Category: Reviews

Perro del Kaos – Album Review: “Ghost Town Riders”

On By EclecticMusicLoverIn Reviews11 Comments

One of the most imaginative, creative and intelligent artists I’ve come across in my nearly ten years of writing about music for this blog is Kristian Møller-Munar, a singer-songwriter, composer and animation artist of Danish and Spanish heritage. Born in Copenhagen, Denmark, but raised primarily on the Mediterranean island of Palma De Mallorca until the age of 12, when he moved with his family back to Copenhagen, Kristian had the good fortune to experience two rich cultures, which I think imbues him with a perspective and worldliness beyond his years. He later moved to London to attend university, but when the Covid pandamic hit, he left London and split his time between Copenhagen and Mallorca. For the past few years, he’s been living in Spain.

I first learned about Kristian in 2017 when he was based in London and a member of alternative indie pop/rock band From the Cave. I featured them and their delightfully eclectic music several times on my blog between November 2017 and April 2019, shortly after which they split up, much to my chagrin. Fortunately, he’s continued to record music as a solo artist, and over the past six years has released an astonishing eight albums, all of them ambitious works featuring anywhere from 10 to 23 tracks in a variety of genres, but primarily sung in Spanish. Exactly four years ago today, I reviewed his magnificent fourth album Caldo, an exquisite and loving tribute to his Spanish heritage, specifically, his mother’s homeland of Mallorca. That album contains an impressive 18 tracks.

Kristian’s latest endeavor is his solo music project Perro del Kaos (Spanish for “chaos dog”), under which he’s just released an album Ghost Town Riders. A truly monumental work, the album features a mind-boggling 27 tracks, nine of which run over five minutes in length! I normally dislike reviewing full albums on a good day, so when Kristian reached out to me about possibly reviewing Ghost Town Riders, needless to say I was a bit overwhelmed! My initial gut reaction was “how or where do I even begin to tackle such a massive work as this?” After giving it some thought, I decided to first have Kristian provide a little background about his inspiration for creating the album. Secondly, so as not to make myself crazy or bore my readers, I would only touch on a handful of tracks that are either my favorites or those I feel are important to the album’s overall narrative.

Here’s some of what Kristian provided about how Ghost Town Riders came to be: “Musically the album has been crucially influenced by an amazing group of collaborators I’ve had the pleasure of working with and alongside during 2024. I want to give a special mention to my friends Jo Hedegaard, Ekin Torner and Dilan Bohorquez, a group of kick-ass artists. Back in March 2024, Jo invited me to come alongside his self-funded punk-tour across Spain and Portugal to promote his film ‘The Great Grand Greatness Awards’. We travelled together for two weeks and I had the pleasure of listening to his awesome CD collection in the car. For hours every day we listened to records on the road, and in my opinion a car is one of the best places to listen to music. I think that experience instilled the idea of doing a “road trip friendly” album, something with a blend of rock and roll, blues, folk and music from the 60’s and 70’s.

In between the drives we spontaneously began doing some experimental film recordings on my phone, where Jo improvised a fictional alter ego character named “Palmer”. These raw recordings became the starting point for the punk/western “Peacehammer On The Flower Road”. As a side resuIt, I decided to launch myself completely into a new song project, with a key track (“Ghost Town Riders”) having its breakthrough moment on Ekin’s kitchen table. We were both drinking coffee and listening to random musical samples that I was putting together. The idea was to do a sort of unusual collage of sounds. A heavy metal riff, a bit of jazz double bass, some trap inspired beats, etc. A few hours later the same day I recorded the lead vocals in my bedroom. By the time the vocals were done I felt certain that this was something special. Particularly the lyrics “we sang the night away”, referencing my memory of many enjoyable nights with Jo at Copenhagen’s late night bodegas.

The following 10 days I wrote intensely from the bedroom in San Sebastian. Quickly songs like “Better Days”, ”Gold Fever” and “Poison” appeared. I remember doing the improvised vocal take on “Better Days” and shortly afterwards thinking, this might be one of the best songs I’ve ever written, but simultaneously feeling a bit careful of spoiling the magic. As the Christmas holiday closed in – I had to travel back to Mallorca to spend time with my family – I felt irritated because it seemed like this trip could potentially mess with the flow of the creative process. For the first time in a long time I felt like I might have a shot of completing a new album of songs. At one point, shortly after Christmas day, I had to accept the situation and the constant family plans, and almost mentally “let the album go”.

But then something unusual happened. One night I had a strange dream. I dreamt that I was suspended in the air surrounded by an intense white light. In the dream I received a sort of instruction or message that told me something like: “Don’t worry about the songs, your creativity, your ability or your inspiration. There is an infinite amount of songs that are contained within this light. And all the songs have already been written. They are all waiting here for you to use whenever you need them. They will be here in a day or in 10 years, the time doesn’t matter. You don’t have to struggle to get them. There is only one thing you need to do to access them.”

And then the dream followed with a simple but powerful realization: “All you have to do to access these songs is to let go of your skin. The idea of who you think you are.” In the dream it was like my skin fell off. And I felt an incredible amount of peace. The next day when I woke up I felt like all the irritation from the Christmas “interruption” was gone. And I no longer worried whether I was going to be able to channel something creatively. I felt as if everything would always be there waiting for me to be used.

