It’s back to the UK for my latest edition of Fresh New Tracks, and today I’m featuring three powerful new singles by acts I’ve previously featured on this blog – IAMWARFACE, Paul Iwan and The OceanBeneath, as well as Lines of Flight, an act I’ve not written about before, who collaborated with The Ocean Beneath on the track I’m including.
IAMWARFACE – “The Black Room”
British nu-rock band IAMWARFACE are one of my favorite acts, who I’ve happily featured on this blog many times. From the moment I first heard their explosive debut single “Say My Name” in 2016, I’ve been a devoted fan. Based in Brighton and London, and fronted by the immensely talented and flamboyant singer/songwriter and producer Matt Warneford, their aggressive name is a fitting metaphor for their bombastic groove-based style of electro-rock. Warneford has a commanding presence and powerhouse singing voice, with the ability to raise our adrenaline with his dramatic impassioned vocals. Since their debut, they’ve continued to deliver one incredible song after another. Three of their singles – “Say My Name”, “Closer” and “Fear the Future” – have reached #1 on my Weekly Top 30 chart, with “Closer” ranking #58 on my Top 100 Songs of the 2010s.
With their latest release, “The Black Room“, IAMWARFACE deliver more of their signature incendiary rock we’ve come to love and expect. I love their massive sound, highlighted by searing riffs, grinding basslines, explosive percussion and moody industrial synths, all of which blend together in a combustible alchemy to create a darkly beautiful backdrop for Warneford’s fearsome vocals. The song was actually written a couple of years ago, and has been played by the band in their live set for a while. They decided it was time to have it fully mixed and mastered, and released to the world, and we fans are glad they did! It’s another sparkling gem in their unbroken string of superb singles.
Another long-time favorite of mine is singer-songwriter and multi-instrumentalist Paul Iwan, who’s based in Liverpool. We’ve been following one another on social media for nearly six years as well, and I’ve also written about him and his music numerous times. Paul’s an outstanding guitarist and songwriter, with a strong, resonant and emotive vocal style. His powerful single “Reward”, which was a cover of the song originally recorded by Liverpool new wave band The Teardrop Explodes, spent four months on my Weekly Top 30, and ranks #50 on my Top 100 Songs of 2020.
Paul has just released a powerful video for “CONTROL“, one of the songs from his forthcoming album PRESENT, due for release on April 8th. The video, filmed and directed by Scott Mealey in Waterloo Methodist Church in Liverpool, shows Paul performing the song against a backdrop of historic imagery of troubling events and strife, courtesy of TechNoir. Of special note is that Paul is playing his beautiful 1965 lime green Framus guitar, once owned by The Teardrop Explodes frontman Julian Cope, which he purchased in a broken state and lovingly restored. Paul, who has struggled with PTSD and addiction, states that the song is a confrontation of fear, and a reminder of the power within us all to overcome those fears. For the recording of the track, Paul played the blistering guitars, haunting piano keys and sweeping synths, Jim Duncan played additional guitar and Steven Burkert played drums.
The Ocean Beneath is the electronic music project of Leeds-based musician, composer and producer Matt Burnside. Influenced by bands such as Gunship, HVOB and Talk Talk, he combines 80’s synthpop elements with modern recording techniques, analogue synthesis and huge melodic grooves to create music that sounds retro, yet fresh. Like many electronic artists, he often collaborates with other musicians and vocalists, and has released a sizable amount of terrific music, some of which I’ve reviewed previously. His enchanting collaborative single “Skin”, with Leeds-based singer-songwriter and electronic musician Fran Minney, earned a spot on my Top 100 Songs of 2020 list.
Lines of Flight are a Leeds-based dreamwave/synthpop/electro-folk duo comprised of Matthew Henderson and Helen Whale. They started collaborating as strangers at the beginning of the lockdown in March 2020, recording songs using only iPhone handsets & headphones. Their sound is influenced by Depeche Mode, Joy Division, OMD, Gary Numan, The Cure, New Order and Eurythmics, all acts who are also strong influences for IAMWARFACE. In the two years since they began, they’ve released 10 singles. Their latest single “Strands“, a collaboration with The Ocean Beneath, is their eleventh.
The origin of “Strands” began as a series of 20 tweets written by Matthew starting around Christmas 2019 and continuing through 2020 and 2021, about his personal struggles, painful memories of the loss of his father that seemed to cast a pall over every Christmas, the fact he was about to be a father for the first time, and the value of music to help him get though it all. After publishing them as one coherent piece he named “Strands” in December 2021, The Ocean Beneath urged Matthew to record these tweets as a spoken word piece. Together, The Ocean Beneath and Lines of Flight then composed a hauntingly beautiful ambient instrumental to go with the written piece. There are two tracks, the first with Matthew’s spoken vocals, and the second an instrumental-only piece.
As some of my regular readers and Twitter followers know, my recent bout of serious burnout caused me to decide, for the second time in six months, to quit writing music reviews. The fact that I actually do not enjoy writing, combined with a relentless and often overwhelming flood of submissions and requests for reviews from artists and PR firms, have time and again caused me tremendous anxiety and stress. On the other hand, I do enjoy lending support to indie artists and bands who follow me on social media in whatever small ways I can. Obviously, giving them a bit of press is an important part of that support. I’d like to continue doing so, but the challenge is finding a way to accomplish that without burning myself out again.
In order to continue featuring new music, I’ve decided to resurrect my ‘Fresh New Tracks’ series, which has been on a hiatus since I last wrote one in October 2021. For the series, I feature three or four new songs by various artists, with a few paragraphs about each one, rather than a full-blown review. Though they were generally well-received, I got the sense that some artists were not happy sharing the limelight with other artists or bands. But as more than a few musicians have told me, artists and bands should be grateful for any press, especially when I’m giving it to them for free.
Also, many of my reviews tend to be rather wordy and long, and being a slow, meticulous writer, they take me quite a while to get done. This seems to be a counter-productive approach in this day and age, where most people have the attention spans of a gnat. Although most artists and bands love when I write extensive and detailed reviews of their music, I’m guessing that few people actually read those long reviews in their entirety. Therefore, a short, concise description of each song would seem to be more appealing to a lot of readers who are pressed for time. With that in mind, I will make a valiant attempt to write a Fresh New Tracks post each week going forward. Today I’m featuring songs by three outstanding rock bands with great names from the UK, two of whom, Amongst Liars and FloodHounds, I’ve previously written about, as well as one that’s new to me, Mount Famine.
