass is originally from Birmingham, England, giving the band have strong ties to the British music scene. They began releasing music in May 2022 with their debut single “Chain of Fire”, and have steadily dropped a series of outstanding songs ever since. Their previous single, the bluesy rocker “Silver and Black”, landed on several Spotify editorial playlists, including New Noise, All New Rock, Local Noise, and Fresh Finds AU/NZ, as well as garnering airplay on BBC Introducing, Amazing Radio UK, and Triple J.

Their ninth and latest single is “Lazy Bones“, a wonderful sensuous track with strong Fleetwood Mac vibes. I love those bluesy guitar riffs, chugging grooves and the marvelous interplay between Cass and Lawson’s vocals. And in fact, Cass seems to channel Stevie Nicks as she sings with such raw emotion in the chorus, I’m covered in goosebumps. The lyrics speak of letting go of past disagreements and enjoying each others’ company, at least for the night: “It’s been so long why don’t we make up. We can forget it all tonight. I know we said we’d tear the page out but maybe we stay here for a while. So lay down lazy bones, next to me. We ain’t got nowhere we need to be. Baby won’t you be my remedy, and lay down lazy bones, next to me (baby next to me).” Big Wheels will be releasing their debut EP Bury Me in Velvet in June.

Matt Csiszar – “Maria”

Matt Csiszar is an earnest and kind singer-songwriter, musician and composer from Michigan I’ve been following for the past four years. With a lifelong love for music, he started writing and recording his own songs at the age of 13, and over the years has taught himself to play guitar, piano, bass, and drums. His music is pretty eclectic, drawing from a wide range of genres and styles from pop, rock, folk, country and blues to electronic, funk, dance, industrial, jazz and even classical. A prolific artist, Matt released his debut album In The Mind in 1999 while in his early 20s, then played in the band Endless Question for a while before returning to recording and releasing music again as a solo artist in the early 2010s. He’s released numerous singles and an astonishing eight albums, most recently the excellent Many Roads in September 2022. Almost exactly three years ago to the day, on May 7, 2022, I featured his song “Chicago” in another Fresh New Tracks post. After the release of Many Roads, he took the next few years off to focus on his health and emotional well-being.

Now Matt is back with a brand new single “Maria“, a melancholy but lovely track he says “is a song of hope for survivors of childhood abuse. I want the listener to feel like I’m telling their story in hopes that it brings them strength and healing.” Accompanied by just his gentle acoustic guitar, Matt’s plaintive vocals remind me a bit of Jon Bon Jovi as he sings the poignant lyrics touching on Maria’s difficult upbringing, and offering her hope and encouragement for a safer and happier adulthood: “Her mother was so critical, she can still hear her voice calling her pitiful. Now she has no choice but to pick herself apart, breaking her own heart. Her father was a bastard to say the least. She’s triggered by the sound of stomping feet cause he’d come and scream in her face, yeah, that’s all the attention he gave. Maria, are you lonesome tonight? You know you’re getting closer to who you are meant to be. Maria, everything will be alright. you’re beautiful and someday this you will see, Maria.”

Josephine Pascoe – “Llumine”

A favorite musician and composer of mine is Josephine Pascoe, a classically trained pianist, violinist and flautist based in the London suburbs. With a life-long love of music, she studied at Trinity College of Music in London, where she 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. Since 2017, she’s collaborated with Windsor-based guitarist and producer Neil Thom (who she met the year before when she began taking guitar lessons from him) in the creation of exceptional instrumental music infused with elements of jazz, acid jazz, classical, blues and funk. Together, they’ve released an impressive amount of outstanding singles, two of which, “Starfish” and “Odyssey”, I reviewed.

Their latest – and 20th – single is “Llumine“, delivering four minutes of pure auditory bliss. For the recording of the track, Josephine played piano, Rhodes electric piano, keyboard synths, strings and flute, while Neil played bass and drums. As with all their songs, Neil handled production and engineering. Blending acid jazz with classical influences, they create a bewitching fantasia of sound, highlighted by Josephine’s sparkling piano keys, breezy strings and lilting flute, and nicely grounded by Neil’s subtle bass and crisp percussion. I’ve loved every single one of their releases, and “Llumine” just might rank among my very favorites of them all.

Fresh New Tracks, Vol. 45 – The Obscuritans, Pilod, Snap Infraction, Talk in Waves

Time for another Fresh New Tracks post, and for the 45th installment of my ongoing series I’m featuring four terrific new songs by, in alphabetical order, Philadelphia-based indie rock act The Obscuritans, Belgian alt-rock band Pilod, Philadelphia-based rock band Snap Infraction, and Northern Virginia-based pop-rock artist Talk in Waves.

The Obscuritans – “False Prophecy”

The Obscuritans is a Philadelphia-based studio project formed earlier this year by Marc Schuster and Nick Cervini, with the aim of writing and recording music together, then inviting various artists to collaborate with them by contributing vocals, lyrics, or whatever else they have in mind. Marc is an insanely creative and multi-talented guy who’s not only an educator, author, literary critic, music blogger and visual artist, but also a prolific songwriter and multi-instrumentalist, recording both as a solo artist and as part of numerous music projects and collaborations with an ever-expanding roster of musicians. Nick is an accomplished musician who’s also drummer for Philadelphia indie rock band Sacred Monsters, and he and Marc are also members of power pop trio DelCobras (along with singer-songwriter Jim Lorino), whose song “The Turnaround” currently sits at #11 on my Top 30 chart.

