Sometimes the most compelling lyrics are born from adversity and pain, which is certainly the case for the beautiful new single “Night Bus” by Welsh singer-songwriter Caitlin Lavagna. Born and raised in the picturesque Rhondda Valley, with strong Gibraltarian roots, the multi-talented and lovely singer-songwriter, musician and actress has had a life-long love for music and the arts, with a special passion for percussion and drums. Her vibrant vocal style is heavily influenced by some of her favorite artists like Sting, Stevie Nicks, Florence Welch, P!nk and Adele.
Photo by Akta Photography
In July 2021, Caitlin released her marvelous debut single “How Not To Start a Fight”, which I reviewed. Now she’s back with her second single “Night Bus”, which is every bit as good. In addition to singing both vocals and backing harmonies, she also played drums and percussion on the track. And from what I was able to gather from her Instagram post about the song, fellow Welsh musician Mark Croft played guitar and bass, Joe Rodwell programmed synths, and Lucas August Mendes produced, engineered and mixed the track.
The song was inspired by her experience of moving to London for the purpose of furthering her music and acting career, and the disappointments and struggles she faced while there. She elaborates: “‘Night Bus” is about being a young creative in a big city with life getting in the way of that creativity. Working 40 hours a week, burning money on everything apart from your career, going around in circles and seeing the worst of a city you thought would give you your big break. As a young Welsh Actor Musician, I experienced this recently when deciding to finally leave London and move home to the Rhondda. It was a difficult time, because after all, everyone says you won’t be successful unless you’re in the City. That was not my experience at all. I was so tired. When I did have time, I would be burnt out from work or supporting other musician and actor friends in shows and gigs I couldn’t really afford to go to. I hope people can relate to this track and that it provides them some comfort and escape. It is both angry and triumphant with a catchy melody and beat!“
I like how the song starts off slowly, with Caitlin’s lovely pensive vocals accompanied by gently-strummed guitar notes and airy synths, then gradually builds into a dramatic sweeping anthem. The sparkling synths, thumping bass and lively guitars are superb, but just as with “How Not To Start a Fight”, the highlight for me are Caitlin’s commanding impassioned vocals, as well as her exuberant galloping drumbeats that give the track such incredible energy and force. It’s a wonderful track.
I’m feeling sad
Sad girl on the train
I feel so bad
It’s coming back again
Come to London City
When you cry you look so pretty
It’s a waste that no one looks at your face
When I close my eyes that’s when I feel like I’m alright
When I’m awake then I get lost in the space
I’m so tired…Fist fights
Laddered tights
Dancing under fairy lights
Thought I was doing fine
Night bus
Reckless
Everybody look at us
But not in the morning light
Woahhh
Eighteen
Daydreams
Circling my bloodstream
The City that swallowed me up
I learn my lines
I turn up to play
I show up on time
Reject me anyway
Come to London City
When you cry you look so pretty
It’s a waste that no one looks at your face
When I close my eyes that’s when I feel like I’m alright
When I’m awake then I get lost in the space I’m so tired…
Fist fights
Laddered tights
Dancing under fairy lights
Thought I was doing fine
Night bus
Reckless
Everybody look at us
But not in the morning light
Woahhh
Eighteen
Daydreams
Circling my bloodstream
The City that swallowed me up Woahhh
(So tired of the City)
Fist fights
Laddered tights
Dancing under fairy lights
Thought I was doing fine
Night bus
Reckless
Everybody look at us
But not in the morning light
(So tired of the city)
Woahhh
Eighteen
Daydreams
Circling my bloodstream
The City that swallowed me up
And I try and I fail and I try and I fail and I try
(Fist fights
Laddered tights
Dancing under fairy lights)
I get up again
And I try and I fail and I try and I fail and I try
(Night bus
Reckless
Everybody look at us)
I get up again
And I try and I fail and I try and I fail and I try
(Woahhh)
In the City that swallowed me up
We Killed the Lion is an alternative hard rock band from Chicago I recently learned about when their keyboardist Stan Tencza reached out to me about reviewing their new album Boogie Shoe Blues. Along with Tencza, who also plays keyboards for Chicago alternative/progressive rock band Polarizer (whose album Love from the Underground I reviewed last November), the other band members are Brian Lorenc on guitar & vocals, Joe Gunia on bass & vocals, and Leonard Warren on drums. Formed in 2011, their heavy sound is infused with elements of stoner rock, grunge, psychedelic blues and even a bit of doom to darken things up a bit.
They released their self-titled debut album We Killed the Lion in 2012, then followed two years later with an EP One Way Ride, then a second album Circle of Stars in 2017. After a four-year hiatus, they began work on Boogie Shoe Blues, and dropped the first single “Final Stand” this past April, followed by “Southern Death Trip” in August. Today (Halloween), along with the album’s release, they also release a new video for “Snake Bite”. Though Boogie Shoe Blues contains only eight tracks, three of them are more than six minutes long, making the album feel more substantial than eight tracks would suggest.
Let me state up front that I don’t normally gravitate toward this type of grungy hard rock, however, I listened to the album several times with open ears and an open mind, and found lots to like about it. Opening track “Final Stand” is a fine representation of their signature brawny, dark and dirty sound. The guys get right down to business, grabbing us by the throat with a barrage of grinding buzzsaw riffs, bolstered by a deep, chugging bassline and explosive, pummeling drums that never let up for a second. Lorenc and Gunia’s dual echoed vocals sound ominous as they belt out the violent lyrics speaking of going into battle with an entity that was once an ally but now a bitter enemy: “All out of patience, love turned into vengeance. Run away in fear. Spilling out the blood, spitting out the bones, scratching out the eyes. Pray for your last breath, we’re making our final stand.”
The video for the song shows the band breaking into what appears to be an underground club, whereupon they perform “Final Stand”.