From then on the songwriting picked up pace in an incredible way, and I was pretty much writing a new finished song a day. But most importantly, the process was so much fun. The last week of recording I spent shouting loud choir vocal stacks at my grandparents old village house. Singing “Rocket To Hell”, “Fire”, “Tunnel Lights” and “Canyon Of Dreams” in front of an old fireplace from the early 20th century.

I’m very proud of the album and I look forward to trying these songs live. I really feel they channel some powerful feelings. I’m grateful that I still get to write new music and to have had these powerful experiences. I want to reach out to anyone out there who feels like they are struggling with their artistic practice and I want you to know that you are not alone. I’m sure you will find a way forward and I hope you will find peace and discover your own way. Sometimes things turn out in unexpected ways, we get disappointed and discouraged. But there’s plenty of light out there and I hope that we all get to receive its beauty and power.“

I find it fascinating that a guy who grew up in Denmark and Mallorca, with a stint in London, would conceptualize an album with a theme partially set in the American Old West. But after all, Italian filmmaker Sergio Leone directed some of the finest Western films ever, including The Good, the Bad and the Ugly and Once Upon a Time in the West, so who am I to question? Kristian told me the American West concept was inspired by the “Peacehammer” movie universe, but also from listening to a lot of American music as a kid and watching Westerns with his grandparents.

Ghost Town Riders opens with the title track, a strange and sometimes chaotic five and a half-minute long fantasia that sets the overall tone for the album. Kristian’s mix of spoken word, chanted and sung vocals are accompanied by all sorts of sound effects and musical instruments ranging from guitars, horns and organ to gnarly industrial synths and tribal drumbeats. The lyrics cover a lot of ground, with him singing about friendships, familial and romantic relationships as the music and tempo continually change: “I was afraid to leave town, I was afraid to let you down. I thought you loved me before./ I’m not a fan of ghosts, ain’t never been a fan./ I’m sitting in the corner, and minding my own business. I don’t give a damn about any of your business./ Why don’t we call each other once in a while? I know you’ve been worried about the future and all the darkness in the world. But we can find a better way./ We sang the night away, and that’s a beautiful way to spend some time.”

One of my favorites is the second track “Gold Fever“, a cool song both musically and lyrically. I love the mysterious synths, twangy guitars, sharp percussion and tribal drums, all set to a hypnotic driving beat. The lyrics speak to man’s inherent greed and eternal quest for the precious metal of gold, which was a long-running theme that played out time and again in the development and exploitation of the American West: “The answer to the goal is always gold. Gold fever is always on your mind. And you cry at night because you’re out of cash./ Gold fever, it’s getting to your head./ We need gold to get more gold./ Such a sexy type metal. It’s heavy metal.” Kristian does a pretty good job singing like an old man with a quirky mix of a Western and Southern accent.

He’s also a handsome guy, but he’s turned himself into a scowling and rather scary-looking old man in his videos.

“Poison” opens with the provocative line “All aboard the bullshit train. Next stop, poison, Jersey and killer sharks…” before launching into a The Who-esque flourish that then segues into a deep bass riff reminiscent of “Bad Guy” by Billie Eilish. The song eventually settles into a discordant foot-stomping rocker, highlighted by some terrific Spanish guitar, aggressive percussion and lots of abrasive sound effects.

“Better Days” is a poignant and lovely folk rock song that sees Kristian reflecting on his experiences growing up and living in different countries, meeting and making friends and also seeing loved ones pass away: “You know that it’s difficult to grow up. You know it’s difficult to move away from home. But along the trip, we made some beautiful memories. I know you’re worried on your own. It’s been a long time since we hanged out. And these busy times they get to my nerves. Makes me sad to see people go, to see people die. Tomorrow is a better day.” The beautiful twangy Western-flavored and shimmery guitars make this another of my favorites on the album.

One of the more interesting tracks is the 6:45-minute long “Junkyard Tower“, a dark and at times otherworldly song that would make it a great candidate for sci-fi movie soundtrack. Halfway through, the music transitions from an exotic Eastern-flavored vibe to a hip hop-infused alt-rock song. The lyrics seem to describe someone who’s so totally cynical about life that he’s fully checked out: “I see myself as bad parent to my kids. Abandoning them. I see myself as a selfish person, taking advantage of my friends for my own personal interest. Love is not real. Friendship, I guess you can call it a benefit. Time, my most valuable asset. I’m not going to share it with anyone, but you. Junkyard tower. It’s a beautiful place. It’s the place I know. It’s the place I love./ Getting me out of the goldmine. Getting me out of the tough times. Getting me out of the lockdown.“

Another track that especially resonated with me is “Spotify“, a denunciation of the unfair and predatory practicies of the music streaming behemoth. Accompanied by just a solemn piano riff, Kristian laments: “Spotify, doesn’t pay me for my music. It’s been a long time like this, I can’t take it anymore. You might think it’s funny to be a musician living with your parents. And do some hard work on the things no one listens to. And then you don’t get paid. Music doesn’t have any worth./ We can make a change right now. End Spotify somehow.” I’m sure virtially all independent artists and bands would relate to this song.