In February, the Obscuritans released their debut single “Earholes”, a trippy, mostly instrumental tribute to David Lynch on which they collaborated with Jim Lorino. They followed in early April with “Break and Bend”, featuring vocals by Samantha Goodman of Philadelphia indie band Rescue Pets. Now they return with their third single “False Prophecy“, featuring lyrics and vocals by Canadian singer-songwriter, producer and blogger Neither Could Dylan (aka Jaimee Jakobczak, who also records music under her Death Cab for Cutie cover project Death Bus for Blondie, and Jimmy Eat World cover project Jaimee Eat World). Marc and Nick have created a mysterious and languid soundcape of bold guitar notes, otherworldly psychedelic synths and crisp percussion, a perfect backdrop for Jaime’s distinctive vocals, which have never sounded better. Her lyrics seems to speak of losing her sense of self in a futile attempt to maintain a romantic relationship: “While I wait for you, I break in two. Falling apart from all the things I thought I knew. But false prophecy, I sunk in so deep. Seems the cost of keeping you is losing me.”

Pilod – “Anticipate the Fall”

Hailing from Leuven, Belgium is alternative indie rock quartet Pilod. Since forming in 2013, the band has undergone a few changes in lineup and now consists of Frédéric Baervoets (guitar, vocals), Timo Jacobs (drums), Christophe Vandewoude (bass, backing vocals) and Wouter Voorspoels (guitar). Pilod released their debut album Sunny Forecast in 2013, followed by a single “Sunny” in early 2015, then their second album Black Swan in October 2016. After undergoing a long period of touring, lineup changes and the global COVID pandemic, they finally dropped a new single “The future looks bright” in June 2022, followed by two more singles in late 2024. On May 4th, they released their latest single “Anticipate the Fall“, accompanied by a charming video directed by Robbe Maes and filmed at Sint-Jozefsinstituut (a high school in Betekom), featuring Carlo Vranken and Gonzalo Vega as instructors putting the dorky, unathletic guys through some exercises.

The band says the song “explores themes of letting go, embracing change, and finding resilience amid turbulence and uncertainty.” I love the dynamic blend of Frédéric and Wouter’s reverb-soaked melodic and grungy guitars layered over a pulsating rhythm fueled by Christophe’s driving bass and Timo’s aggressive drums. Frédéric’s plaintive vocals express a heartfelt sense of assurance as he sings “Your head will kiss the cold, hard floor. Stop looking for a tight hold and think. All we have is now and the future calls, so why are you still living in the past? Future yourself. Read the cracks in the wall. The ground’s shifting, nothing stays, so learn to anticipate the fall. Life is changing forever.

Snap Infraction – “Nothing Really Matters”

Also from Philadelphia is Snap Infraction, a three-piece musical powerhouse comprised of Steve Karsch (vocals, guitar & percussion), Dave Kerr (bass) and Tony Iannuzzi (drums). “Distilling decades of rock n roll history into a modern sonic journey“, they’ve been a band for over 15 years, releasing their first single “Try To See It My Way” in 2009. After a long hiatus, they released a five-track EP Chin Music in May 2017, then another three years would pass until their follow-up EP Stiff Arm, in May 2020. They were quite active in 2021, releasing several double singles throughout that year, followed by a very nice cover of the Beach Boys Christmas classic “Little Saint Nick” in December 2022, then their own original Christmas song “Christmas In The Islands” in December 2023. In March 2024 they released their single “Keeping Score“ (which I reviewed), followed two months later by their debut full-length album Eephus. In what’s become an annual tradition, they dropped another Christmas single “Christmas All Over Again”, a cover of the Tom Petty song on which Steve manages to channel Petty quite well.

Now they’re back with “Nothing Really Matters” a powerful and melodic song about someone who’s in denial about their mental illness and unwilling to take meaningful steps to get better, which also negatively affects their partner, all of which is beautifully expressed by Steve’s relatable lyrics: “Nothing really matters but you do it anyway. Taking better drugs to convince us you’re ok. Twisting all your stories cause the facts get in the way. Tossing out big words like you’re Ernest Hemingway. Late at night I start to worry that I’ll probably end up dying alone. With no one to say goodbye to and nothing left to call my own.” To my ears, the song has a strong ELO feel, particularly due to the marvelous interplay between those gorgeous guitar notes and piano keys, as well as the soaring vocal harmonies. I love it!

Talk in Waves – “Feels Right”

Talk in Waves (the music project of singer-songwriter and multi-instrumentalist Jake Mimikos and formerly known as The Frontier), is a longtime favorite of mine. Based in northern Virginia, he’s an enormously talented and gracious guy, and we’ve followed each other on social media for nearly a decade. Skillfully blending elements of indie rock, synth pop and folk, his music is incredibly melodic, flawlessly crafted and always catchy. He produces and records all aspects of his music in his home studio, and as with many singer-songwriters, Jake’s songs are often inspired by personal experiences, touching on topics like love, relationships and loss, and expressed through honest, relatable lyrics. He’s released an impressive amount of music since 2015, and I’ve featured him numerous times on this blog. I’ve loved all his songs, five of which have reached #1 on my Weekly Top 30 chart. His single “Like You Do” (which I reviewed) topped my 100 Best Indie Songs of 2024 list, and his previous single “You’re My Drug” reached #2 this past March.