While several of the album’s tracks deal with darker topics, a few others touch on pleasures of the flesh with playful lyrics. On “Come on Get Down“, they sing of showing a hot woman a good time: “Little girl I want to take you downtown. Wanna go for a ride? Get in my backseat and spread your mind. I’m gonna show you a good time.” The song’s a sultry banger, with fantastic gnarly guitars that frequently break into a bone-chilling wail, accompanied by Gunia’s throbbing bassline, Tencza’s aggressive keyboards and Warren’s thunderous percussion. And on the sexy “Peach“, they tell a woman exactly what they have in mind: “I wanna sit on your front porch. I want a sip of your ice tea. I want to gaze at your orchid, yeah. I want to taste your peach meat.” I love the song’s deep, bluesy bassline and sludgy guitars.
“Dirty Bones” is a speaker-blowing feast for the ears, with more of those fearsome buzzsaw guitars, and ditto for “Southern Death Trip“, with some of the dirtiest riffs I’ve heard in a long while. The album’s title comes from the song’s lyric “Got the boogie shoe blues.” And just when I think the guys have thrown everything in their sonic arsenal our way, they continue to amaze with the psychedelic monster “Rocket“. The song opens with an onslaught of screaming distortion, followed by a thick, lumbering bassline as the guys begin to sing. Things eventually settle into a tumultuous mix of wailing and grungy riffs, pummeling drums and heavy keyboards, that lumbering bassline still keeping the menacing groove.
I think We Killed the Lion would be a great band to see live, and I really like that their videos show them performing their songs, rather than attempting to act out the narrative of the lyrics (which sometimes works well, but more than often falls flat). The cool video for “Southern Death Trip” shows them performing the song wearing fluorescent body paint.
The last two tracks, “Pick Me Up” and the epic “Snake Bite“, have somewhat of a progressive feel, and feature their signature reverb-soaked psychedelic guitars, thick bass and booming percussion. The latter track is spectacular, highlighted by spine-tingling piercing guitars and some really terrific keyboard organ work by Tencza.
To sort of expand on what I stated earlier, this album grew on me with repeated listens, and I’m truly impressed by We Killed the Lion’s strong songwriting and musicianship. If you like your rock music on the heavier side, with elements of psychedelic, grunge, blues and doom, you will enjoy Boogie Shoe Blues.
England-born, and now France-based, singer-songwriter and musician Lewca is one of the most creative, funny and irreverent artists I’ve come across, with a deliciously bawdy sense of humour. As he cheekily explains in his bio, “Lewca was born in a squat in Brixton, by age nineteen he was living in a squat in Paris, go figure… After studying fine art and dabbling in film, he started making music just before he was too old to die young. His influences range from class A drugs to expensive rum, and also The Clash, A$AP Rocky, Sleaford Mods, LCD Soundsystem, Bob Dylan, Eminem, Tom Waits…whoever is making decent music. He currently lives in Normandy, has three kids and a mortgage, and a semi-domesticated hedgehog named ‘Sonic’.”
Lewca’s been making music for years, and after being in a few bands “that fell apart for the usual reasons”, he decided to embark on his own music project as Lewca in 2018. Although he collaborates with lots of different musicians on his projects (most often ex band members or musicians he’s met on Twitter) his main partner in crime is S.O.A.P. (shorthand for Son of A Pitch), a Parisian composer, producer, drum & bass DJ and beatmaker he met when they shared a billing at a gig together in 2013. Their partnership grew from a shared love of wonky beats, British soundscapes and a healthy dose of humour, along with an “expectation of absolute world domination and unfathomable wealth, obviously”. They’re also both fervent players of Dragon Ball Fighterz, and if the music thing doesn’t pan out they’re considering pro gaming as a viable alternative.
Since 2018, they’ve released three EPs, which culminated in a colossal album Year One, released this past June, featuring all 17 tracks originally contained in the three EPs. In addition, the dynamic duo have been working for the last eighteen months on two more albums: Friday Night Rockstar, set for release on December 16th, and Boombap for Boomers, to be released some time in 2023. It’s the first of these, Friday Night Rockstar, I’m reviewing today.
The album features 13 tracks addressing such topics as the passage of time, personal doubts and demons, substance abuse, romantic love, and dreams that may never come true, expressed through Lewca’s honest and heartfelt, sometimes shocking, and often laugh-out-loud funny lyrics. The superb music and beats, composed by S.O.A.P. and influenced by the music they both loved while growing up, range from 80’s new wave and 90’s alternative rock to modern lo-fi indie pop and hip hop. Besides Lewca and S.O.A.P., additional vocals and/or instrumentals were performed by the artists Mondo Trasho, Victory Flow, Oh! Paulo, Chris James Willows, Ambre, Orange G, The JMC, Shark Star, Zar Acoustic, Ian Williamson, Ben Todd and Ben Samama.
The album opens with “Such a Cunt“, which I loved the moment I heard it. The lyrics are so wonderful I want to quote them all (but will control myself). It starts off with what sounds like Lewca clicking start on a tape recording of piano music while he addresses an audience from a stage: “Good evening. Thank you so much for coming out, ladies and gentlemen. It’s an honor. I love you so much. Hi mom. This is a song about cheese.” He than launches into song, admonishing us to live our lives to the fullest, but also try and be a nice person while doing our thing: “Done a lot of crazy shit in my life, but I’d do it all again. Dodged a bullet maybe once or twice. Played the fool every now and then. Hey, you, yeah you in the back, do you get what I’m trying to say? We’re gonna die, mate, that’s a fact, so let the chips fall where they may. But most importantly, stop being such a cunt!” The song has a skittering drum & bass groove, with wobbly industrial synths and sharp percussion, nicely accented by some colorful piano keys and delightfully twangy guitars. Lewca’s gritty vocals are wonderful, oozing with in-your-face swagger that’s a glorious mash-up of Mick Jagger, Joe Strummer and Jason Williamson of Sleaford Mods.