“Fire” is an exilarating, hard-driving track with super grungy riffs, a chugging bassline and lots of distortion. I’m not certain what the song’s about, but I like it, plus the chaotic video’s a trip. Kristian repeats the line “Before the future runs over your head, shake it, shake it“, so one guess is that the lyrics allude to the general chaos of life.

“Canyon of Dreams” is a meandering and trippy six and a half-minute long tour de force that nicely showcases Kristian’s wild imagination and knack for incorporating a mind-blowing array of musical styles, textures and sounds into a single track. And on “The Tracks“, he once again employs several change-ups in tempo and vibe to create a compelling soulful song. And for the wonderful video, he uses some older footage from his time in England, including a few images of him and his former From the Cave bandmembers.

Kristian turns sentimental on the mellow, jazzy and poignant piano ballad “Someone New“, his vocals sounding world-weary as he plaintively croons to a former loved one now that their relationship has ended: “It’s just like we traveled through the darkest stars, the dark times. And you cannot keep up with that lack of trust./ It’s just like we belong in this world. And I know that you will find someone new.”

He closes out Ghost Town Riders on an upbeat note with “Dead or Alive“, a rousing, bass-driven romp with a garage rock feel, courtesy of frantic jangly guitars, insistent drums and even a bit of cowbell for good measure. The lyrics speak of a crazy woman who’ll stop at nothing to get what she wants: “She’s completely crazy, she’s out of her mind./ She wants to make out, dead or alive. And you might just as well be surprised. Be surprised. A tequila shot to the head, it’s a bloody mary massacre. You’re bleeding all over the bar. In Spain, there’s pain. Get it, get it, get me out of this place.”

Well, I think I’ve gone on long enough so in closing, all I can say is that Ghost Town Riders is an epic work showcasing Kristian’s vivid imagination, intelligent songwriting and masterful musicianship. I’ve long been impressed by his immense creativity and prodigious output, but he’s taken both to a whole new level here. While this album might not appeal to everyone, there’s no denying the incredible originality and thought that went into this thoroughly unique work. I’m quite fond of Kristian, and it’s been a joy to follow along with him on his musical journey over the past seven-plus years.

Fresh New Tracks, Vol. 41 – Cormac O Caoimh, DelCobras, The Kid and I, Ewan Patrick

On By EclecticMusicLoverIn Reviews23 Comments

For my latest edition of Fresh New Tracks, I’m showcasing terrific releases by four acts I’m especially fond of – Irish singer-songwriter Cormac O Caoimh, Philadelphia power pop band DelCobras, London alternative indie rock band The Kid and I, and Scottish singer-songwriter Ewan Patrick.

Cormac O Caoimh – “The Little Things”

Cormac O Caoimh is a talented singer-songwriter and musician from Cork, Ireland who writes incredibly pleasing indie folk/pop songs filled with sublime melodies and beautiful arrangements. His thoughtful, intelligent lyrics exploring the intricacies of life, love, hope and loss are delivered with fine instrumentation and warm, comforting vocals that remind me at times of Paul Simon. The prolific artist has released an impressive amount of music over the past 25 years or so (both with his previous band Citadels and as a solo artist), including seven outstanding albums, the most recent being 1999​-​2012 Vol. 1, an ambitious work released last May 2024 featuring 20 tracks, 10 of which were new recordings of older songs released between 1999 and 2012, whereas 10 were the original recordings of those same songs. I’ve previously reviewed three of his singles, most recently “There’s A Crack (Heart Attack)“ from that album that’s a reimagining of his song “Heart Attack”, from his 2012 album A New Season For Love. You can read that review here.

Now Cormac returns with a new single “The Little Things“, about which he explains: “Unlike many of my songs this is a true story and a happy one. It is about 2 people who have this massive soulful connection with each other but they do not tell each other. And they go through their lives savouring the small moments they connect – a chance meeting in town, a cup of coffee at work, etc. The happy ending is …they both die, and their ghosts hook up.” It’s a sweet and poignant song, with lovely instrumentals set to a gentle melody and accompanied by Cormac’s soothing vocals. The video features vintage footage of Fred Astaire and Eleanor Powell dancing in the film Broadway Melody of 1940.

The Bandcamp release also features two extra B-sides – “Does God Only Hear Sober Prayers” and “Sweet Sake” – both tracks from a country album that Cormac had planned to make but never did.

Delcobras – “The Turnaround”

Marc Schuster, Jim Lorino & Nick Cervini

Hailing from Philadelphia is recently-formed power pop trio DelCobras, comprised of Jim Lorino (lead vocals, guitar & synths), Marc Schuster (bass & vocals) and Nick Cervini (drums). All accomplished musicians, Jim is also frontman of indie power pop act Scoopski, now on hiatus, and drummer for indie alt-rock band Naive Nature. Marc records both as a solo artist and is also one-half of duo The Star Crumbles, as well as involved with several other musical acts, including Scoopski for a time. Nick is drummer for Philadelphia indie rock band Sacred Monsters and also played with Scoopski. In addition to their musical talents, they’re personable guys with a wicked sense of humor. Their name is a tribute to Delaware County, where Marc and Nick live. “We rehearse in Marc’s basement in Havertown, and Nick lives around the corner” Jim explains. “I’m from Northeast Philly, but they’ve accepted me as one of their own.”