AMONGST LIARS – “Cut It”
Photo by Duncan Tyler
Hailing from Brighton & Eastbourne, Amongst Liars play a fiercely aggressive style of melodic hard rock, forged from a powerful trifecta of alternative rock, grunge and punk. Comprised of Ian George (lead vocals, guitar), Leo Burdett (guitar, backing vocals), Ross Towner (bass, backing vocals) and Adam Oarton (drums), they formed in September 2019 from the ashes of two successful previous bands – Saint Apache and Katalina Kicks. Not only are they all highly accomplished and talented musicians, they’re nice guys too. Ian in particular has been very supportive of me and my blog, which of course makes me a loyal fan who’s more than happy to support them as much as I can.
I first learned about them in early 2020, and was immediately blown away by their explosive debut single “Over and Over”. In the two succeeding years, they’ve followed with six more outstanding singles, many of which I’ve reviewed on this blog. Their latest is “Cut It“, a clarion call for people to stand up to abuse in all its forms. While they don’t consider themselves a ‘political’ band, Amongst Liars are not afraid to tackle some of the biggest socio-political issues of the day, including war mongering for financial gain, poverty, greed, fake news, deceitful politicians, election fraud, human rights abuses and climate change, and they’ve been outspoken advocates for social justice on several of their songs. About “Cut It”, the band explains: “These are difficult times behind many closed doors – words and actions can cause a lifetime of damage. Speak up for those being abused and bullied, and be kind – always.“
The song is a ripper, overflowing with the signature searing riffs and pummeling rhythms we’ve come to love and expect from Amongst Liars. Then there’s that droning bass riff by Ross, creating a menacing vibe that chills us to the core. Ian has a beautiful singing voice that turns deadly when he needs to get his point across: “This violence bleeds silence, bleeds silence / Pray, lead us astray! Pray, just cut it!” I love the dark video, which shows the band performing the song surrounded by curtains of sheer fabric, creating powerful feelings of suffocating claustrophobia. “Cut It” will be included on their forthcoming self-titled debut album, due for release July 8th.
FloodHounds are a terrific rock band from Sheffield who play a high-energy style of guitar-driven alternative rock, drenched in blues, punk and grunge influences. Formed in 2013, the band consists of Jack Flynn on guitar and vocals, Lauren Greaves on drums, and Anna Melidone, who replaced Joel Hughes on bass in summer of 2021. I’ve been following them for nearly six years, and they’re among the earliest bands I wrote about when my blog was still in its infancy, way back in October 2016 when I reviewed their excellent EP Look What You’ve Started.
In the years since, they’ve released numerous singles and a second EP Always in Sight, in 2019, and have toured extensively throughout the UK, including performances at the Isle of Wight and Liverpool Sound City festivals in 2019, as well as twice in Paris. FloodHounds remained active during the repeated lockdowns, putting out live streams and sessions for platforms such as Jagermeister, God Is In The TV Zine and Wentworth Festival, as well as self-producing a 10-track acoustic album. They also made the final shortlist of Record Store Day’s national video competition, and their innovative video for their single “Take It Too Far” garnered high placement at the London Music Video Festival 2020. Also in 2020, they released a brilliant single “Something Primeval“, a hard-hitting song about tapping into our inner resolve to survive in this world, which I also reviewed.
Now FloodHounds are back with “Panic Stations“, a stomping banger fueled by Jack’s jagged fuzz-soaked riffs, Anna’s grinding bassline and Lauren’s fearsome drumbeats. The biting lyrics call out those who spread lies and misinformation to sow fear and divisiveness, urging them to instead put their energy into trying to bring people together for a common good. “Panic Stations touches on the air of uncertainty we’ve all been labouring under“, explains Jack. “I wanted to write a song that echoed us roaring out of lockdown, and back into real life. The takeaway is that sticking together will serve us better than alienation and blind panic. It’s great fun to play live, it’s heavy but catchy, so people seem to really get on board with it.” In his arresting vocals, Jack emphatically implores “Give me something with meaning. And I will show you something to believe in. But if you just try and deceive me with all the lies that you hear blaring out your TV. It is your mission to heal division, so go and rally all the people who will listen.” It’s a great song.
Jack is also a photographer and graphic artist, and created the artwork for the single.
Mount Famine are a rather enigmatic post punk/synth infused indie rock’n’roll project based in Derby. From what I can tell, they formed in 2019, and according to their bio, their sound is inspired by 80s bands such as The Cure, The Psychedelic Furs and Pet Shop Boys (all of whom I personally love too), and 90s bands like Manic Street Preachers, Pulp & Suede, along with “the same desire to tell stories that produce the adrenaline-fueled highs of indie disco dancefloors.” They have no photos of themselves on any of their social media, and I was told by band member Martin Stanier that they’ve steered away from photos, wanting the focus to instead be on their music. They’ve released four outstanding singles thus far, beginning in January 2020 with “Faith”, followed that July with “Pulse”, then “Lost” in February 2021, and now “Distance“, which dropped March 11th.
Martin reached out to me about “Distance” after seeing posts of my recent Top 30 song lists on Instagram, thinking it would be to my liking. Well, he was correct, as it’s right up my alley. With it’s rousing, guitar-driven melody, swirling cinematic synths and exuberant dance groove, all creating a glorious 80s-influenced wall of sound, it’s exactly the kind of sound I love. The band says the song was written and recorded on an old Roland synthesizer and beaten-up drumkit, which gives it that wonderful vintage 80s feel. The lyrics speak to the speed of life, and how it passes by with the blink of an eye, a sentiment they beautifully capture in the frenetic video.
Alexis Gerred is an engaging and multi-faceted artist based in London, England. He began his career on stage, performing in productions of American Idiot, Our House, Dreamboats and Petticoats, The West End Men, and Rooms, but his true passion is for music and singing. I last featured him on this blog in November 2018, when I reviewed his wonderful debut album Alexis (which you can read here). Now, I’m pleased to share his new double single “Unbreakable“, featuring vocals by MiG Ayesa, along with “Mary Go Round“, a cover of the song originally recorded by The Struts.
“Unbreakable” was written by Gerred and produced by TylaJoe Connett, and is the lead single from his forthcoming EP, due for release later this year. The song features guest vocals by MiG Ayesa, the acclaimed Australian-Filipino singer and actor who’s performed on Broadway and London’s West End in such mega hits as Rock of Ages, Thriller Live, Annie, and We Will Rock You. It was Ayesa who’s responsible for inspiring Gerred to become an entertainer himself.