Now Talk in Waves returns with “Feels Right“, a joyous celebration of a budding romance, where everything’s coming together and just “feels right”. Featuring highly melodic gnarly guitars, colorful swirling synths and stomping drumbeats, the song is an exuberant pop ear worm. While not quite a dance song, it’s infectious grooves are guaranteed to have you swaying your hips and tapping your feet. Jake’s always pleasing vocals are filled with unbridled euphoria as he sings “Don’t need to wait for the right time, I think we’re already here. Now let’s go and take a fast ride. Leave everybody in the rearview mirror. Tell me don’t it feel right, what you’re feeling right now. It feels right to me.” It’s another superb release, maintaining Talk in Waves’ unbroken run of perfect singles.

Fresh New Tracks, Vol. 44 – dwi, E-Klozion x Liam Croker, Set the Tone, Western Jaguar

For the 44th installment of my Fresh New Tracks series, I’m featuring new songs by an array of international artists I’m particularly fond of, including, in alphabetical order – Canadian artist dwi, French producer E-Klozion and English singer-songwriter Liam Croker, Welsh band Set the Tone, and Canadian artist Western Jaguar. I’ve previously featured all of them on this blog, with the exception of E-Klozion who is new to me.

dwi – “Doom Scroll’n”

Photo of dwi from his Facebook account

Based in the suburbs of Vancouver, British Columbia, dwi is the music project of singer-songwriter and multi-instrumentalist Dwight Abell, who’s also the longtime bassist for Canadian alternative/power pop band The Zolas. He’s an immensely creative, talented and imaginative guy, with a totally original sound and an endearingly quirky vocal style that make his music so uniquely distinctive. I think he’s one of the brightest stars today in the Canadian music scene, or anywhere really, and I’m quite fond of him. He’s released two outstanding albums – Mild Fantasy Violence in 2021 and Zoo Life in 2023, both of which I reviewed, as well as numerous singles. Three of this songs – “Good Friend” (2021), “Party4One” (2022) and “Overrated” (2023) – reached #1 on my personal Top 30 chart.

Today dwi’s back with a wonderful new single “Doom Scroll’n“, a nostalgic, melancholy song he calls his “sappiest” yet. It was recorded, engineered and produced by James Younger and Jeffrey Innes, who are both members of Canadian indie rock band Yukon Blonde and also played on the track. In an Instagram post about the the song, Dwight noted “Originally the post chorus hook was played using this mutilated digital synth midi sound but James was like ‘fuck that I’m playing guitar’, and it was a very correct choice.” James also mixed the track, which was mastered by Montano Mastering. The song starts off with a twangy guitar line, then settles into an exuberant melodic tune with a strong, head-bopping groove overlain with lots of marvelous and quirky musical textures. The lyrics speak of missing a woman he was once romantically involved with but no longer sees, and how he tortures himself by scrolling through her social media posts on his mobile phone: “And there’s a ghost, she’s living in my phone. And I can’t look away from her, so instead I’m doom scroll’n

The photo used for the cover art is of Dwight’s wife Caitlin taken on one of their date nights.

 

E-Klozion x Liam Croker – “Never Coming Down”

E-Klozion is an electronic music producer and self-described “intergalactic DJ” based in Montpellier, France. Composing music with strong emotions drawn from various influences (ethnic, oriental, bass music, psychedelic, techno, house and organic), his mission is “to sow groove on the dancefloor”. He’s played alongside many internationally renowned artists such as Boris Brejcha, Nto, Extrawelt, Ann Clue and Arjuna. Liam Croker is frontman and lead vocalist of Manchester, England-based electro-funk/soul collective WINACHI, who’ve been releasing infectious sexy grooves – which they describe as “swaggering Mancunian tenacity spliced with smooth Californian G-Funk soul” – since forming in 2015. I’ve featured them and their music numerous times, most recently in March 2023 when I reviewed their single “FOR YOU I’D KILL” featuring Natalie Wilde. I had the pleasure of meeting Liam and his fellow WINACHI band members Antony Egerton and Inder Goldfinger in 2022 when they played at the landmark club The Mint in Los Angeles.

Now E-Klozion and Liam Croker have teamed up to create a new electronic dance/funk single “Never Coming Down“, which drops today. The track was co-written by them both, and produced by E-Klozion, who programmed the cool synths. Liam sang lead vocals on the track, Antony Egerton played guitar, and English singer-songwriter Christie Bellis sang backing vocals. The song is a seductive celebration of the hedonistic joys of partying with beautiful people at the dance club: “You’ll never hear me ask for just a touch, because just a touch won’t ever do much for me. You’ll see. I’m never coming down, never coming down, never coming down, cause it’s too low. Once your lost is found, where do you go?/ I’m a professional sinner, this is what I do. I ain’t no beginner baby, and I ain’t through with you.” I like the song’s funky groove and the interplay between Liam’s sassy playful croons and Christie’s teasing backing vocals. The entertaining video for the single was filmed “during an extremely hot sweaty night” at The Black Sheep music venue in Montpellier.