They’ve just dropped their debut single “The Turnaround“, a rousing anthem of self redemption celebrating the eternal promise of second chances. Jim wrote the song after experiencing a raft of disappointments, including his home team the Philadelphia Phillies losing to the New York Mets in last year’s National League Division Series, his band Scoopski falling apart, and backsliding in his ongoing efforts to lose weight (something I can sadly empathize with). Inspired by Phillies shortstop Trea Turner and the Netflix documentary The Turnaround, which chronicles the story of how Jim’s friend and YouTuber The Philly Captain (aka Jon McCann) spearheaded a movement to give Turner, who was struggling in his first season with the Phillies, a standing ovation at their August 4th game which resulted in a ten-game hitting streak for the player, “The Turnaround” is a marvelous post-punk infused rocker loaded with gnarly guitar chords fortified by a hard-driving rhythm of chugging bass and smashing drums. I love Jim’s exuberant vocals, nicely joined by Marc singing a few lines from the Frank Sinatra classic “High Hopes” (written by James Van Heusen and Sammy Cahn), in the bridge. I also love the charming carpool karaoke video.

The Kid and I – “Take My Hand”

Daniel Malek, Jacob Powell & Minky Très-vain

The Kid and I is a London, England-based alternative indie rock band comprised of singer-songwriter and multi-instrumentalist Jacob Powell, Minky Très-vain on guitar & backing vocals, and Daniel Malek on bass.  (Très-vain is also front man of scratch rock band Brain Ape, who I’ve featured several times on this blog, and of which Powell was once a member.) Influenced by an eclectic mix of acts ranging from Biffy Clyro, Foo Fighters and Blink-182 to Tyler, the Creator, Sam Fender and Phoebe Bridgers, The Kid and I serve up a fresh blend of energetic rock and indie vibes, infused with heartfelt lyrics reflecting the struggles of modern life. Since 2020, they’ve dropped 13 singles, an EP and a live album. Last March, I reviewed a live version of their explosive banger “Good Times Go”, a song about toxic masculinity and taking accountability for oneself.

On February 20th, they released their latest single “Take My Hand“, a powerful song of perseverance in these troubling times. Jacob explains “I wrote this song back in 2021 – it’s been kicking about for a long time, but it feels more relevant now than ever. This song’s about trying to escape the hatred we find in the world right now through love, and hoping for a better future in the process.” Backed by a dynamic mix of grungy guitars, aggressive drums and soaring strings, he passionately sings “I’m scared of having children in this day and age. Where big money does what it wants, always gets it own way / Please just take my hand, and let’s run away before the devil rears his ugly face again.” In addition to the three The Kid and I members, drums were played by Elvis Quagliotto, additional guitar by Henry Avedian, and strings by Gavin Brooks. The wonderful photo and cover art design were created by Forest Smith.

Ewan Patrick – “Always With You”

Ewan Patrick is a thoughtful and talented singer-songwriter and multi-instrumentalist from Edinburgh, Scotland who’s had music in his blood for much of his life. He studied contemporary classical composition at Napier University in Edinburgh, then earned a graduate degree in Music Production at Leeds College of Music. He also played in many bands over the years, performing extensively across the UK, including at a number of major music festivals. In 2020 he began recording and releasing songs he’d written over the years that he says “never quite found their place in any of the bands I’ve played in.“ His songs range from pleasing acoustic, folk rock and piano ballads to stirring anthemic rock, all of which Ewan handles with ease, both musically and vocally with his strong, clear and beautiful singing voice. He also records, mixes and masters all his music by himself. Thus far, he’s released numerous singles and two excellent albums, Forever Love in 2021 (which I reviewed) and Keep On Coming Back For More in 2023.

On February 11th, Ewan dropped his latest single “Always With You” on Bandcamp, and will be available on all other major streaming platforms on February 25th. It’s a beautiful, heartwarming song that starts off gently with only an acoustic guitar accompanying his plaintive vocals, eventually building into a soaring anthem with gorgeous layered guitars, powerful bass and tumultuous percussion. The poignant lyrics speak to the overwhelming feelings of grief that envelop us after losing a loved one. Ewan elaborates: “The inspiration for this track has come from my work with children and young people that have experienced a bereavement. Losing someone who is so close to you is the hardest thing any of us will experience in our lives. I hope this song captures even an ounce of the rollercoaster of emotions we experience when dealing with some of the toughest times in our lives. It’s one that means a lot and I’m really proud of. I hope it resonates with many. ” Well, it most definitely resonates with me!

JESSE DANIEL EDWARDS – Album Review: “Jesse Daniel Edwards”

On By EclecticMusicLoverIn Reviews10 Comments

Jesse Daniel Edwards is a singer-songwriter and musician I recently learned about when his PR rep reached out to me about his new self-titled album. Upon giving Jesse Daniel Edwards – an exquisite collection of songs sung by Jesse with just a piano accompanying his beautiful voice – a listen, I was instantly enchanted, and eager to share it with my readers.