When Gerred saw his very first musical We Will Rock You, based on the career and music of Queen, in London’s West End and starring Ayesa, it was a revelation. He recalls: “I watched MiG Ayesa take to the stage and his delivery, passion and charisma flipped a switch inside me. Although I had never even attempted singing a note before, I knew I wanted to emulate him and follow a path that would one day see me up on that stage, too. I’ve followed his career and plucked inspiration from so many things he’s done. One that stands out in particular was his time on ‘Rockstar: INXS’ where I loved his rock ‘n roll style of showmanship.”
Having Ayesa record a song with him was a dream come true for Gerred, as not many artists get the opportunity to collaborate with the star who inspired them to make music to begin with. And let me state that the combination of these two talented and charismatic vocalists results in sonic fireworks. “Unbreakable” is the hardest rocking song Gerred’s ever done, and he really summons his inner beast to great effect, his raw vocals nicely contrasting and complementing Ayesa’s somewhat smoother vocal delivery. Musically, the song has an aggressive stomping groove and deliciously funky vibe reminiscent of the Red Hot Chili Peppers. I love the thunderous, driving rhythms and blistering guitars that hit full throttle in the bridge, highlighted by a screaming guitar solo that’s matched by note for note by the guys’ explosive vocal alchemy. Wow!
Collaborating on “Unbreakable” with Ayesa is even more meaningful given the personal nature of the song, which is based on a negative experience with a former acting agent. The song is about staying driven and focused on one’s dreams, an important message for many of us in today’s challenging, uncertain world. Gerred elaborates “This song is about resilience and determination. If I can inspire someone to take charge of their own lives and bounce back from adversity, that’s my goal.”
On his beautiful cover of the Struts song “Mary Go Round”, Gerred does great justice to the original, while making it his own. His vocals are a powerful combination of vulnerable and raw, beautifully conveying the feelings of pain and heartache of a broken relationship expressed in the poignant lyrics. “How long before my little pill starts kicking in. How long before your broken heart starts giving in? Here we go up, here we go down. Mary go round and round and round.”
It’s great to see Alexis Gerred back and sounding better than ever. Both “Unbreakable” and “Mary Go Round” are superb, and if the rest of the tracks on his upcoming EP are even half this good, it’s going to be a winner.
I had the honor of being a guest moderator for this past week’s Fresh On The Net, an independent music blog founded in 2009 by renowned BBC Radio 6 Music presenter Tom Robinson (you can check out the blog here). The mission of the blog is to help independent musicians find new listeners, and independent listeners find new music. Since its creation, Fresh On The Net has amassed a team of volunteers made up of music enthusiasts of all ages, and representing a broad range of tastes. I was invited to participate by one of the moderators tobisonics, a British-born and now Luxembourg-based electronic music producer and composer in his own right, who’s music I’ve previously featured on my blog a number of times.
Each week, Fresh On the Net creates a new inbox, or “Batch” along with a successive number, for artists and bands to submit a song for consideration. The inbox opens Monday morning, and remains open until 200 songs are submitted or by Wednesday evening, whichever comes first. The entire inbox is posted on the site as a Soundcloud playlist, so that artists and music fans can listen to the submissions. The team of moderators listen to every single track, and each one chooses their five favorite songs, as well as any additional tracks they especially like. After the total scores are compiled, the top 25 tracks are published as a Listening Post on Friday morning. Anyone can vote for their five favorites from that list of 25 tracks. Those votes are compiled Sunday night into a Fresh Faves list of 10 tracks, which are then reviewed by one of the site’s moderators the following week.
For this week that I participated – Batch 438 – there were a total of 170 songs submitted, the majority of them by British artists and bands, as to be expected. It was a daunting task to listen to all 170 songs, and I have to say I was blown away by the high quality of the submissions. I went into this expecting to hear a few gems amongst a sea of mediocrity, but found exactly the opposite, as there were literally only four tracks I did not care for out of 170 (one of which was ultimately among the 25 finalists, so what do I know?). As EclecticMusicLover, my music tastes are both pretty broad, and fairly open-minded, meaning I generally like a lot of the music I hear.
I was pleasantly surprised to see a number of artists and bands I follow included in Batch 438, of which there were nine when I began listening to the submissions. As I listened to each track, I clicked on the artist or band’s Soundcloud page, then checked their Twitter, Facebook or Instagram accounts to learn more about them. To show them support, I “liked” their submitted song on their Soundcloud page, as well as their tweets about the song on Twitter, even commenting in cases where I really loved their songs. Well, that resulted in me gaining ten new Twitter followers!
To honor all the artists and bands that follow me who submitted songs for Batch 438, I decided to write this post and share their music. Because there are 19 artists & bands represented, and both my time and readers’ attention spans are limited, I won’t write a review of each song. I will simply name each artist in alphabetical order, along with a line or two about them and the Soundcloud link of their song. A few of these songs were my personal picks, but I won’t identify them, as I don’t want anyone to feel left out.
Alex Lipinski – “Long Way To Go” – Alex has been making music for several years, and counts Liam Gallagher as a fan, even singing Elvis Presley songs with him in his kitchen! “Long Way to Go” is from Alex’s forthcoming third album For EverythingUnder The Sun, and I loved it at first listen. Alex is a new follower of mine, and I’m a new fan of his!
Art Block – “Pilgrim” – Art Block is an alternative folk singer-songwriter and multi-instrumentalist from East London. A prolific musician, he’s been making beautiful music for several years, and has released multiple singles and EPs since 2015. We’ve followed each other on Twitter for over three years, and I’ve previously featured him twice on this blog. “Pilgrim” is a heartfelt tribute to his parents, who passed away many years ago, and features a lovely string arrangement by Jay Chakravorty, who also produced the track.
Barbara – “A Perishing Of Cherished Things” – Barbara is the music project of charismatic brothers Henry and John Tydeman, who are based in Brighton and Hove. Their sunny, uplifting sound is an anachronistic blend of – in their own words – “a bit of 70s US AM radio, a dash of English music hall, the effortless catchiness of a Broadway musical, a sprinkling of sequined power pop, luscious Disney strings and glorious golden harmonies. This past November, I reviewed their delightful song “Rainy Days in June”, and their latest single is every bit as charming.
Branwell Black – “Lay On Me” – Branwellis a beautiful young singer-songwriter, producer, dancer and model who creates mesmerizing alternative electro dance-pop/rock. Born in Oxford, England, raised primarily in France, and now based in London, Branwell’s strong creativity and imagination are evident in his exciting music. I reviewed “Lay On Me” just last month.