Next up is the raucous title track “Friday Night Rockstar“, featuring British garage rock band Mondo Trasho. The lyrics are a humorous take on a guy who thinks he’d gonna be rock’s next big thing, except he’s been waiting for it to happen for years: “World famous in my neighbourhood. If I touch my dick, just assume that I’m touching wood. I could take Tyson, in his fucking prime. Two glasses and a bottle and I’ll make that bitch mine. Ain’t even made it. Already overrated. If a fuck was given mate, I never gave it. Since the late nineties, I’ve been sedated. Still ain’t got a deal, but it’s being negotiate./ They say I got million dollar mind. Shit I ain’t never made a dime. Killing it one weekend at a time. I’m a part time punk, but when I’m drunk I’m a rockstar.Bitch, I’m a rockstar. Friday night rockstar.“
“Harmony Korine” is a poignant but amusing look back at his childhood that seemed more innocent. To a bouncy new wave groove, Lewca sings “My generation, born in the 80s, lived in a world that didn’t give a fuck mate. The Iron Curtain, the Iron Lady, and my old man chain-smoking in the car with the windows up, and the kids in the back with no seat belts on./ We were poor, like the kids next door. It was my childhood, and I wished for no other./ The world that I knew ain’t coming back. Gotta try and face the facts, and get a move on./ Guess we ran out of time, cuz we ain’t kids no more. And Harmony Korine is like 50 now.”
One of the many things I love about the album is that every song sounds completely different, surprising us as each new track unfolds. “A Million Things” has an endearing, lighthearted groove, with quirky, carnival-like synths and Lewca’s alternately gruff and playful vocals as he sings about some of the shit that’s bothering him, apologizing that he “may be an asshole, but it ain’t by design.” He expands on this theme on “Everyday Struggle“, bemoaning the drudgeries of making a living to a rousing trip hop beat: “Six in the morning, I’m at the train station. Every damn day I take the same destination. Gotta get to work, I gotta pay them bills. Pay for them nappies and them cheap ass thrills. Nine hour shifts all day on your feet. Five days a week just to make ends meet. It’s hard labor, yet I ain’t done no crime. I’m selling my life, one day at a time. Oh lord, it’s an everyday struggle.”
“Forget My Name” is a beautiful, deeply affecting track about the idea of success, and that even though you’re at rock bottom, you’re never going to stop chasing that dream: “I’m gonna make, I can fuckin’ take it. Man I’m on a roll now. I’m the king of rock’n’roll now. Don’t forget my name.” Though I love Lewca’s gruff, melancholy vocals, the highlight for me are the stunning soulful vocals by Maryland-based transgender artist Victory Flow. Musically, the song features gorgeous intricate guitar work, somber piano keys, and achingly beautiful notes from a baby trombone.
One of my favorite songs (out of an album full of favorites) is “Incredible“, featuring added vocals by Chris James Willows and Ambre. Over a languid, drum and bass-driven groove, Lewca cheekily raps about his ‘I don’t give a fuck’ approach to music: “I’m at a party and I’m off my face. Falling around, I’m all over the place. High as fuck, I just have to sing. Can’t contain the diva within./ People let me know they ain’t digging the flow. But now I got the the microphone, I ain’t never letting go. I hope you got a sense of humour, turn up the fucking boomer. I don’t give a fuck If I’m ruining the song. Got a mic in hand this is where I belong. Anyway mate, these drugs are way too strong. Ain’t got a fucking clue what the fuck’s going on.” Then we hear an adoring girl, sung by Ambre, croon “You’re so wicked baby, loving your song. Gonna listen to ya all night long“, to which he replies “You’re gonna hear me baby all night long” followed by Chris James Willows’ chorus of “I feel incredible, I feel fucking awesome.” I love it!
The great songs keep on coming, and by now I’m thinking that Friday Night Rockstar might just be one of my favorite albums of the year. “The Love Within” is a hilarious love song that will never get played on the radio. To S.O.A.P.’s deliciously funky dub step beat, Lewca croons to his woman “I only wanna see you smile. I’d drive a thousand fucking miles. Girl I got you under my skin. I need to feel the love within.” But then he gets very sexually explicit in his adoration for her as he raps “I love looking in your eyes when you suck my dick, and listening to your sigh when I licked your clit. When I’m up between your thighs, when I cum on your tits.”
The next few songs touch on the highs and lows of rock stardom. On “Radio Gigolo“, Lewca sings of his dreams of becoming a huge star with a hit song, and willingness to sell himself out to get there: “One day they’ll play my song on the radio. They’ll play it all day long on the radio. I’ll feel like 10 feet tall. Big shots will take my call./ One day I’ll sell myself like a gigolo. I’ll be like someone else I don’t even know. So hungry for fame, I’ll even sell my name, for a spicy chicken wing on some TV show.” Opening with words spoken in French by S.O.A.P., “Golden God” transitions into a trap song with Lewca rapping about how his identity has been subsumed by his rockstar persona: “I’m a golden god, ex officio. Least that’s what I’m told. You can see it all in the video./ Guess I must have lost my mind somehow, somewhere along the line. Take a look into my eyes, mate, I’m not there./ I guess I’m strange mate, yeah I’m all over the place. I’ll keep on being strange until they turn out the light.”
Lewca lets loose on “A Song“, a wonderfully frantic and trippy punk song with a bit of an East Indian vibe, thanks to what sounds like a sitar. He rapidly raps through a litany of grievances, with the recipients of his complaints telling him to “write a fucking song about it“. He really channels his inner Mick Jagger on “I Fell in Love With a Serial Killer“, which sounds like a song the Stones forgot to record. I love the rousing rock’n’roll groove, and the guitars and percussion are fantastic. Album closer “Smoke in the Air” is wonderful too, with a rapid drum-bass groove, highlighted by wobbly synths, jangly guitars and skittering percussion. Throughout the album, I’ve been blown away by S.O.A.P.’s amazing beats and instrumentation, and this song nicely showcases his impressive talents.