Born and raised in rural eastern San Diego County in Southern California, where he had no exposure to TV or the internet, Jesse left home at the age of 16 and spent the next few years busking on street corners around the U.S. and abroad. While singing outside of bars on Music Row in Nashville, Tennessee, he got to know the late Al Bunetta, the longtime manager for John Prine, who became Jesse’s mentor. He spent the next few years writing songs and honing his craft by touring and performing full time. In May 2020, he released his beautiful debut single “Secret of You”. Nearly three years would pass until his next release, the album American Dreaming in March 2023, featuring seven tracks with strong Southern rock and rock’n’roll elements.

As if wanting to make up for lost time, he quickly followed three months later with a second album Violensia. With a totally different pop sound and vibe that reminds me of the more flamboyant songs by artists like Billy Joel and Rufus Wainwright (Jesse’s vocals also sound like theirs at times), Violensia is highly entertaining both musically and lyrically. As its title suggests, the album touches on various aspects of violence and twisted relationships with a cheeky sophistication on songs like “Dream Where You Can’t Wake Up”, “Drop Dead and Die”, “Matches & Gasoline” and “Everything Makes You Sick”.

Last October (2024), Jesse dropped his next album Clap Trap Venus, this time featuring 11 outstanding colorful tracks showcasing his continued growth as a songwriter and musician. Through songs titled “Hell Called Earth”, “Occasionally Joy”, “Wrong About God” and “Jesus and Other Drugs”, he examines his faith and emotional well-being in this crazy and uncertain world we’re living in.

Now Jesse returns with his deeply personal and stripped-back self-titled album Jesse Daniel Edwards, released today via Cavity Search Records. Recorded last April (2024) at Memphis Magnetic Recording Co., a space he calls his “favorite tech lab in the galaxy, a butterfly-net-shaped place designed to catch dreams“, the album marks a new chapter in his ever-evolving musical journey. He performed his songs on a Chickering Grand Piano as the only musical instrument, which were then recorded on 2-track tape by recording engineer Scott McEwen. Capturing the raw emotions and vulnerability so beautifully expressed on each song, this pared-down approach contrasts with the more elaborate, rock-driven sounds of Jesse’s previous works.

Many of the tracks on Jesse Daniel Edwards are reworkings of previously-released songs, reflecting particularly meaningful moments and memories Jesse chose to revisit. He explains “Life itself is a process of overwriting information, a moment can feel like forever, and yet a life so short.” Further elaborating on the unique nature of each of his prior albums, he adds “Every one is different, simply because they occur at different junctures in your life.” In a sense, Jesse Daniel Edwards feels like both a culmination and a new beginning, a sort of love letter to the past and a way of re-examining his musical journey over the past 12 years.

The album opens with “I’m So Happy (I Think I Might Cry)“, which was released as the album’s lead single on January 24th. The original version of this song was released in May 2023, and included on Violensia which dropped the following month. The song starts off slowly, with gentle piano keys and Jesse’s tender croons, but gradually builds as his piano playing becomes more intense, his vocals rising to an emotional climax at the end. The honest lyrics speak to how popularity, money and material things don’t necessarily equate to a happy existence: “I’ve had so many flings, and been burned by so many flames. And guess what, a twin bed is plenty of space at the end of the day. And the money comes and goes, it’s kinda fun sometimes I suppose, when you forget it’s all just paper. And all the fine things and fancy clothes are just fine things and fancy clothes. Never forget they’re just dust collectors at the end of every day. And the truth is I lied, when I said I was fine. I’m so happy, I think I might cry.”

Listening to the album, what strikes me most is how rich and full each song sounds, despite the fact we’re hearing only a piano and Jesse’s vocals. Employing both instruments – the piano and his vibrant voice – to their fullest, he manages to create breathtaking soundscapes that fully envelop us in their lush and captivating warmth. And though most songs touch on sad or bittersweet topics related to love and loss, they’re always incredibly moving and pleasing to the ear.

On the melancholy but beautiful “This House Comes With A Ghost“, Jesse softly sings with a sense of sad resignation about lost loves and regret that have occured over time within a house: “These walls have seen it all, the stories they could tell. Of broken-hearted love affairs and bittersweet farewells. These walls have seen a lot, a lot more than most. This house comes with a ghost.”

Next up is the aforementioned “Everything Makes You Sick“, another song that was originally released on Violensia. I love Jesse’s dramatic piano trills and raw vocals as he sings “And to every broken heart that came before, I just called to let you know I don’t need you anymore. But I’m gonna be okay, even though everything makes you sick these days.” A third song from that album Jesse revisits here is “Nobody’s Got Me“, a bittersweet song in which he laments about having no one in his life to call his own: “Everyone’s got someone, everyone but me. Nobody’s got me.”

The tender piano ballad “Remember How To Love” has Jesse admitting his shortcomings in keeping up his part of the care and feeding of a romantic relationship: “If I could remember how to love you, maybe you’d remember how to smile. If I could remember how to love you, maybe you’d forget I need reminding once in a while.” On “Wrong About God“, a song that originally appeared on Clap Trap Venus, he plaintively sings from the perspective of a man filled with cynicism and regret resulting from his time serving as a chaplain in the army: “Learning to let go is just unlearning to hold on./ I just wish I could see my friend, and tell him we were wrong. Wrong about the job, and I was wrong about God.”