Set the Tone – “All for Nothing”

Photo of Set the Tone from their Facebook account

Hailing from Pontypridd, Wales (the birthplace of legendary singer Tom Jones) is Set the Tone, a pop/rock band comprised of Liam Richards on acoustic guitar and vocals, Nate Jones on electric guitar, Dan Hayman on electric guitar and backing vocals, and Rob Williams, who recently replaced outgoing member Kage Jones on bass. With their winning combination of intelligent songwriting, an infectious and pleasing sound melding elements of classic and contemporary rock, folk and pop, and charismatic stage presence, the guys have quickly built a loyal following in South Wales. Almost a year ago to the day, they released their first singles “Happy” and “Take This Chance” on April 26, followed by “Do You Really Wanna Know?” on July 5th and “Here We Go Again” on November 29th. I reviewed “Here We Go Again” last December, and the song ended up spending eight weeks on my Top 30 chart earlier this year.

The guys returned on April 4th with their fifth single “All for Nothing“, a rousing kiss off song with a harder-rocking feel than their previous releases. Over a hard-charging galloping beat fueled by a throbbing bassline and aggressive drums, the guys layer a hearty blend of melodic and grungy guitar riffs that create a thunderous backdrop for Liam’s fervent vocals. The lyrics touch on a relationship that’s run its course and is now broken beyond repair. Liam proclaims his antipathy toward his former romantic partner, while still retaining enough grace to wish her well: “I can’t wait to get over you. Now our time is done, it’s through. Take good care of your life. Not coming home to you tonight. Now it’s done, it was all for nothing. A complete waste of time.” “All for Nothing” is another fine effort by Set the Tone, keeping their record for putting out excellent songs fully intact.

Western Jaguar – “Flower Box”

Photo by Dale Klippenstein

Another personal favorite artist of mine is Western Jaguar, the music project of singer-songwriter and multi-instrumentalist Jeffrey Trainor, Like dwi, he’s from the Vancouver region of British Columbia, Canada, and has been releasing music since 2013 as both a band comprised of an evolving lineup of musicians and more recently as a solo artist. Skillfully blending indie rock, dream pop and shoegaze, he writes songs exploring common themes of life, love, emotional well-being and loss, expressed through poetic, relatable lyrics which he delivers with pleasing vocals. I’ve been following him for nearly seven years, and have featured him four times on this blog, most recently last May (2024) when I reviewed his single “Repossess”, which was later included on his fourth album Vacationland. Two of his songs, “Disappear” (2019) and “Darling” (2023) have reached #1 on my Top 30 chart.

On April 18th, he released his latest single “Flower Box“, a rather melancholy but poignant song about someone who keeps making bad relationship choices. Jeff has this to say about the song: “‘Flower Box’ looks at a broken relationship, but viewed from a caring outsider’s perspective. It’s clear to the narrator that this person whom this friend is engaged with is a bad fit for them, and the narrator attempts to sway them to see the truth. The repeating line, ‘Are we doing this again?’ hints that this is not the first time they have felt the need to interject about the poor circle of partners this person has chosen.” With a sense of sad resignation in his voice, Western Jaguar laments “She thinks that he can be a good man. I think that he’s a good salesman. All she wants is for him to fully love her, but he’s too busy playing games on servers with her brother./ I just don’t know what you see in him.

Fresh New Tracks, Vol. 43 – Paris Alexander, Keelan Donovan, David Haerle, Secret Postal Society

It’s been a while since my last edition of Fresh New Tracks, as I haven’t much felt like writing given the ever-worsening onslaught of mendacity and horrors issuing from America’s insanely corrupt leadership. But with so much great new music being released, it’s time for another installment in my series. Today I’m featuring deeply compelling songs by four singer-songwriters, in alphabetical order – English composer and producer Paris Alexander, Texas-based Keelan Donovan, Los Angeles-based David Haerle, and Welsh artist Secret Postal Society. I’ve previously featured Paris Alexander and Secret Postal Society many times on this blog, whereas Keelan Donovan and David Haerle are new to me.

Paris Alexander – “Ride to Heartbreak”

Photo by Karim Hamid

Hailing from Brighton, England is Paris Alexander, a creative and talented singer-songwriter, composer and producer of electronic music. He’s been a long time collaborator with his life partner, British singer-songwriter, producer and muse Tina Eirene, as well as Norwegian coldwave/post-punk artist Antipole, with whom he co-wrote, produced and sang vocals/played synths on five albums together (two of which, Northern Flux in 2017 and Crystalline in 2023, I reviewed). In 2021, I also reviewed Paris & Tina’s wonderful album Renaissance, which they co-wrote and co-produced. Now Paris is back with a new single “Ride to Heartbreak“, which was co-written and co-produced with Tina, and recorded, mixed and mastered at his Blue Door Music Studios in Brighton.

The song is a darkly beautiful and mesmerizing coldwave gem, with mysterious, almost otherworldly synths layered over a hypnotic pulsating beat. Paris’ ethereal whispered vocals are at once both seductive and melancholy, backed by Tina’s soft, breathy croons, as they sing about the sadness associated with the passing of time and missed opportunities: “Sadness touches my soul, for what was meant to be has gone astray. Time said too late as I gave you a chance. Sadness is the mourning for many times have passed.”

Keelan Donovan – “The Influence”

Photo from Keelan’s Facebook account

Born and raised in Maine and now based in Austin, Texas via Nashville, singer-songwriter Keelan Donovan has been releasing music for the past decade as both a solo artist and under his indie pop alter-ego Mr. Irrelevant. His songs span across genres, encompassing everything from pop, singer-songwriter and indie rock to Americana, country and folk. His 2018 single “Like a Radio” has been streamed over 2.6 million times on Spotify alone. I learned about him recently when he reached out to me about his new single “The Influence“, which he describes as “a raw, confessional song about the quiet grip of alcohol, the weight of inherited struggles, and the fear of what we pass down to our kids.” He co-wrote the song with Canadian-born and now Nashville-based country singer-songwriter Tenille Townes, and it was produced by Kevin Kadish.