I don’t what more I can say about Friday Night Rockstar that I haven’t already written, except to say that I absolutely love it! Lewca and S.O.A.P. have really outdone themselves here in the creation of a unique and brilliant album, for which they should be quite proud. The various artists who contributed vocals and/or instrumentals to the project must also be commended as well.
You can pre-save Friday Night Rockstar on one of these platforms
Time seems to fly by at an ever-increasing speed, and it’s hard to believe that it’s been five and a half years since I first wrote about Australian alternative dream rock band Crystal Cities, when I featured their captivating song “Who’s Gonna Save Us Now” in April 2017. I’ve been a huge fan of the Sydney-based act ever since, and have written about them several more times over the years (you can read some of those reviews by clicking on the Related links at the end of this post). I can honestly state that I’ve loved every single one of their songs without exception, especially their stunning single “Under the Cold Light of the Moon”, which I ranked #10 on my Top 100 Songs of 2019.
The supremely talented trio consists of Geoff Rana on lead vocals, guitars and keyboards, Jared King on bass and backing vocals, and Neel Shukla, who earlier this year replaced long-time drummer Daniel Conte, on drums and percussion. Since the release of their debut single “Tell Me Now” in 2016, they’ve released numerous singles, an EP Who’s Gonna Save Us Now in 2017, and two albums, Under the Cold Light of the Moon in 2019, and Hold Me Close Hold Me Tight, in October 2021. Now, nearly a year to the day later, they return with a brand new single “Love Don’t Live Here Anymore“. The song was produced and engineered by Geoff in his bedroom studio in Sydney, and mixed and mastered by Paul Lani in Los Angeles.
It’s always great hearing new music by Crystal Cities, and I couldn’t be happier. As to be expected, it’s another outstanding song, featuring their signature swirling melodies and soaring anthemic choruses. Geoff lays down a rousing mix of jangly and chugging riffs, while Jared’s nimble bassline and Neel’s assertive thumping drumbeats keep the powerful rhythmic groove. Geoff’s warm string and brass synths are marvelous, adding an arresting cinematic feel to the proceedings. I’ve always loved his emotive, slightly raspy vocals, which sound even deeper and more impassioned here.
Geoff elaborates about his inspiration for writing the song (which also nicely articulates my own struggles with being a music blogger): “I happened to be going through one of those ‘down’ moments where giving up music and writing songs seemed like the best option for moving forward with my life…Wild peaks of motivation followed by troughs of listlessness are simply part of the experience of being a creative person struggling to find some semblance of success in an ever-changing world. Ironically, it was when I was feeling at my lowest that I happened to sit down with my guitar and start strumming the opening chords for ‘Love Don’t Live Here Anymore’. It was through that song that I found myself reuniting with why I write songs and why I love it so much. ‘Love Don’t Live Here Anymore’ is about the experience of losing something or someone you once loved, and then the joy you get from reconnecting with, or rediscovering that something or someone.”
Now, these bridges, they burn
Man, it’s harder to learn
If they’ve called your name
And I watch from the shore
Darling, I’ve heard it all
Yeah, it’s all the same
And we can sit here and watch
As the seasons get lost
In these faraway dreams
In these faraway dreams
Man, these faces they break
Into tiny mistakes
Yeah, we’ve met before
And I’ve crawled from the floor
Made my way out the door
Into cold-hearted streets
And watch the cigarette burn
Through the hole in my hand
I’m the getaway scene
I’m the getaway scene
Yeah, I’ve been driving through this breakup
And I’ve been waiting out this storm
I’ve been holding all these aces
But I’ve been holding on too long
Cause’ love, it don’t live here anymore
AnymoreMatter of fact
Well, I’m willing to bet
It’s just what they say
And I’m starting to choke
Through the whiskey and smoke
But my heart says to stay
Well, it all tastes the same
Yeah, it all tastes the same
Yeah, I’ve been driving through this breakup
And I’ve been waiting out this storm
I’ve been holding all these aces
But I’ve been holding on too long
Cause’ love, it don’t live here anymore
Anymore
The wonderful cover art for the single was created by Mikey Hart, with voiceover artist, actor and producer Chris Miller portraying the clown. The video was directed and edited by Arron Davis, with Miller playing the sad clown, and Daniel Dydey helping out on guitar duties while Geoff sang.
Marianne Kesler is a Dayton, Ohio-based singer-songwriter with a life-long love for music. A prolific artist, she’s been writing and recording music for over 25 years, and has released five albums and more than 10 singles as a solo artist. She’s also collaborated with numerous other artists, including neo-soul/pop/folk artist Leah Thompson, with whom she co-wrote over 30 songs, as well as her friend Kate Stanton, as part of a duo named Every Lovely Thing, who I featured in an Artist Spotlight nearly four years ago. On top of all that, she’s also written a three-volume trilogy of free verse poetry/prose and photography.
Her pleasing style of folk/pop has earned her comparisons to such artists as Judy Collins, Carole King, Aimee Mann and Sheryl Crow. In fact, she cheekily describes her sound this way: “Imagine if Joni Mitchell got together with Leonard Cohen for a writing session at the coffeehouse where Neil Young and the Counting Crows were playing, folk artist Jan Krist was singing, Tori & Fiona were pouting, Over The Rhine & Aimee Mann opened, and Santana stopped by to play some smokin’ guitar…Yeah, It sounds something like that!“
Today, Marianne has dropped a hauntingly beautiful new single “If I Could Fall Into the Skies“, which I’ve chosen as my New Song of the Week. Her first release of 2022, it’s a melodically simple but impactful song, dominated by a somber but lovely piano movement, and accompanied by airy synths that create an enchanting backdrop for her gentle, ethereal vocals. My only criticism, and it’s a minor one, is that I wish Marianne’s vocals were a bit more pronounced, as the bold piano keys sometimes overpower her delicate vocals. Otherwise, it’s a wonderful track.