With “Secret of You“, he revisits the beautiful love song that was his debut single, in which he sings his praises of a loved one whose attributes aren’t immediately apparent to those around her: “She’s a glass of wine in a paper cup. Proof that something fine can be something rough. Watching her’s like watching the sunset in the rain. You know it’s there, and you know it’s beautiful, but you know you’re gonna have to look through the gray./ Someday, everyone is going to feel exactly the same way about you as I do. Until then, I’m going to keep the secret of you.”

“Omaha” sees him looking back with bittersweet fondness on a relationship that didn’t survive, but harboring no regrets: “My oh my, what a sight you are for these sore eyes./ Be sorry for loving me, be sorry for leaving me. Be sorry for what you can’t take back. But those nights we spent in Omaha, spending tomorrows we didn’t have, baby don’t be sorry for that.”

“Left Your Coat Behind“, a reimagining of a song originally featured on American Dreaming, sounds a little like an early Elton John song with its urgent and intricate piano keys. The lyrics seem to be about a couple having a furtive affair: “The clock on the wall is screaming at the clock in the hall, and I know I’m running out of time. You’ve only just arrived, now you’re saying goodbye. It seems I wanted to tell you something, but it slipped my mind. Have you realized that you left your coat behind?“

Closing out the album is the Billy Joel-esque “So Passes the Light from the Eye“, a song I’m guessing is about the ephemeral nature of life: “So passes the sun from the sky. So passes the long day into that long black night with a flicker, and a whisper, then you die. So passed the light now from your eye.” His vocals rise from a soft croon to commanding along with his stirring piano. It’s a fitting and majestic end to this delicately beautiful, yet deeply affecting and powerful album.

Find Jesse’s music on Bandcamp / Spotify / Apple Music / Amazon Music / YouTube

Fresh New Tracks, Vol. 40 – Asa Daniels, Evrah Rose, John Serrano, Rusty Shipp

On By EclecticMusicLoverIn Reviews7 Comments

Lots of new music means it’s time for another installment of my Fresh New Tracks series, and today I’m pleased to feature excellent songs released over the past week by four talented acts – New York-based singer-songwriter Asa Daniels, Welsh singer-songwriter, poet and author Evrah Rose, Spanish singer-songwriter and multi-instrumentalist John Serrano, and Nashville-based nautical rock’n’roll band Rusty Shipp. Each song couldn’t be more different than the others, but after all, I am EclecticMusicLover!

Asa Daniels – “Never Knew”

Asa Daniels is a charming and affable singer-songwriter and multi-instrumentalist from New York City who’s also guitarist and lead vocalist of alt-rock/blues band Gooseberry, who I’ve previously featured several times on this blog, He’s also front man and guitarist of jazz/rock/funk band Baked Goods, which he formed when he was 15. Now on hiatus, Baked Goods released three albums and an EP between 2013-2020. Ever the charismatic showman, Asa appeared on The Tonight Show Starring Jimmy Fallon in March 2022, where he competed in a Battle of the Instant Songwriters. In addition to his sparkling personality, intelligent songwriting and ace musicianship, I also love his vocal style, and have been a fan of his since learning about Gooseberry in late 2021.

Last March (2024), he released his debut single as a solo artist, “Historical Christ”, followed two months later with “Hello Barcelona”. On February 7th, he dropped his latest single “Never Knew“, and it was love at first listen. All three songs will be included on his forthcoming solo album I’ve Run Out of Boxes to Put Things In. Written and sung by Asa, “Never Knew” was recorded with the help of AJ Daye on drums, Guillermo Goldschmied on bass, and Dan Janis on the bluesy sax. I love the song’s sophisticated jazzy vibe, as well as the sweet photo of Asa as a young child sitting on the floor playing a guitar used for the single’s cover art. It’s proof of his lifelong love of music.

Evrah Rose – “Invisible Me”

I recently learned about Welsh artist Evrah Rose and her impactful spoken word song “Invisible Me” and its accompanying video from her fellow Welsh artist Secret Postal Society (the music project of singer-songwriter and musician Craig Mapstone, who I’ve also previously featured on this blog) when he shared it on his social media accounts. A street poet, rapper and author with two published books to her credit, Evrah has gained popularity and a loyal following for her hard hitting vocal delivery, compelling storytelling, and fearlessness in bringing attention to issues like social injustice and mental health.

Released on February 3rd, “Invisible Me” addresses how people struggling with depression often downplay or hide their real feelings so as not to bring attention to their problems out of fear of burdening others or inviting shame and scorn. Evrah elaborates: “[It’s] a spoken word film depicting the cruel nature of chronic illness. How we’re so often forced to ‘mask up’ to hide our pain, the continuous struggle to fit into society, and the impact that has on our emotional well-being and sense of identity.” As someone who suffers from occasional bouts of depression myself, I was deeply affected by her heart-wrenching words, as well as the images shown in the video. I know from experience that, while most family members, friends and co-workers may genuinely care that we’re suffering, they often don’t know how to respond, feel helpless to assist us in meaningful ways, or might even dismiss our feelings, instead encouraging us to simply “buck up”, “count our blessings”, and so on. The film was written, performed and directed by Evrah, and filmed and edited by Joey Edwards. The lovely piano music was played by Olexandr Ignatov.