Chief Springs – “La Cienega” – Leicester six-piece Chief Springs was one of my new finds as a result of my moderator gig, and I couldn’t be happier! From what I can tell, they began as a two-piece, but expanded to six members a few years ago, and have been releasing music since 2020. I really like their melodic post-rock sound, and loved their latest single “La Cienega” at first listen.
Dictator – “Candlemaker Row” – Drawing inspiration from such acts as Gorillaz, Primal Scream, Alt-J, London Grammar and The XX, Scottish band Dictator create fantastic atmospheric alternative rock. Their submission is the Post Coal Prom Queen Remix of their hauntingly beautiful song “Candlemaker Row”, and it’s positively stunning.
flakebelly – “Trouble Don’t Heavy My Load” – flakebelly is a Scottish singer-songwriter and multi-instrumentalist, whose pleasing, eclectic sound is influenced by such varied acts as Syd Barrett, Miles Davis, The Smiths, Radiohead, The Beatles, The Cure, Led Zeppelin, Bert Jansch, Elliott Smith, Robert Johnson, Joy Division, Daniel Johnston and The Clash. “Trouble Don’t Heavy My Load” is a delightful and upbeat folk song of encouragement.
Gomrund – “Remove Disease” – Self-described genre-fluid knob-twiddler, maker of bleep-bloops and remixer ordinaire, Gomrund creates an incredibly eclectic range of music that truly transcends genres and styles. Though we’ve followed each other on Twitter for a while, I’m ashamed to admit that I haven’t explored his music very much. Hearing his song submission as part of this exercise has made me realize the error of my ways, which I’m now working to remedy. “Remove Disease” is five minutes of wonderfully trippy hip-hop for our earholes!
Holy Coves – “The Hurt Within” – Hailing from Anglesey Island in North Wales, psychedelic rock band Holy Coves was formed in 2005 by Welsh singer-songwriter Scott Marsden. The first single from their forthcoming third album Druids and Bards, “The Hurt Within” is brilliant, with a gorgeous soundscape of moody psychedelic guitars and driving rhythms, and I love Marsden’s powerful vocals.
HULLAH – “Chasing Trains” – HULLAH is a strikingly handsome London-based writer-producer, sound designer and half of the electro-pop duo Futuretape. According to his bio, he creates music “inspired by a passion for nightlife culture and stories from the queer community, and wrapped in the sonic flavours of trip-hop, 90’s house and synth-pop.” His submitted track “Chasing Trains” is breathtaking, with airy industrial synths, sparkling keyboards and captivating vocals, and I loved it the moment I heard it.
The JoJo Man Band – “Love” – London-based The JoJo Man Band is the brainchild of singer-songwriter Nick Woodgate, with assistance by Tim Maple on guitar and Accy Yeats on guitar. Together, they make a quirky and upbeat style of what they call “semi-psych alternative pop”. Their submitted track “Love” has a fun, bouncy cadence that calls to mind the 80s hit “Our House” by Madness, only more psychedelic. I like it a lot!
Lee Switzer-Woolf – “Bat Roost” – Lee Switzer-Woolf is a singer-songwriter from Reading, and “Bat Roost” is from his debut album Scientific Automatic Palmistry, which he released February 7th on All Will Be Well Records. It’s a pleasing folk-infused alt-rock song about mental well-being, at the end of which Lee ponders “When I lose my mind. We will be happy.“
Morganway – “Come Over” – Female-fronted six-piece Morganway are based in Norwich, and play an arresting brand of Americana rock. Since the release of their debut self-titled album in 2019, they’ve garnered widespread critical acclaim and a growing fanbase. Their latest single “Come Over” is a powerful and bluesy stunner, with fantastic guitar work and gorgeous six-part harmonies.
Native Tongue – “CROW’S NEST” – Native Tongue is an alternative rock duo based in Bournemouth and Brighton, and from what I’ve been able to determine, consists of Nathan Evans on lead vocals and guitar, and Arron Bennett on drums. “Crow’s Nest” is from their debut EP Hiding In White Light, which they released last month, and is darkly beautiful and haunting. Nathaniel’s enchanting vocals remind me a bit of Robert Smith’s, and in fact, the song sounds like a song The Cure could have recorded.
NAVE – “Let Me Be You” – NAVE, aka Nathan Evans, is a prolific songwriter, music producer and multi-instrumentalist who creates gorgeous music incorporating elements from an array of styles and genres including alternative electronica, rock, ambient, trip-hop, orchestral and dark wave. He’s also a member of Native Tongue, profiled above. NAVE recently composed the music score for the British indie film English Dogs, and is currently working toward syncing his music on more upcoming TV/Film projects. “Let Me Be You” is from his EP This Is Hell, which was released in December, and is a dark and mesmerizing track.
Noodle Beard featuring Hannah Reem – “Deception” – Okay, I’ll be honest and reveal up-front that this gorgeous song is my favorite out of this entire batch of 170 tracks. I was immediately struck by it’s mysterious cinematic vibe, and in particular Hannah Reem’s vibrant soulful vocals that remind me of Shirley Bassey. Based in Portsmouth, producer and composer Noodle Beard makes trip-hop and ambient chilled music, and Hannah Reem is a popular personality in the Portsmouth music scene. “Deception” is Hannah’s second collaboration with Noodle Beard, and is about infidelity and the emotional complexities of making painful choices. The song is fantastic, and would make a great James Bond theme, no doubt about it!
Shyer – “Lame” – Hailing from Cambridge, Shyer are songwriting duo Amanda George and Zak Tysoe (although from what I can tell, they began around five years ago as a four-piece). Their infectious style of indie pop rock has won them airplay on BBC 6 Music’s Fresh on the Net and BBC Introducing Mixtape, as well as on Amazing Radio, and in July 2018, they won ‘Best Indie Act’ at East Anglia’s NMG Award. “Lame” is from their new EP Still Life, released on February 25, and is chock-full of fuzz-coated jangly and twangy guitars and driving rhythms, highlighted by Amanda’s resonant vocals.
Steve Peck – “FXpective” – Steve Peck (aka St3v3L33) is a prolific composer, producer and saxophone player from West Sussex who makes fascinating and eclectic instrumental music incorporating a dizzying array of elements ranging from house, trance and techno to blues, jazz and dance. “FXpective” is a trippy, brooding affair, with spacey industrial synths and crunchy percussion, over which Steve overlays bleating sax notes. It’s a brilliant track.