The bittersweet lyrics speak of wanting to know someone – perhaps a romantic interest, but it could apply to any special friendship – better, but being unable to break through to them:
If I could fall into the skies
If I could fall into your eyes
If I could somehow find a way
I would stay … I would stay.
Staring at the water it appears as though the world is upside down
Summer skies reflected there are shimmering like clouds upon the ground
I could jump right now … If I just knew how
Gazing in your eyes I glimpse a depth I’ve never noticed there before
Subtle undertow beneath the surface has me aching to explore
I could jump right now … If I just knew how
If I could fall into the skies
If I could fall into your eyes
If I could somehow find a way
I would stay … I would stay.Standing on the edge with everything I’ve ever wanted down below
Painfully aware I’ve never told you how I feel or let you know
But I could jump right now … If I just knew how
Catch a falling star … Landing where you are
Starlit skies … In your eyes
Upside down … Spun around
’Til the world seems out of focus as I fall …
If I could fall into the skies
If I could fall into your eyes
If I could somehow find a way
I would stay … I would stay ...
I would stay … I would stay ...
I would stay … I would stay.
Marianne created a stunning video to accompany the song, about which she has this to say: “This song was inspired by seeing how the sky was reflected through a window onto my glass top desk ~ looking as though I could fall right into it! I tried to shoot video footage that captured this same ‘world upside down’ reflection (mostly on water) to add visuals to these lyrics of longing.”
Vulture Party is a creative Scottish three-piece who, in their own words, make “disquieting Alt Pop for the socially conscious“. Based in Falkirk, a large town located roughly halfway between Glasgow and Edinburgh, the band consists of Louise Ward on vocals and piano, David King on vocals, guitar and synths, and Dickson Telfer on bass and backing vocals. Their pleasing sound is delivered with an array of styles ranging from infectious, new-wave infused dance-pop to moody, introspective piano compositions, and featuring lovely piano keys, bewitching synths and sublime vocal harmonies. Having both male and female vocalists gives their music even greater richness and depth.
I first featured Vulture Party this past June when I reviewed their marvelous dance-pop single “Blood Wolf Moon”. Now they return with their second album Archipelago, released on October 14th via the Scottish not-for-profit independent record label Last Night From Glasgow. The album features nine tracks, including “Blood Wolf Moon” and their previously-released singles “Afterlife” and “Iso Disco”.
About the album, the band explains: “Archipelago is our second album as it was never intended. Back in 2020, we were ready to hit the studio to lay down a fully written, good-to-go second album, but . . . enter pandemic, and thus a re-think. What transpired was a change of direction and a new set of songs, written and put together from a distance. Each of us (David, Louise and Dickson) our own little island, we were forced – like many others – to collaborate in a new and government-rule-approved way. Sending files back and forth using a variety of pieces of kit, and software, we created Archipelago, an album about fear, isolation and hope. Using driving electronic beats, pulsing grooves and big hooks, the album reflects on love, family and friendship being all that counts when the rest of the world seems so bleak and far away.”
All nine tracks on Archipelago are solid, but I’ll touch on my favorites and those I feel are standouts. Opening track “Better Days Will Come” kind of sets the album’s overall theme of hope and resilience in these trying times – that no matter how bleak things may seem at the moment, we need to hold onto the things that matter most: “In the darkness, in the darkness, in the darkness we find our friend. In the sadness, in the sadness, in the sadness, we don’t pretend. Better days will come, better days will come, if you want them to.” The languid trip hop groove, delicate piano keys and fuzzy synths create a soothing backdrop for Louise and David’s comforting vocal harmonies, all of which wrap us in a warm blanket of sound.
My favorite song on the album is “Blood Wolf Moon“, a flawlessly-crafted and addictive dance-pop gem. Essentially a love song with simple lyrics like “Give me your love. It’s all I need“, Vulture Party decided to bring the song to life with a charming video, created under the direction of Neil McKenzie of Keep it Creative. It tells the story of a female werewolf, played by Louise, searching for human contact and finding love through music and dance.
Another favorite is “Ride That Feeling“, a beautiful song about freeing oneself of negative thoughts and obsessions, and instead allowing positive influences and experiences to flourish, in the hopes of living a better life: “You are free if you want to be. No more hiding in the dark. Let it all go. Ride that feeling again.” Musically, the song starts off slowly, with a serene, almost atmospheric vibe, but eventually becomes more intense, with gritty synths and harsh, jangly guitar notes before calming back down.
“Afterlife” is a delightfully upbeat track which David describes as “a light-hearted and playful contemplation of a life after death.” And though not a dance song per se, its infectious beat will most definitely have your toes tapping and hips swaying. In sharp contrast, “Leave Your Parables” is a dark, rather unsettling track, with somber piano keys, eerie synths and a spooky droning male vocal, all set to a funereal melody. I’m not sure, but the lyrics seem to speak of connecting with a ghostly spirit, and possibly letting go of fears of the unknown: “Lay down your parables at the doorway. Cause when I’m through, you’ll be done. Maybe if you’re ready, look at me. Now here comes the light. Take in the moment, hold it, let in your delight. I’m slow in my movements. Don’t scare him away. He’s slow in his movements. He scares me away.”
Archipelago ends on a highly satisfying note with the gospel-like “Let Love Shine (On Your Misery Now)“, which brings the album’s theme of the power of love and friendship full circle. I love the soaring melody, warm sweeping synths, twangy guitar and arresting vocal harmonies. At 6:19 minutes, it’s a rather long song, and when first hearing it, I thought it went on a bit too long. But after repeated listens, I’ve come to the conclusion it’s length is just right. It’s the perfect ending to a lovely, uplifting album.