In a heartfelt Instagram post, Keelan eloquently articulated his reason for writing the song: “I wrote ‘The Influence’ because I have two boys who are always watching me. Learning not just from what I say, but from what I do. That’s a beautiful thing and also terrifying. It forces me to hold a mirror up to myself every single day. The way I handle stress, how I treat people, how I talk about myself, the habits I lean on…especially my drinking…they’re picking it all up. It’s about wanting to break cycles but sometimes slipping anyway. We all fuck up as parents. A lot. And that’s okay. It’s about guilt, grace, and the deep hope that love is louder than our flaws. One of the things I’ve struggled with is using alcohol to cope, to numb, to unwind. and sometimes I wonder what kind of message that sends. What they’ll remember. What they’ll carry with them. This song is rooted in that quiet fear. What if the parts of me I haven’t healed become the parts they inherit? I’m still figuring it out. And sometimes the shame of falling short makes it even harder to get back up. I’m learning in real time how to be the kind of man I want them to look up to. Not a perfect one. Just an honest one.”

The song has a pleasing indie folk-pop vibe in the vein of songs by Noah Kahan, Wilderado and Mumford & Sons. In fact, Keelan’s vocals remind me of Noah Kahan as he sings “If forgiveness is a virtue, a little sin, it never hurts you. It feels good to get drunk once in a while. Is it bad? It’s probably bad, but I’m doing the best I can.”

David Haerle – “To Dance On Sands (Ode to Marta Becket)”

Photo from David’s Facebook account

David Haerle is a singer-songwriter based in Los Angeles who blends rock, folk, and Americana to tell heartfelt stories inspired by his life experiences and observations of the people and places that surround him. From what I can tell, he’s released a fair amount of music since 2017, including three albums – Garden of Edendale in 2018, Death Valley in 2020 and El Camino Sierra in 2023. His music has been featured in many notable music publications including Billboard, American Songwriter, Goldmine, Under The Radar, Glide Magazine and Rock and Roll Globe, to name just a few. On his latest single “To Dance On Sands (Ode To Marta Becket),” David pays tribute to American actress, dancer, choreographer and painter Marta Becket, who left an indelible mark on California arts culture. She performed for more than four decades at her own theater, the Amargosa Opera House in Death Valley Junction. She gave her first performance in February 1968, and continued to perform until 2012. She passed away in 2017 at the age of 92.

Born in 1924 in New York City, Marta was later traveling with her husband on her way to an engagement in 1967 when, due to a flat tire, she ended up in the tiny desert hamlet of Death Valley Junction, where she discovered a small abandoned theater in a community center built in the 1920s. Immediately charmed by the small town, she decided to stay and restore the theater, which she renamed the Amargosa Opera House, for her own performances. In 1970, reporters from National Geographic happened upon her performing a show to no audience, and, with the help of a story in that publication and another in Life Magazine, Marta took on a degree of notoriety. David elaborates: “I had an awareness of Ms. Becket as I am a regular visitor to Death Valley, but it was upon reading her [autobiography To Dance on Sands] and learning her story more fully that she became an artistic hero to me. Though her art was dance, choreography and painting and mine music, Ms. Becket represents a pinnacle of artistic courage to me. A true beacon and role model for what it can mean to follow, express and fulfill one’s artistic vision, impulses and ambitions.”

The track was written by David and produced alongside co-producer/mixer/engineer and frequent collaborator Jose Salazar. David sang lead vocals and played electric and acoustic rhythm guitars, along with Carson Cohen (bass, backing vocals), Reade Pryor (drums, percussion), Ken Belcher (electric guitar, acoustic guitar, backing vocals), and Jose Salazar (keyboards). To accompany his lovely Americana song, David has created a wonderful video to honor Marta’s legacy. Opening with scenes of him directed and shot by Michael Pottle, the video also features footage from Amargosa, the Emmy award-winning 2000 documentary film about Marta by Todd Robinson.

Secret Postal Society – “Scars”

Photo by Barry Hill

Welsh artist Secret Postal Society is the music project of hard-working and talented singer-songwriter, composer and multi-instrumentalist Craig Mapstone. He’s also thoughtful, generous and kind, and though we’ve never met in person, I’m quite fond of him on both a personal and professional level. We’ve been following each other on social media since early 2021, and I’ve written about him and his music several times over the past four years, most recently last month when I reviewed his EP Embrace the Fear, a collaboration he did with fellow Welsh singer-songwriter Guy Challenger to help raise funds for a UK youth suicide prevention charity. Also, his beautiful single “Autumn Leaves” recently spent more than four months on my Top 30 chart, where it peaked at #3. Now he’s back with his follow-up single “Scars“, which dropped April 15th via Lonely Bear Records. The heartwarming song was written, performed and recorded by Craig, and mastered by his frequent collaborator Brandon Green of Texas indie rock band Formerly Misinformed.