Young Decades – “Man On Mars” – Last, but certainly not least, is Young Decades, a favorite of mine who I’ve previously featured three times on this blog. Comprised of James Tidd (vocals), Scott Harvey (guitar, keyboards), Liam Downey (bass) and Lee Cameron (drums), the various band members are scattered about the Midlands and North West England. Their music is melodic and beautiful, characterized by exuberant cinematic synths, driving rhythms, stellar guitar work, and James’ soaring impassioned vocals. I’ve loved every one of their songs, and “Man On Mars” is yet another in an unbroken string of superb singles.
Plains of Silence is a progressive/post-rock act based in Lincolnshire, England, and comprised of the very talented double threat of songwriter and multi-instrumentalist Rick Whitehead and bassist/guitarist Geoff Standeven. The busy duo have also been active with other bands and music projects both in the past and present. Both were members of alt-rock band The Saboteurs (who I’ve previously written about and are now on hiatus). Rick also records music under his music project Sparralimb, and was previously a member of now defunct rock band Tripswitch, while Geoff also plays bass with metal rock band Sleepless.
As Plains of Silence, Rick and Geoff create exquisite instrumental compositions that incorporate elements of progressive, alternative, grunge and metal rock. Rick plays lead guitars, keyboards/synths and drums, while Geoff plays rhythm guitar and bass. Last August, they released their debut single “Jeremiah”, a darkly beautiful 8-minute, 40-second long tour-de-force of melodic guitars, meandering rhythms and cinematic crescendos. Now the guys are back with their debut EP Archangel, which they’ve released on Bandcamp. The EP will be available beginning March 4th on all major streaming sites.
Archangel features “Jeremiah”, along with four new tracks, each of which sounds uniquely different and most of which are fairly long, running well over five minutes. Kicking off the EP is the gorgeous title track “Archangel“, which Geoff told me is dedicated to all mums everywhere, and in particular his own mum who’s currently battling cancer. He said he wanted to write something from the heart that people could connect with, and after listening to the track, I think he’s succeeded quite nicely. The song begins with a somber but lovely acoustic guitar riff, backed by a rather mysterious gravelly background synth of some kind that provides a fascinating contrast with the haunting guitar notes. Two minutes in, the music expands into a glorious and almost spiritual Pink Floyd-esque soundscape, with shimmery guitars, throbbing bass and emphatic drumbeats.
Plains of Silence switch things up on the next track “Redded“, a moody rocker with a blend of grungy and melodic riffs layered over a strong driving rhythm. Rick lays down a tasty psychedelic guitar solo in the bridge, before the song fades out. This is followed by “Jeremiah“, which I think is my favorite track on the EP. As I alluded to earlier, the song is a monumental tour-de-force and a feast for the ears. The song starts off with a simple but arresting acoustic guitar riff lasting slightly over a minute, at which point it’s joined by a rhythm section of subtle bass and measured drums. Soon, the guitar becomes more intricate and melodic up to around 3:45, when the tempo increases with edgier riffs and more forceful drums and bass. The instrumentals continue to build until everything erupts into a dramatic crescendo of grinding gnarly riffs, pummeling bass and assertive, military-style drumbeats that transition to a barrage of thunderous percussion. The music calms back down to just strummed guitar and thumping drumbeats for the final minute as the song ends on a somber note.
As its title would suggest, “The Saint of Killers” is the darkest, most intense track on the EP, with strong progressive and alternative metal underpinnings. Much of the song features a furious barrage of grinding buzz saw riffs, crushing bass and explosive percussion, interspersed here and there with brief interludes of beautiful chiming guitar notes and subtle drumbeats, all of which serves to create a powerful and sonically fascinating track.
The final track “Starlight” is a wonderful melodic rock song, highlighted by Rick’s impressive guitar work and Geoff’s gorgeous driving bassline. The first two-thirds of the song is hard-hitting, with an onslaught of heavy riffs, bass and drums. But at around 3:45, the tempo abruptly changes to a serene, contemplative mood, with lovely strummed guitar notes and ambient natural sounds of birds chirping in the breeze all that we hear. It’s a fine, soothing close to the EP, ending it as it began with the first notes of “Archangel”.
Archangel is a stellar EP, and a testament to the creativity and talents of these two musicians Rick and Geoff. Anyone who’s a fan of progressive rock or alternative metal, delivered with outstanding musicianship, will enjoy this record.
Irish post-punk band Fontaines D.C. (the suffix D.C. in their name stands for Dublin City, to distinguish them from L.A.-based alt pop-rock band The Fontaines) formed in 2017, but it wasn’t until summer of 2020 that I learned about them, when I heard their mesmerizing single “A Hero’s Death”, from their brilliant second album of the same name. I loved it at once, and after listening to the entire album, I became a fan of this exceptional band. Comprised of Grian Chatten (vocals), Carlos O’Connell (guitar), Conor Curley (guitar), Conor Deegan III (bass), and Tom Coll (drums), Fontaines D.C. met while students at the British and Irish Modern Music Institute in Dublin, and bonded over their common love of poetry. They began recording and self-releasing singles, as well as performing locally, and were ultimately signed to Partisan Records in 2018.
Since the release of their debut album Dogrel in 2019, Fontaines D.C. have garnered widespread critical acclaim as one of the best bands making music today. The album was named Album of the Year on the record store Rough Trade’s website, voted Album of the Year by presenters on BBC Radio 6 Music, and nominated for both the Mercury Prize and the Choice Music Prize. Their second album A Hero’s Death, which was written and recorded in the midst of extensive touring for Dogrel, was nominated for Best Rock Album at the 2021 Grammy Awards, losing to The Strokes’ The New Abnormal. They just released their darkly beautiful single “I Love You“, which I love so much, I’ve chosen it as my latest Song of the Week.
The song is the second single from the band’s forthcoming third album Skinty Fia, due for release April 22. The album’s interesting title translates to “the damnation of the deer” in English. Fontaines D.C. bassist Conor Deegan III further elaborates about the band’s intent: “The Irish giant deer is an extinct species, but ‘skinty fia’ is also used as an expletive, in the way you’d say ‘For fuck’s sake’ if you bang your arm on a table or whatever. We just thought there was something really beautiful about that, because it’s representative of Irish culture in some sense. We were interested in the idea of something really precious or sentimental and attached to family, but also something that’s been taken away from us. Which doesn’t mean we can’t cherish it.”