Blackwell is a new Chicago-based folk rock act comprised of singer-songwriter and guitarist Ryan Loree and drummer Brandon Buffington. Ryan has previously released music under his solo act Draft Evader, which I’ve written about on this blog. The duo just released their debut single “Six Figure Suitor“, a hard-driving rocker that Ryan said has a heavier, poppier sound than many of the other songs they’ve been working on. The song was recorded, mixed and mastered by Joe Scaletta, who also played bass.
The song bursts open with a roiling barrage of Ryan’s grungy guitar, which is soon joined by Brandon’s aggressive drumbeats, along with a throbbing bassline that doesn’t let up. I’ve always liked Ryan’s songwriting and lyricism, and his guitar work and Brandon’s drumming are both outstanding here. Further, Ryan’s plaintive vocals have an honest vulnerability that’s really endearing, and keep sounding better and better as he matures as a musician and singer.
To my ears, the song has a bit of a Gin Blossoms feel, only heavier. I’m also impressed by the tight arrangement and economical production; the song immediately gets right to the point, knocking our socks off in the process, without a single superfluous note or wasted second. It’s rock’n’roll at its finest.
As to the meaning of “Six Figure Suitor”, Ryan told me it’s about two people jumping into a new relationship while still being completely consumed by their pasts. The relationship becomes abusive and toxic, with one partner imposing unfair expectations on the other.
I'm not a six figure suitor baby
And I don't think that I'll ever be
A sniper in the U.S. Army
He's content to dance on my grave
But he's got a six shooter waiting
He's been hiding in your drivewayAnd it won't be long, til we find God
Well he's been lost, but so has paradise
So I guess we've outgrown the honeymoon phase
But disappointment on your face
Tells a lyric I can't think of
I'm not a six-figure suitor baby
And I don't think that I'll ever be
A sniper in the U.S. Army
And it won't be long, til we find God
Well she's been lost, but so has paradise
And it won't be long, til we find God
Well they've been lost, but so has paradise
“Six Figure Suitor” is a very fine debut effort by these two talented musicians. Ryan told me they have lots of songs ready to go, including an EP of acoustic songs, and I can’t wait to hear them.
One of my favorite music finds of 2022 has been Welsh alternative psychedelic rock collective Holy Coves, who I discovered this past February as a guest moderator for Fresh On The Net, an independent music blog launched in 2009 by renowned BBC Radio 6 Music presenter Tom Robinson. As a guest moderator, my task was to listen to all 170 songs submitted that particular week, and choose my top five favorites of the bunch, along with any others I particularly liked. One of my five picks was the Holy Coves single “The Hurt Within”. The darkly beautiful song made me an instant fan of theirs, and I liked it so much that it spent 11 weeks on my Top 30 chart.
They quickly followed “The Hurt Within” with their brooding stomper “Desert Storm” in late April (which I reviewed), then “Grey” in June, another gorgeous single that recently finished a 10-week run on my Top 30 chart. Now they’re back with their long-awaited third album Druids and Bards, released on October 14th by Yr Wyddfa Records. The album features nine tracks, including the three above-named songs.
I provided quite a bit of background on Holy Coves in my “Desert Storm” review, but will reiterate a few important details about them here. The brain child of singer-songwriter Scott Marsden, a long-time and respected figure in the Welsh music scene, Holy Coves is based in Holy Island, which is itself situated just off Anglesey Island in northwest Wales. Since forming in 2005, the band has consisted of an ever-changing roster of musicians, as Marsden brings in who he wants to work with for each project. Holy Coves released their debut album The Lizzies Ynys Môn in early 2008, then followed in 2011 with an EP and two singles, which were later included on their second album Peruvian Mistake, released in 2012.
After a nearly 10-year hiatus, brought on in part by the death of his best friend and manager, as well as his personal struggles with addiction and subsequent recovery, Marsden assembled a new group of esteemed musicians – John Lawrence on guitar, Owain Ginsberg on guitar & synths, Jason Hughes on bass and Spike T Smith on drums – to help with the recording of Druids and Bards. Marsden wrote and sang all songs, and co-produced the album with Lawrence, who also engineered it. Mixing and mastering was done by Austin, Texas-based music producer Erik Wofford. The two men shown flanking Marsden in the photo below are musician friends he’s brought in for live performances, who will also play on his next record.
Photo by Dai Eastwood
Hallmarks of Holy Coves’ dynamic sound are their striking melodies, powerful, driving rhythms, lush, cinematic synths, exquisite layered guitars, and Marsden’s beautiful and sensuous vocals that remind me at times of U2 front man Bono. Druids and Bards features all these attributes and quite a bit more, with songs addressing such topics as love, relationships, struggles with addiction and finding happiness in this often painful and difficult world.
The rousing opening track, “Away We Go“, seems to be about addiction, both to drugs and also the need for a love that cannot last: “I’m talking to myself again. Her web is spun. She’s taking aim. I can see it coming. She wakes me from my lonely haze. Her fire is hot. I feel a crave. The endless days are coming. All I see is you and me. Come on get in, take two my friend. Sail away we go./ She’s gonna break my heart again. I’m a fool for love. What can I say.” I love the song’s rapid, galloping beat and colorful mix of strummed and grungy shredded guitars.
With its powerful stomping groove, courtesy of Hughes’ thumping bassline and Smith’s pummeling drumbeats, the previously-noted “The Hurt Within” is one of my favorite tracks on the album. The layered jangly and psychedelic guitar work is superb, nicely accompanied by brooding industrial synths. The lyrics are directed at a woman who broke his heart: “Here’s another song for you to sing today. About all the pain you caused when you went away. How you made me cold and left a hole inside. I wear those scars with pride. Can’t feel the world outside. How I thought I’d healed my skin. Her love is cruel. The hurt within.”
“Grey” is another favorite, with it’s exuberant melody, swirling synths and gorgeous jangly and shimmery guitars. The lyrics speak to allowing yourself to wallow in your pain from time to time, but also being open to the healing powers of love and support from others: “Let go and feel again, cos everything is hopeless when you’re grey. Hurt will find you. Love will guide you home.”