About “Scars”, Craig stated it’s “about how we all have our own scars – whether they are physical or emotional scars – that can affect us in dierent ways, but with love, understanding and support we can learn to accept that these scars have made us who we are and we can start to heal and love ourselves. Musically, ‘Scars’ was influenced by the French cafe jazz music of the 1960s, with its accordion, lush string arrangement and hypnotic acoustic guitar arpeggio.” His musical arrangements and instrumentation are always first-rate, and “Scars” is no exception. And though Craig’s vocals are generally understated, they’re always honest and heartfelt, conveying a deep sensitivity as he sings “Your broken heart, it’s in two. And I know it’s going to take some time to mend but I will wait. And see it through with you. I’ll be the constant constellation you can hang your hope on to to heal your scars.”

The Bandcamp release also includes an exclusive acoustic mix of the song.

Taylor DeRousse Releases New Video for “Death Of Me”

Taylor DeRousse is a talented and lovely singer-songwriter and multi-instrumentalist from the Detroit area with an impressive resume. I first learned about her in January and featured her and her single “Growing Up Is Scary” in a Fresh New Tracks post. But to reiterate, the highly accomplished young lady not only writes, sings and records her own original songs, she also owns a music school and studio called Tailored Harmonies Music Co, plus has a B.A. degree in Music with an emphasis in Piano Performance, as well as an MBA. According to her website, she’s been teaching music in a variety of capacities since 2014, including as a private music instructor, studio music teacher, group class instructor, middle school art & music teacher, theatre vocal coach, and collegiate music tutor. While her primary instruments are piano, guitar, and voice, she also plays the ukulele, violin, mandolin, and bass guitar.

Inspired by artists like Alanis Morissette, Phoebe Bridgers, Stevie Nicks and Carole King, Taylor writes pleasing indie pop-rock songs featuring relatable lyrics about life, love and loss. She released her first single “Pins and Needles” in 2020, and last September (2024), she began dropping a series of singles which culminated in the release of her debut album Running Back To Me on March 28th. One of those singles was “Death Of Me“, a quietly intense and emotionally powerful song about a broken romantic relationship that she originally released last November.

Today she releases a poignant new video that brings the track to life (no pun intended). Directed and produced by Secret Park Creative, the video shows a forlorn Taylor going through the motions of trying to do chores at a bar where she works while singing the bittersweet lyrics about how the hurt and pain of the failed relationship has left her feeling broken and shattered. As she recalls painful moments in the relationship, along with signs that he was toxic for her, she expresses how it will be the death of her. But by song’s end, she comes to realize that she’s stronger than she’d imagined, and that she refuses to allow him or the pain he’s caused to be the death of her after all. The still-intact mirror on the ground at the end of the vido indicates that she’s no longer broken.

Isn’t it funny how 
When you asked me out
I hesitated and you came back jaded it ain’t life or death girl it’s only a date
Don't you think its funny how
Looking back now
We always said Romeo, Juliet
Guess I didn’t know, that you’d be my last breath

Everything is muffled now
Midnight on the phone screaming how you’d rather kill me than try at all
Red wine stain on the carpet floor
Should've gone to bed but I’ll have one more
Cause you’d rather use me than feel at all
Now I know, This alone, Might be the death of me

I didn’t think, on the day that I met you
I’d be writing the will, for the girl that was left in me
Give it a few years, surely that’s all you needed
You carved out my heart, only then I conceded

Everything is darker now
Ghosts and past lives reminding me how you'd rather kill me than try at all
Talk is cheap but you held true, 6 feet under now I know there’s no getting over you
Now I know, this alone, will be the death of me

So dig a hole, and don’t bother with flowers, write here lies the girl,
who gave too much to others
Dig a hole, and don’t look behind you, here stands the girl
Who’s had enough of you

Everything is over now
The ghost of you don't hang around
Cause i’d rather kill you
Than lose it all
Now I know
This being alone
Won't be the death of me

Taylor’s Socials: Facebook / Instagram / Threads / TikTok

 

Secret Postal Society and Guy Challenger release new charity EP “Embrace the Fear”

Welsh indie artists Secret Postal Society and Guy Challenger have teamed up to create a wonderful little EP titled Embrace The Fear to help raise funds for the UK youth suicide prevention charity PAPYRUS. The EP contains four tracks consisting of two songs – “Embrace” by Guy Challenger and “The Fear” by Secret Postal Society, along with alternate versions of each song recorded by the other artist.

Secret Postal Society is the music project of singer-songwriter, composer and multi-instrumentalist Craig Mapstone. In addition to being a hard-working and talented musician and songwriter, Craig is also thoughtful, generous and kind, and I’m quite fond of him on both a personal and professional level. He was fairly active in the South Wales music scene, writing songs and playing in various local bands for several years, primarily as a drummer. But like every other musician, when the Covid pandemic hit in 2020 he was stuck at home with a lot of time on his hands, so late that year, he decided to focus on his music. He created Secret Postal Society as his outlet, and challenged himself to write, record and release a new original song for every week of 2021. Amazingly, he achieved his goal, ultimately putting out 53 songs, including two Christmas-themed tracks, along with a video to accompany each single, as well as original artwork for each month’s four-track bundle! (I wrote about this herculean effort here.)

Once that monumental effort was finished, he took over as host of the Welsh Connections Playlist radio show for a couple of years, and along with his friends Mike Kennedy and Kaysha Louvain, created TIWN Media and TIWN PR & Plugging, which also produces and monthly magazine featuring news, reviews and articles about independent artists from Wales and beyond. He now works for Mental Health First Aid Wales and continues to release music as Secret Postal Society, both as a solo act and in collaboration with other artists. His beautiful single “Autumn Leaves” has spent the past three months on my Top 30 chart, and currently sits at #3.