John Serrano – “Granada”

Hailing from Málaga, Spain is John Serrano, a prolific singer-songwriter, multi-instrumentalist and producer who I cannot heap enough praise upon. Not only is he a versatile and enormously talented musician with a beautiful singing voice, he’s also thoughtful, kind, handsome and incredibly supportive of other independent artists. Drawing from a dizzying array of genres and influences ranging from alternative, progressive, punk and metal rock to blues, folk, electronica, synthwave and jazz, the man can play and sing just about anything, with vocals that run the gamut from achingly beautiful and tender to fearsome and savage. Over the past decade, he’s recorded and released an astonishing catalog of music as both a solo artist and in collaboration with other musicians. Every time I turn around, John’s dropped another new single or album, and it’s a challenge keeping up with him. He released three full albums in 2024 alone!

His latest release is the lovely single “Granada“, which dropped February 7th. Written and performed entirely by John, it’s the first single from his forthcoming album Still Alive, scheduled for release in May. On this track, he skillfully blends beguiling flamenco guitar notes and hand claps with jazz and folk elements to create an enchanting soundscape for his plaintive and arresting vocals. The bittersweet lyrics speak to feelings of regret and loss over a romantic affair he let slip through his fingers: “I really was the best version of me when I walked away to never look back. And just convince myself I don’t need you at all.” It’s a bit of a different sound from John, and I can’t wait to hear what he has in store.

Rusty Shipp – “All Aboard!”

Few acts I can think of have mined a novel theme as successfully and consistently over the years as has Nashville rock band Rusty Shipp. The brain child of front man Russ T. Shipp (his actual birth name is Russell Thomas Shipp), Rusty Shipp is a self-described “Nautical Rock’n’Roll” band, with a sound influenced by “the melodic chord progressions of The Beatles, the surf guitar of Dick Dale, the grunge rock of Nirvana, and the heavy metal of Led Zeppelin“. As their name suggests, their music features a dark, immersive sound, unforgettable melodies, electrifying guitar work, and Shipp’s vibrant tenor vocals. Like many bands, they’ve undergone numerous changes in lineup since forming in 2014, and now consist of the aforementioned Russ Shipp on guitar and vocals, AJ Newton on drums, Dave Gajda on lead guitar, and Doug Webster on bass.

Rusty Shipp have released three outstanding concept albums – Mortal Ghost in 2017, Liquid Exorcist in 2019, and Dark Side of the Ocean in 2022 – all built around nautical themes. (I reviewed the latter two albums, which you can read here and here.) Last October (2024), they released “Neck Breaker”, their first new song in two years and the lead single from their forthcoming fourth album Cosmic Innuendo, Vol. II. In keeping with the band’s nautical theme model, Cosmic Innuendo, Vol. II will tell a fictional story of an evil band of pirates who set sail on a sinister mission, dismissing the prophetic warnings of an old sailor on the pier who warns of a worse fate for them than the gallows if they stay on their course. The band states that the fictional story “is ultimately a masked philosophical message warning of people living their lives in a self-inflicted apocalypse.” 

“All Aboard!“, released as the second single from the album on February 7th, is also Rusty Shipp’s first theme song, as well as the first song to include voices of some of Rusty Shipp fans known as Shippmates. The song is a wonderful hard-driving rocker, with a roiling torrent of grungy guitars joined by some blistering surf guitar solos in the second half, and nicely accompanied by AJ’s aggressive drums, a terrific organ and Russ’s dynamic spine-tingling vocals. Given the quality of both “Neck Breaker” and “All Aboard!”, the new album is sure to be another winner. On a side note, I also love that their more recent music is published via “Shipp Wreckords”.

SOLAR EYES – EP Review: “Crooked Orbit”

On By EclecticMusicLoverIn Reviews2 Comments

One of my favorite English acts over the past three and a half years has been psychedelic pop/rock band Solar Eyes. Their music is an arresting style of alternative pop/rock awash in dramatic psychedelic grooves, twangy Western-style guitars and dreamy cinematic synths, giving them a distinctly unique sound. Based in Birmingham, they now consist primarily of singer-songwriter, musician and producer Glenn Smyth and drummer Sebastian Maynard-Francis (former member, guitarist/producer Tom Ford, moved out of the area and no longer performs live with them, but still helps with the production of some of their music).

They’ve released three EPs, numerous singles and a self-titled debut album Solar Eyes last February (2024). One of their songs, “I See the Sun”, went all the way to #1 on my Weekly Top 30 and ended up ranking #18 on my 100 Best Songs of 2022 list. I’ve featured them many times on this blog, and you can read some of those reviews by clicking on the ‘Related’ links at the end of this post.

Sebastian Maynard-Francis and Glenn Smyth

Now they return with a new EP Crooked Orbit, released via Fierce Panda Records and featuring remixes of five of the tracks from their album Solar Eyes. Smyth explains his impetus for doing the EP: “I’d had this idea of doing a remix EP, as I’d always loved remixes of Primal Scream, UNKLE and Death in Vegas, The ‘She Kissed The Gun’ remix sounds like it’s from something off ‘XTRMNTR’, which is my favourite Primals album. Then it all sort of fell into shape, and it’s even given the songs a new slant. It’s been joyous hearing the remixes coming in.”