“I Love You” follows lead single “Jackie Down The Line” which was released a month ago, and is described by band frontman Grian Chatten as “the first overtly political song we’ve written”. In one sense, it’s a love song to their home of Ireland. Chatten, along with the rest of the band, relocated from Ireland to London to further their music careers, and the first two verses of the song address his guilt at becoming successful and leaving his beloved homeland. He explained to Rolling Stone: “I’m in a position there where I’ve made something of a career from trying to connect with and render the culture and country that I come from and try and express it, [and] in doing so, understand it myself and help other people understand it. [But] I’ve moved from that country, and I’m now living in a country that is responsible for a lot of the chaos in the country that I’m from, that still kind of looks down on that country. I feel guilty for having left. I feel like I’ve abandoned Ireland to some extent. Not that it can’t survive fine without me, but I feel like I’ve taken all this crap from it creatively, and then I’ve just left. I have this kind of strange feeling of guilt toward my leaving of Ireland.”
But the song also speaks to Chatten’s seething anger and disappointment over the current political climate in Ireland – expressed in the lyrics condemning two of its major political parties: “I will tell them ’bout it all / About the gall of Fine Gael and the fail of Fianna Fáil“- as well as one of Ireland’s grimmest historical atrocities, namely the decades of tragic brutality at the Tuam Mother and Baby Home in Galway, where a mass grave containing the remains of 800 babies was later discovered decades after the home’s closure. He rebukes both those responsible for the atrocity, as well as those who turned a blind eye, which he references in the scathing words “This island’s run by sharks with children’s bones stuck in their jaws.”
Musically, the song is gorgeous and brooding, opening with Conor Deegan III’s somber bass riff, which is soon joined by a glorious mix of O’Connell and Curley’s shimmery and jangly guitar notes reminiscent of The Cure. As Chatten begins to sing “I love you, I love you, I told you I do” in his signature captivating drone, the music expands with Tom Cull’s assertive thumping drums, keeping perfect rhythm with Deegan’s immaculate bassline. A little past the two-minute mark, the song turns darker, with heavier instrumentals and an intense repetitive drumbeat to match the rising anger in Chatten’s vocals, in which he practically spits the bitter lyrics, eliciting chills in the process.
I love you, I love you, I told you I do
It's all I've ever felt, I've never felt so well
And if you don't know it, I wrote you this tuneTo be here loving you when I'm in the tomb
I've eddied the heart now, from Dublin to Paris
And if there was sunshine, it was never on me
So close, the rain, so pronounced is the pain
YeahWell, I love you, imagine a world without you
It's only ever you, I only think of you
And if it's a blessing, I want it for you
If I must have a future, I want to with you
Systеm in our hearts, you only had it before
You only opеn the window, never open up the door
And I love you, I love you, told you I doSelling genocide and half-cut pride, I understand
I had to be there from the start, I had to be the fucking man
It was a clamber of the life, I sucked the ring off every hand
Had 'em plying me with drink, even met with their demands
When the cherries lined up, I kept the spoilings for myself
'Til I had thirty ways of dying looking at me from the shelf
Cloud-parting smile I had, a real good child I was
But this island's run by sharks with children's bones stuck in their jaws
Now the morning's filled with cokeys tryna talk you through it all
Is their mammy Fine Gael and is their daddy Fianna Fáil?
And they say they love the land, but they don't feel it go to waste
Hold a mirror to the youth and they will only see their face
Makes flowers read like broadsheets, every young man wants to die
Say it to the man who profits, and the bastard walks by
And the bastard walks by, and the bastard walks by
Say it to him fifty times and still the bastard won't cry
Would I lie?I love you, I love you, I told you I doIt's all I've ever felt, I've never felt so well
And if you don't know it, I wrote you this tune
To be here loving you when I'm in the tomb
System in our hearts, you only had it before
Echo, echo, echo, the lights, they go
The lights, they go, the lights, they go
Echo, echoSelling genocide and half-cut pride, I understand
I had to be there from the start, I had to be the fucking man
It was a clamber of the life, I sucked the ring off every hand
Had 'em plying me with drink, even met with their demands
And I loved you like a penny loves the pocket of a priest
And I'll love you 'til the grass around my gravestone is deceased
And I'm heading for the cokeys, I will tell them 'bout it all
About the gall of Fine Gael and the fail of Fianna Fáil
And now the flowers read like broadsheets, every young man wants to die
Say it to the man who profits, and the bastard walks by
And the bastard walks by, and the bastard walks by
Say it to him fifty times and still the bastard won't cry
Would I lie?
The dramatic, beautifully-filmed video was directed by Sam Taylor, and shows Chatten strolling through a dark, candle-lit church as he sings the first few verses. Two minutes in, he abruptly turns to face the camera, whereupon he launches into his scathing attack on the things that infuriate him about the country of his birth. By the video’s end, blood can be seen issuing from his chest.
I recently learned about Philadelphia-based singer-songwriter Rick Sabatini when he reached out to me on Facebook about his album There Goes the Van Man. Released on New Year’s Day, the album features nine wonderful tracks with lighthearted relatable lyrics addressing the emotional minefields of romantic entanglements and responsibilities of young adulthood. It’s his second album, marking an eight-year span since the his first release Album 1 Demos back in November 2013. A delightful collection of lo-fi acoustic songs, Album 1 Demos is available for free download on his Bandcamp account.
Rick, who’s also been a member of The Band Sheep for the past several years, told me he composed most of the the songs for There Goes the Van Man five or six years ago on his iPad, but didn’t have the money to properly record it in a studio at the time. So, he started his own business doing painting and carpentry to earn money to fund the record, as well as earn a living, since he’d gotten married and had a child along the way. He finally recorded the album in a studio with the help of session musicians, and the result is a really enjoyable and well-crafted work.
Rick’s pleasing, highly accessible music can generally be described as indie pop with elements of folk, rock and jazz, and characterized by catchy melodies, lots of great guitar work and his endearing laid back vocals. The album opens with “At Your Service“, a sweet song about finding romance while working at a shoe store: “Just another day at the shoe store, the meet and greet, the fit your feet and send you out the door. Some of them I know by first name, and last name too. / If there’s anything that I can do for you baby, I’m at your service like a godat your church while you’re preachin’.”
Next up is “Van Man“, a terrific auto-biographical song about Rick that also serves at the de-facto title track, given its refrain “There goes the van man.” He croons about his workday routine “I was the van man today, I took the van real far away. I did stuff and got paid. I brought something that I made. I blasted sports radio. That’s just the way that I go when I’m driving down the open road.” The song is fantastic, with a wonderful, breezy melody and lots of cool instruments like organ, banjo and exuberant sax, adding nice Americana and jazz elements, as well as incredible texture to the overall sound. If all that’s not enough, there’s also a great guitar solo in the bridge too.