Photo by Barry Hill

Guy Challenger is a singer-songwriter and multi-instrumentalist based in Swansea. Largely inspired by the works of Daniel Johnston, Guy creates sublime, often melancholic acoustic songs touching on issues like emotional well-being and mental health. A prolific artist as well, he’s released a lot of music over the past few years, including a 24-track album Appearances this past December, two EPs earlier in the year, and an album Patina in 2023. As if all that weren’t enough, he also plays drums with Swansea garage rock band The Vandrells.

Photo by Adam

The first track on the EP is Secret Postal Society’s recording of “Embrace“, which originally appeared on Guy’s 2023 album Patina. This SPS version is languid and atmospheric, with a somewhat melancholy feel, and more than twice as long as Guy’s original. And whereas Guy’s version features primarily acoustic guitar, Craig employs gentle droning synths accompaned by a crisp percussive beat and jangly guitar notes, punctuated with some terrific rock guitar riffs. He injects a few muted shouts at one point into his smooth vocal delivery, which creates a nice bit of tension as he sings “Does everybody feels like this? Does everybody lie with the devil? If everybody feels like this, why don’t we all cry out as one?/ We’re helpless and we’re desperate. But I’ll try to tie all of this together, and embrace the bad weather.”

Guy has also recorded a new version of his wonderful original, which now sounds more vibrant with the addition of what sounds like subtle string synths accompanying his urgently-strummed acoustic guitar. His lovely vocals are filled with emotion as he sings his heartfelt lyrics about letting go of our fears and trying to find some peace of mind amid the chaos.

Secret Postal Society’s “The Fear” was originally released in September 2021 and has been remixed and remastered by Brandon Green, a Texas-based musician and producer he’s collaborated with several times. (Brandon mastered all four tracks on the EP.) His version is a compelling, guitar-driven pop/rock song about the challenges of maintaining honest and open communication in a relationship, expressed in the poignant lyrics: “Ask me no questions, I’ll tell you no lies. I’ll give you the answers in my own time. I thought I was ready, I guess that I was wrong. But nobody’s perfect, just look in their eyes. We all play our part in the great disguise. I wanted to hide, but I found my mask was gone. As I lay here it’s taking me over./ Again I feel the fear building up all around me in here.” Craig is a terrific guitarist, and I love his spirited riffs throughout the track.

Guy reimagines the song in his own acoustic style, giving it a totally different but equally marvelous treatment. His beautiful guitar work, an intricate combination of strumming and finger-picking techniques, is positively sublime. His plaintive vocals nicely convey the wrenching emotions expressed in Craig’s lyrics.

In their press release for the Embrace The Fear, the guys explain: “The overall message of the EP is to follow your heart, listen to the goodness in the world and bloom in adversity by not letting the difficulties of the past stop you from achieving your potential. Embrace those fears, forgive those fears, let those fears go. Then forge ahead stronger, confident and fearless.” I think it’s pretty brilliant how Craig and Guy have combined their two songs into a coherent and relatable narrative, and for a great cause no less!

Embrace The Fear is available for download on Bandcamp through Rushed Records, with 100% of the proceeds going to the charity PAPYRUS, one of the leading youth suicide prevention charities in the UK. Their suicide prevention helpline, HOPELINE274, is staffed by trained suicide prevention advisers, who work with young people – and anybody concerned for a young person – to help keep them safe from suicide.

Fresh New Tracks, Vol. 42 – Amongst Liars, Icarus Phoenix, Perpacity, Thunder Fox

As the United States – under the control of a brazenly corrupt administration headed by a team of cruel psychopaths and Russian sympathizers – quickly descends into an outright authoritarian oligarchy, at least we continue to have lots of great music to help keep us from going totally insane. February 28th appears to have been a big day for new releases, which means it’s time for another installment of my Fresh New Tracks series. Today I’m showcasing songs by English rock band Amongst Liars, American shoegaze/indie rock band Icarus Phoenix, British-Danish electronic rock duo Perpacity, and Australian indie pop-rock band Thunder Fox.

Amongst Liars – “The Insane Ones”

Photo by Vic Payne

I’m not normally a big fan of hard rock, but I sure do love English band Amongst Liars. Their aggressive yet melodic style of modern rock, fortified by fearsome vocals, have earned them a loyal and passionate following, me included. Based in the Brighton/Eastbourne area on the southern coast of England, the band consists of Ian George (lead vocals & guitar), Leo Burdett (guitar & backing vocals), Ross Towner (bass & backing vocals), Adam Oarton (drums), and James Brumeo (keyboards & piano). I first learned about them in early 2020 and was intantly blown away by their explosive debut single “Over and Over”. They’ve since released numerous outstanding hard-hitting singles (many of which I’ve reviewed on this blog) and two critically acclaimed albums, Amongst Liars in 2022 and By Design in 2024.