“Small and Nothing” has a bit of an Oasis sound to my ears, and seems to be about not wanting more than you already have in life: “There’s nothing in this world that I can’t live without. There’s nothing in this world that I can’t dream about. Staying young is all I care about. Cause now, small and nothing I am.” On the other hand, the dramatic “Another Day” calls to mind some of the anthemic songs of U2. It begins slowly, but gradually builds into a cinematic masterpiece. The lyrics speak of working to overcome drug addiction as an answer to numbing life’s pain: “Ticking over day by day. Heavy medicated to heal the pain. What do you feel, what do you crave? Take it slowly, and feel again.And try to remember it’s just another day./ Leave that bottle closed, we can make it if we try.”
On the mesmerizing “Desert Storm“, Holy Coves start with another stomping groove, then layers mysterious psychedelic synths, assertive percussion and an arresting blend of droning and gently distorted guitars to create a moody soundscape with a hint of optimism. Marsden’s echoed vocals have a haunting ethereal quality as he details his struggles of keeping a troubled relationship together while suffering from drug addiction.
With its hauntingly beautiful melody, gorgeous strummed guitars and folk-rock vibe, “Welcome to the Real World” reminds me a bit of Michael Kiwanuka’s song “Hero”. The lyrics speak of the futility of tilting at windmills and beating your head against the wall: “They had you now, your time is up. Welcome to the real world. It hurts. It hurts. She had you now, your time is up. Welcome to the real world, and you’re gone. You’re gone.” And on the catchy and melodic love song “Until I Fall“, the vibrant chiming guitars are a thing of wonder!
The final track “Taste the Wine” is a monumental tour-de-force, and an aural feast for the senses, with breathtaking guitar work amidst a soaring cinematic soundscape. Despite its 7:15-minute run time, it’s so gorgeous I don’t even notice how long it is. The song is about letting go of slights and painful experiences that can keep you feeling bitter and resentful, unable to move forward and enjoy your life in the here and now: “It doesn’t hurt to try. It wasn’t worth the fight. Two wrongs don’t make a right, so be strong. Hold on til it’s over. Take it slowly, and taste the wine. Sit back, let it flow dear, open your eyes. Chances are you will lose your mind. Might as well enjoy it, it’s your time.”
Druids and Bards is a superb, flawlessly-crafted album, as close to perfect as any I’ve heard this year. Every track is outstanding, making for a joyful listening experience from start to finish. Holy Coves are back, and then some!
Dan Szyller is an imaginative and earnest Brazilian singer-songwriter and musician currently based in Metz, France. Born and raised in Sao Paulo, Brazil, he also spent time living in the U.S. and Israel before emigrating to France, and those life experiences led him to write and record songs for his debut album The Celestial Immigrant. Dan says “It’s the story of many travels I have made and places I have been in my life, mostly as an immigrant.” The album, written and recorded over a six month period earlier this year, was released on Apple Music and Spotify on July 20th. For recording of the album, Dan played guitar and sang vocals, Fabien Pilard played additional guitars, bass, keyboards and sang backup, and Meriem Rezik played drums.
A lifelong lover of music, Dan’s songs are influenced by some of his favorite bands like The Doors, Iron Maiden, King Crimson and Pink Floyd. These influences are readily apparent on the opening title track “The Celestial Immigrant“. With its expansive, moody soundscapes, highlighted by a vibrant blend of jangly and psychedelic guitars, it sounds like a long-lost Pink Floyd song. The lyrics, about a young boy hurtling through outer space toward the Milky Way, seem to be an allegory for Dan’s well-traveled, sometimes beautiful and perhaps at times chaotic, childhood, being repeatedly moved without his consent to several different countries, in search of a better life: “Sent away into the darkness. No warnings were given, the baby. In the wake of the night.The celestial immigrant is on his way, in the Milky Way. Will he ever make it? The stars are watching him—riding the neon wave. Will he ever make it? Will he find new home? All the forgotten faces, all part of a strange dream somehow. All the beautiful places, The journey of the sacred moon-child.”
On the grunge-flavored “My Road“, Dan seems to ponder the fleeting impermanence of life: “Life passes by so fast; old pictures and you’re gone. The Crossroads is coming. Another drifter’s story.” And on the optimistic “Summer Kiss” he sings of the joys of summer, and how people and nature come alive with activities and romance: “The birds are calling, the people will wake. The smell of grass, the children that play. The night is falling, the feast will begin. A man is hunting, a girl is the prey.” The song features some great reverby guitars and 60s-flavored organ.
Some of the progressive influences from bands like King Crimson and Pink Floyd are strongly evident on the next three tracks, with meandering melodies and fascinating instrumental flourishes. On “The Believer” Dan sings of being a world traveler, in search of a better life: “I can see a land of riches. / The howling winds of freedom, my life and blood astray. I dream of a paradise beyond the clouds. I read, the signs are so evident now. Believe, the blind shall see. I am away. I am a troubadour. I have many stories to tell.” His vocals, while not particularly powerful, are emotive and heartfelt, conveying just the right amount of passion and fervor when he sings.
On the dark and dramatic “King’s Hall“, he uses medieval fantasy metaphors to describe what could be the plot of a Game of Thrones episode: “Inside the King’s Hall, love and jealousy. Blades are held high! The old man is gazing from his throne. A lifetime before his eyes.” I’m not quite sure what the story in this song has to do with the album’s overall theme, but it’s an intriguing track nonetheless.