“The Office” is a fun Americana song with a lively piano-driven melody and more of that great banjo. The cheeky lyrics speak to the drudgery of working at a dead-end office job: “I don’t like to drive when it’s dangerous. Roads are pretty treacherous, but the boss man, he doesn’t give a shit. He says ‘I want you in’, well if I crash would you pay for it? I’m desperate, strapped for cash, and I can’t afford another accident. It’s a lot to risk, just to waste my day away in the office.“
On the bouncy “Tax Return“, Rick sings of the joys of finally being able to treat his girl to a nice evening out, now that he’s gotten his tax refund: “Baby relax I got my tax return. Girl let’s go out, I got some cash to burn. We’re gonna find somewhere nice to eat. The government paid me real good this week.” The musical highlights of the track are the great bassline, guitars, organ and piano keys, and I love the vocal harmonies.
One of my favorite tracks is “Talk to Me“, with its smooth and sophisticated jazzy vibe. I love the intricate, funky guitars, cool keyboards and subtle snare drums, but for me the biggest highlight are Rick’s lovely soothing vocals, backed by gorgeous Beach Boys-esque harmonies. This song really showcases his strong songwriting, musicianship and vocal abilities. “Colleen” is another great song, opening with a gospel-like organ riff and Rick’s voiceover speaking as an airline pilot to a plane full of passengers. That wonderful organ riff continues throughout the song, serving as its driving force and overlain with guitar, strings, sax and crisp percussion. Rick sings to a woman named Colleen of his desires for her affection: “Colleen, I might not be your man right now, but someday I will.“
“Devils” is a fascinating track, and much darker than the other songs on the album. Musically, it has a languid trip hop beat, with spooky synths, somber piano keys and skittering drumbeats, and in the background can be heard a man’s voiceover, speaking about LSD. It all serves to create an unsettling vibe. Rick’s vocals, which remind me of Mark Foster of Foster the People on this track, have a sense of sad resignation as he laments about trying to overcome drug addiction, or possibly a relationship that’s falling apart because of a partner who’s either addicted to drugs or cheating on him: “I’m trying to quit the devil, but he’s got his grip so tight on me it’s hard not be deceived and made of fool of. Well I’m wrestling with the devil. It’s not something that I’m proud of, but do you have to be so loud in the restaurant? I’m just trying to get back to normal.Well I caught you with the devil. You smelled like his cologne. All those moments you were alone, his smoky breath, the telephone. I thought we were getting back to normal.“
On the upbeat “Principal Problems“, Rick sings from the perspective a high school kid frustrated with his principal, who’s trying to make him quit his aggressive behavior that’s earned him a reputation as a tough guy on campus: “I’m gonna punch my principal in the face, if he tries to stop my fight with Tony Robinson./ You’ve got an occupation, I’ve got a reputation to hold up.” And on the delightful album closer “Tel Aviv Blues“, he sings of a woman he loves and how her ambivalence is making him crazy: “At night I’m wonderin’, about what you’re doing. You’re my baby, but only in my dreams. Only kissing me when I fall asleep. I told my best friend, a real good Christian, he said ‘You don’t need her love, you need the Lord’. But the Lord ain’t never kissed me good before. I’m back to drinkin’, I’m tryin’ hard to rid you from my mind.” The song has a lively Southern rock feel, with a colorful mix of twangy guitars and banjo, accompanied by swirling organ, sax and a great toe-tapping rhythm.
There Goes the Van Man is a marvelous album, and I’m so glad Rick reached out to me about it. He’s a talented guy who knows his way around a song, and here he delivers nine superb tracks. Each one is different from the next, a testament to his eclectic sound and the quality of his songwriting. This album needs to be heard by as many people as possible, and I hope some of my readers will enjoy it as much as I do.
One of my favorite humans on the planet is Marc Schuster, who’s not only insanely creative and multi-talented, but also incredibly generous, funny and kind. I first got to know him several years ago through blogging (he has a terrific WordPress blog called Abominations), and he’s been among the most consistently loyal supporters of me and my blog.
A true renaissance man, Marc is an educator, author, literary critic, songwriter, musician and even a pretty decent visual artist. In addition to teaching English at Montgomery County Community College in southeastern Pennsylvania, he’s written several books, scripts for two short films, and numerous book reviews. He’s also a prolific musician, writing songs and recording music both as a solo artist and as part of multiple music projects. In just the past six months, he’s not only released several of his own singles and EPs, but also recordings by The Ministry of Plausible Rumours, a joint project with his cousin Vincent Zabielski, who put out a terrific album Summer Again last October, an outstanding improvisational instrumental album Simmons and Schuster that he made with fellow musician/educator Tim Simmons (you can read my review of that album here), and the single “In the Pink” by his collaborative music project Plush Gordon this past December.
Though Marc likes to experiment with different sounds, styles and textures, most of the songs he records as a solo artist have a delightful, indie bedroom-pop sensibility. Not only are his songs infectiously catchy, he has a wonderful knack for putting a youthful, often tongue-in-cheek perspective on everyday situations and problems many of us have faced at one time or another. On his new EP There Is No Down, which dropped February 2nd, he delivers five optimistic tracks (actually four plus an acoustic demo of one of them) assuring us that, no matter how crappy things may seem at the moment, there’s always reason to celebrate. For the recording of the EP, he was assisted by Paul Sanwald and Tim Simmons, who I’m guessing played piano.
Case in point is the trippy opening track “Funky Underpants“, wherein ‘funky’ refers to colorful and fun, not, well, you know… Over a languid bass-driven groove, Marc layers some lovely shimmery guitar notes and thumping drumbeats to create a jazzy, psychedelic backdrop for his dual auto-tuned vocals, half of which sound like Mick Jagger. He sings of wanting to pull himself out of the doldrums by letting loose in a pair of funky underpants: “Wishing I could dream, dreaming I could fly. Waiting on a world where we never die. I could be a saint or I could live in sin. I could live forever if my life would just begin. I want to sing. I want to dance. I want to wear a pair of funky underpants. I’ll take a drink. I’ll take a chance. I’ll take the world on in my funky underpants.”
Along a similar vein, “Feel Free” explores misbehaving, even if just for the night, in order to have a bit of fun: “Everyone says we should know better, but I never could tell wrong from right. Let’s hit the town like we won’t remember it. Let’s disappear into the night. I’m up to no good, and you’re just as bad. This could be the best time I ever had. I’m looking at you, you’re looking at me. Is this what it’s like to feel free?” Musically, the upbeat song has a bouncy pop-rock sound with a lively mix of jangly and fuzzy guitars.