And speaking of trying to not go insane, Amongst Liars are back with a fiery new single “The Insane Ones“. As with all their music, the track was produced and mixed by David Radahd-Jones at Red City Recordings in Manchester, and mastered by Grant Berry at Fader Mastering. About the track, the band explains: “‘The Insane Ones’ was written and recorded in autumn 2024, in anticipation of the events currently unfolding in the U.S., but we believe it is now more relevant than ever. The song addresses fake news and propaganda that spread false narratives and brainwashing, encouraging people to bring out the worst versions of themselves and support extreme ideologies promoting unnecessary intolerance and hatred towards fellow human beings. It may be heavy subject matter, but someone needs to address the narrative – even a humble ‘lil rock band from Eastbourne.” Needless to say, given my political leanings the song deeply resonates with me, with biting lyrics calling out our duplicitous leaders: “We are the insane ones they try to blame, to blame. They set us up so we can fight for them. They set us up so we can die for them.” The dramatic cover artwork was designed by Adam Ingrams.

Icarus Phoenix – “Poor Sad Indie Everything”

Hailing from Baltimore, Maryland is Icarus Phoenix, a shoegaze/indie rock band comprised of frontman Drew Danburry (guitar & lead vocals), Eli Sims (drums), Leena Rhodes (guitar, vocals and synths), Brendan Russell (bass), Peyton Rodeffer (guitar & vocals), as well as Andrew Young (drums, percussion). Originally formed in 2020 in Missoula, Montana, the band has experienced multiple lineups. They’ve released quite a bit of music, 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), along with numerous singles at what appears to be at a rate of one every three weeks. Danburry has independently toured and released a staggering amount of solo music since 2002 , including over 400 songs on over 20 albums and 13 EPs, and has played more than 800 shows worldwide, all accomplished almost entirely DIY.

As I always do for an artist or band I’m writing about for the first time, I listened to quite a bit of their back music catalog, and I really like their pleasing sound and intelligent, poetic lyrics. Their latest single “Poor Sad Indie Everything“, is positively stunning, with a gorgeous mix of shimmery and chiming guitars accompanied by enchanting strings consisting of viola played by Kevin Nelson and cello by Alea Nelson. Danburry’s vocals are soothing and sweet as he sings “When the love we find, takes flight into a different corner. Loss of blind defines, that ducking, flowing stream when stars align.” The band provided a brief explanation about the song: “Sometimes a moment of beauty stays with us. A moment that shines through brilliantly and sears itself into our brain. We’re lucky to experience said moment. We recognize that. So we write it down. Document it. Save it for later. We go back in our memory when times are hard. Something that gives life meaning. Purpose. Joy. Well….times are hard.” Indeed they are, which is why we need uplifting and beautiful songs like this.

Perpacity – “The Void”

Perpacity is an electronic music act comprised of British singer-songwriter, composer and producer Ian Harling and Danish singer-songwriter, composer and producer Martin Nyrup. They’re both accomplished musicians with over 20 years of experience, and have been collaborating together for over a decade. Their sound is characterized by haunting melodies, lush electronic soundscapes and driving beats, with thoughtful and compelling lyrics. Since 2015, they’ve released five albums and scores of singles, two of which, “Granite” and it’s B-side “Never Let Go”, I reviewed in 2022. Those tracks were included on their fifth album Discordia, released in June 2023. 

Now they’re back with “The Void“, the second single (after “Racing With Flamingoes”) from their forthcoming sixth album Poverty Of The Flesh, due for release in August. Released through the Town And Towers Records label, the song has a dark, brooding vibe that calls to mind some of the songs by Depeche Mode. About the song, Perpacity explain: “’The Void’ grew out of a conversation about the uncertain state of today’s world, and how best to act in the face of impending doom. The track highlights the inevitability of destruction, and the many ways people cope – through belief, denial, or simply by embracing and venturing into the void.” The guys drive home their message with darkly beautiful yet almost menacing industrial synths set to a hypnotic beat, overlain by their droning vocals backed by an otherwordly ethereal chorus. The accompanying video, featuring a mix of actual disaster footage and AI-generated imagery of hellish landscapes, provides an unsettling and fitting visual for their song.

Thunder Fox – “Never Got That Far”

Photo by Del Brown

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 around, and I’ve gushed about them and their music numerous times on this blog over the past five and a half years. 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 Jarrah Murray (bass), they skillfully blend funk, soul, blues rock, hip hop, jazz and pop into their delectable music stew. In addition to sounding great, their music has a stylish and jazzy sophistication, thanks to their outstanding songwriting and musicianship, including having both a saxophone and trumpet player in their lineup. They’ve released a tremendous amount of music since 2016, including three marvelous albums, two of which – Love at First Sniff (2019) and Sanctuary (2021) – I reviewed.

Their latest single “Never Got That Far” was inspired by Sam’s coming to terms with his drinking problem and taking responsibility for any hurt and misunderstandings he may have caused. He elaborates: “’Never Got That Far’ is our apology on behalf of all those who didn’t know themselves well enough to do right by our friends. For all the fumblers and fuckpeople who wish they did better when they had the chance – perhaps for a time machine to take us back, to try it again. We’ve been there. Let’s cry about it real quick then grow and learn together!” Though somewhat melancholy, the song is also enchanting and lovely, with great guitar work and organ accompanied by Jesse’s wonderful trumpet and some fine harmonica. Sam’s soulful, plaintive vocals are vulnerable and filled with regret as he apologizes to someone with whom he could have had a romantic relationship: “So you’ll know, I often wonder who we’d be if I had met you there. Guess we’ll never know. But you don’t have to forgive me. Never made no one love me when they didn’t. Just know that I’m sorry we never got that far.