On the introspective and bittersweet “Sunday Again“, Dan wistfully sings of being at a low point in his life, feeling bored and alone, and missing those he’s left behind: “Looking out the window. A quiet street, no life at all. The rain that falls each day. The fog that hides the dawn. Sitting on a couch, I think of her. Could I fall in love once more? My imagination is playing games with me. Happiness seems so far, so lost.” Musically, it sounds almost like two different songs melded together, with the first, more grungy segment ending just after three minutes, and the second segment having a more relaxed vibe, with some great reverby and distorted surf guitars. On this segment, Dan seems to have come to terms with his loneliness, finding solace in his music: “It’s Sunday, I’m free again. In a corner, playing my guitar. La La, La La La.“
The final track “Interstellar (Voyager 1)” is a captivating instrumental piece, with more of those great reverb-drenched guitars we’ve heard on several of the album’s songs, accompanied by spacey atmospheric synths that beautifully convey images of traveling through outer space. The only vocals we hear are Dan’s spoken words briefly reciting a description of the Voyager 1 space probe that was “launched by NASA on September 5, 1977, as part of the Voyager program to study the outer Solar System and interstellar space beyond the Sun’s heliosphere.” The description is taken from Wikipedia, which he cites on his album liner notes, and includes a statistic of how long the space probe has been in operation “Launched 16 days after its twin Voyager 2, Voyager 1 has been operating for 44 years, 9 months and 12 days as of June 17, 2022 (now 45 years, 1 month and 6 days as of today, October 12, 2022). The track brings the album’s celestial theme full-circle, with an overriding message – to my mind at least – that we’re all travelers on this planet, which itself exists within a much greater universe that’s beyond our comprehension.
The Celestial Immigrant is an ambitious and fascinating work, and an impressive debut for Dan Szyller. His creativity, imaginative songwriting and strong musicianship really shine on this very fine album.
I recently learned about Canadian rock band The Ember Glows when they followed me on Twitter. Based in Montreal, the four-piece consists of Richard Bunze (lead guitar), Kevin Hills (bass), Martin Saint (vocals, guitar and keyboards) and Dan Stefik (drums). Friends since their teens, all are seasoned and accomplished musicians who were previously members of Montreal bands Room Control, Repo, Scene Noir & Citylake. With a shared love of 60s psychedelic rock, late 70s post-punk, 80s new wave and 90s British indie, what started as a side-project for each of them eventually became everyone’s music priority, and The Ember Grows was officially born in 2019.
Photos by Bryan Gagnon
Influenced by an eclectic array of artists ranging from Echo and the Bunnymen, Simple Minds, Nick Cave, The Cult, The Verve and Black Rebel Motorcycle Club to The Mission, Interpol and The War On Drugs, their dynamic sound is characterized by strong hooks, richly-textured intertwining guitars, muscular driving rhythms and resonant vocals. They released their debut five-track EP Passerby in March 2021, then followed this past June with their outstanding single “SILENT LOVE”. On September 23rd, they dropped their second EP Where Spirits Play, which I’m reviewing today.
The EP features four songs, including “SILENT LOVE”, with lyrics written by vocalist Martin Saint, and music collectively written by the entire band. It was recorded at Closet Studios in Montreal by Daniel Karrasch and John Gurnsey, and produced by Karrasch. The beautiful photography and cover artwork was done by lead guitarist Richard Bunze.
Where Spirits Play opens with “TOMORROW’S THE DAY” a song about someone who recognizes they need to change some of their behaviors that are holding them back in life, but lack the will or drive to follow through, keeping them on an endless self-destructive cycle: “Tomorrow’s the day things turn around. You’re haunted by the words out of your inner voice. You might fool the gallery, but you always had a choice./ Tomorrow’s the day things turn around. Just like you said the day before. When you swore no more, no more, no.” The song blasts open with a barrage of super-grungy riffs, which are soon joined by jangly guitars, gritty bass and thunderous drums that don’t let up for the song’s four-minute duration. Though a bit flat in spots, Martin’s commanding and clear baritone vocals remind me of the late Scott Walker of The Walker Brothers.
“MIRROR” is an intense and stunning song, with biting lyrics that seem to speak to the never-ending death and destruction mankind has rained upon one another and the planet, unable or unwilling to stop: “Suburbs crawl where rivers once ran. A nation’s sins live on streets across the land. Our lost romance, as warriors sweat and dance, and break the mirror. And we crack… No country right or wrong. Clear your conscience in a protest song. Plant your flags upside down, where a stolen child’s ghost haunts the ground.” Richard and Martin’s intricately layered grungy, distorted and chiming guitars are spectacular, while Kevin and Dan’s flawless bass and drums keep the propulsive rhythm rampaging forward.
On “SILENT LOVE“, the guys combine a powerful driving Simple Minds-esque groove with lush instrumentation a la The War on Drugs to create a robust cinematic soundscape that’s truly exhilarating. Once again, the complex, intertwining guitar work and production qualities are impressive, and Martin’s impassioned vocals sound their best here. Essentially a love song, the lyrics are directed to a loved one who’s going through personal turmoil, assuring them he’ll be patient and supportive, and give them as much space and time as they need to heal: “Whenever you close your eyes, whether near of far, I will let you be. But I will stand guard when you wake up in tears. After dreams crossed your defenses I’ll be here to give you space and silence. Now there’s nothing left to do except wait for you. Now there’s nothing left to give except silent love. As you sit and gaze at the stars above.”
The longest track on the EP, “HIGH FEVER” is a guitar-lover’s delight, overflowing with a jaw-dropping maelstrom of jangly, grungy and wailing psychedelic guitars. Of course, the throbbing bassline, tumultuous percussion and screaming industrial synths are all pretty amazing too, adding to the song’s overall explosive impact. The song seems to be about being besotted with a woman, wondering whether you’re in love or just deeply infatuated with her beauty and sensuality: “Her eyes light every dream she rules, like two sparkling jewels. I’ll dive in her mystery and feel real arms around me. Is this love or is your fever running high, running high?“
To sum up, Where Spirits Play is a great little EP that packs quite a powerful punch in just four tracks. The members of The Ember Glows are all outstanding musicians, with the collective skills and experience to successfully coax the best possible sounds from their respective instruments. I love their music, and hope we’ll be hearing more from this talented band soon!
ECLECTIC MUSIC LOVER 