“All We Are” has more of a rock vibe, with Marc’s marvelous fuzz-coated reverby guitars taking center stage. On this song, his vocals sound a bit like the late, great Tom Petty as he sings about the impermanence and brevity of our lives on this earth, and that we might as well make the best of things while we’re here: “The clouds roll in. The seasons change. We disappear. The world remains. All we are is right now.”
I think my favorite song on the EP is “Elevators“, a bittersweet piano-driven affair. I love the melancholy but beautiful piano keys, and the electric guitar solo in the bridge is superb. The lyrics speak of reminiscing about what seemed like simpler, more innocent times, yet not wanting to wallow in the past, but instead remain hopeful about the future: “So keep the fire burning to get us through the night. The wolves are creeping closer, but I think we’ll be all right. We used to ride in elevators, look down on the world below. We used to ride in elevators though we had nowhere to go.”
The fifth track “All We Are (Demo)” is an acoustic version of the third song on the EP, with only Marc’s gentle vocals and guitar. The spare treatment of the song nicely fits the simple and direct message expressed in the lyrics: “All we are is right now.” It’s a fitting finish to a lovely little EP.
KÅRP is a rather enigmatic band based in Gothenburg, Sweden who make fascinating electronic music they describe as “death disco”. Fronted by breathy-voiced singer Anna-Maria Lundberg, their dark, ethereal sound has been compared with fellow Swedish acts The Knife, Kite and Lykke Li. Their love for the paranormal, outer space and the apocalyptic state of current affairs are recurring themes in both their music and lyrics. They released their debut single “Therapist^2” in 2017, followed by several more singles that culminated in the release of their beautiful self-titled debut album KÅRP in 2019. They dropped the single “Left Handed” in 2020, then in December 2021, they released “It Looks Bad”, the first single from their planned triptych of EPs to be released throughout 2022. The first of the three EPs KRIS, released on January 27, is the subject of today’s review.
The triptych series are intended to represent the three stages of the apocalypse: Chaos, Silence and the New World Order. KRIS explores the downfall of society, with all it’s attendant chaos and disorientation, and thus sounds the darkest of the three. KÅRP elaborates: “The world is burning. The police are shooting innocent people to death. Natural disasters and wars are forcing families to flee for their lives. The barbed wire gets sharpened by the wealthy nations’ borders and a pandemic is closing our societies down in a way that’s never been seen before. We started working on this trilogy after the release of our debut album in 2019. At that time you could sense the downfall like a darkness at the end of the tunnel. We soon realized that the apocalypse was already here. That’s why the first leg of this triptych of EP’s is pretty dark sounding. The next one will be slightly more mellow. And on the last one, we’re allowing ourselves a few major chords and some hope.“
The EP opens with the enchanting title track “Kris“, relatively brief piece that seems to serve as an introduction to this first installment of the triptych. KÅRP layers skittering eerie synths over a undulating synth bass groove to create a lovely but unsettling backdrop for Anna-Maria’s bewitching ethereal vocals. As its title suggests, things turn decidedly darker on the next track “It Looks Bad“. The harsh industrial synths are both spooky and beautiful, hovering over a powerful beat and heavy, pulsating rhythm, nicely conveying a sense of global upheaval. Anna-Maria laments to her child of the impending chaos and uncertainty that’s about to turn their world upside down: “Oh sweetheart, what to do with your pictures from school. The butterfly collection and your wild diaries, the family tree.Bring out the matches ‘cuz nobody will be here. No more grounds to stand on, nothing to grow here.”
I can’t quite make out the meaning of “Humdrum“, but it’s a sonically gorgeous track, with a colorful soundscape of intricate spacey synths, galloping beats and Anna-Maria’s fervent ethereal vocals. And on the marvelous “Honey Play“, KÅRP reaches deep into their sonic arsenal to produce a haunting, cinematic song befitting a soundtrack for an epic sci-fi or apocalyptic film. The sweeping industrial synths, powerful driving rhythms, and Anna-Maria’s soaring vocal harmonies are spectacular. The lyrics speak of standing up to dark forces trying to divide us: “I’ve already decided you can’t force me. You don’t understand all that matters. I’ve already decided you can’t force me. Youwant us to play under your division.”
I’m a big fan of electronic music, and KÅRP makes some of the most dramatically beautiful that I’ve heard in a while. KRIS is a stunning work, and I’m really looking forward to hearing the next two installments of their tryptich.
Jonny Ash is a wonderfully-named band from North Wales who make an exciting, hard-driving and melodic style of indie rock. Comprised of brothers Callum (lead vocals, guitar) and Dan Gaughran (bass), Peter Roberts (lead guitar) and Mike Jones (drums), their big, high-energy sound is influenced by some of their favorite acts like The Stone Roses, Thin Lizzy, Oasis, The Beatles and Jimi Hendrix. Formed only a year ago, they wasted no time getting down to business by releasing their fantastic debut single “We Are The People” in August, followed two months later by the ripper “Boys With Black Eyes”, quickly earning them recognition throughout the UK, and radio play on BBC Wales, XS Manchester and Amazing Radio.
Now the Wrexham four-piece are back with a rousing new single “Disco“, a banger of a tune the band states has already become a favorite among their fans. Though the song sounds nothing like typical disco, the band says its BPM is the same as actual disco music, however, most people hearing the song would never realize it as they fall in line with the driving beat. Band lead guitarist Peter Roberts elaborates: “We are really excited to release our new track ‘Disco’, as it’s one of our favourite tunes to play live, based on the interaction we get from our amazing crowds. It’s usually saved to the end of our set because of how well It goes down regardless of where we are playing.”
The song opens with Dan’s super gnarly bass riff, to which a nice tapping of Mike’s drumstick is added before the music explodes into a roiling barrage of grungy riffs, throbbing bass and pummeling drumbeats, all of which become even more intense in the choruses. Peter lets loose with a blistering guitar solo in the bridge, leaving no doubt this is anything but a disco song, but rather a full-on rock stomper. Callum has a terrific singing voice, with the perfect amount of sexy swagger the song requires.
Like many songs of the disco era, “Disco” is about having a good time and letting loose at a club, having drinks, dancing to hot music and flirting with people you’re attracted to. “I see you come in all the time. If I had three wishes, then I would make you mine. Come on get closer, get right in my face. I want to see you dancing all over the place. The bar’s still open, the night is only young. When you get home, say hi to your mom. / And I fell in love with you at the disco.“
“Disco” is a great track, and along with the guys’ two previous singles, showcases their impressive musicianship and skill for putting out solid rock songs. I’m happy to have learned about Jonny Ash, and look forward to hearing more from them soon.
ECLECTIC MUSIC LOVER 