Each of the remixes were done by musicians and/or producers who’ve previously worked with or collaborated with Solar Eyes. The first track, “She Kissed the Gun (Hibs Mix)” was remixed by London-based mix engineer and composer Jeff Knowler, who also mixed all the songs on Solar Eyes. The original, which features backing vocals by Melissa Severn, is a brooding and sultry psychedelic affair. For his remix, Knowler dials up the energy by speeding up the tempo and adding more aggressive percussion and all sorts of wild and otherworldly spacy synths that take the song to a whole new level.

So too with “Bulldozer (Hibs Mix)“, in which Knowler adds a lot of dynamism to the track, mainly through a heavier, more assertive beat, rumbling bass, edgier synths and a fantastic twangy guitar solo in the bridge. I actually like this remix better than the original. “Acid Test (The Walls Are Closing In On Me) (Looking Glass Alice Remix)” is a marvelous reimagining of the original by London-based psychedelic pop band Looking Glass Alice. Though most of the lyrics have been removed, the track is brimming with unbridled energy, wobbly psychedelic synths and pulse-pounding tribal beats. Reminiscent of some of the great disco songs of the 70s and beyond, the track is the perfect vehicle for losing yourself on the dance floor.

“Alcatraz (Tom Ford Remix)” is probably the most different-sounding from the original of all the remixes. Former band guitarist Tom Ford completely deconstructs and reimagines the original “Alcatraz” to create an incredibly trippy and futuristic-sounding fantasia of rapid trip hop beats, gnarly industrial synths and distorted otherworldly vocals. Once again, many of the original vocals have been stripped away, and amidst all the discordant sounds he injects enchanting little piano trills and jazzy drum fills that provide an interesting textural contrast.

“Take Me to the Man (Liam McKeown x Liam Connolly Remix)” is a languid and sexy remix by Birmingham musician Liam McKeown, who played additional guitar and keyboards on three of the Solar Eyes tracks, and English electronic/deep house musician Liam Connolly. Whereas the original is pure psychedelic rock, highlighted by a strong driving bassline and gnarly guitars, the remix is a mesmerizing deep house beauty. I love the sultry pulsating beat fortified by assertive hand claps and stabbing synth chords, backed by a plethora of spacey atmospheric sounds. Once again, many of the lyrics of the original have been removed, leaving Smyth repeatedly singing the opening line “I have the keys to the earth“, followed by “And put your faith in the man, he will take you from this land“, ending with “And take me to the man” over and over in the final third of the song.

Crooked Orbit is quite frankly one of the finest collection of remixes I’ve heard in a long while, as each of the five tracks is a total reconstruction and reimagining of the original recordings so that they sound completely new and fresh, not merely rehashed takes.

Solar Eyes Socials: Facebook / X / Instagram

Find their music on Spotify / Apple Music / Soundcloud / YouTube / Bandcamp

TERRY GOMES – Single Review: “A Recurring Thought”

On By EclecticMusicLoverIn Reviews8 Comments

Terry Gomes is a composer/guitarist from Ottawa, Canada who’s been involved with music his entire life, both as a musician, singer-songwriter and composer of instrumental music, and as a teacher of rock and classical guitar. (He also taught elementary school for 26 years.) He studied classical guitar/composition at the University of Ottawa, where he graduated with honors. Over the years, he’s played in several rock bands and as one half of a flute/classical guitar duo. After writing songs for others, he began recording his own music in 2006, releasing three albums featuring songs in the singer-songwriter/pop/folk-rock genres. He eventually transitioned toward mostly guitar-based instrumental music.

Of Guyanese heritage, he’s long been drawn to Caribbean tropical influences and began releasing a series of Caribbean-influenced works, starting with his 2014 EP Sand in My Shoes, which he followed a year later with his EP Blue.Green.Aquamarine, then The Tropical Dream in 2018, a delightful concept album detailing a tropical vacation written while he recovered from a back injury. In 2019, Terry released an instrumental single “Rumjaro 360”, in which he combined elements of rumba, jazz and rock, and in 2022, he released two beautiful piano-based singles, “Elegy” and the jazzy “Steen’s Reverie”. The following year he released “Dark Riders“, a six and a half minute long instrumental track inspired by composers like Stravinsky, music scores of early TV westerns, and 60s surf instrumentals, accompanied by a clever and quirky animated video. (You can read my review here.) Last year, he released “Eeza Gomes”, a fun mambo pop song written in memory of his late, beloved Guyanese aunt, along with a whimsical video. The song’s title “Eeza Gomes” is a colloquial Guyanese (creolese) way of saying, “He’s a Gomes.”

Now Terry’s back with a wonderful new instrumental single “A Recurring Thought“, accompanied by a tender and heartwarming video. Composed and arranged by Terry, and recorded and mixed by Steve Foley, the song is the first single from his forthcoming album Some Chunes, scheduled for release on April 8th. For the recording of the track, Terry played the rhythm and classical guitar parts, and Arien Villegas played congas.

Describing it as “a poignant song of longing in which a repeated musical phrase (leitmotif) represents a recurring thought“, Terry elaborates on his inspiration behind the song and accompanying video: “‘A Recurring Thought’ began as a simple musical exercise using a leitmotiv (a repeating musical figure representing a person, situation, place, emotion…In the case of the music, it represents a thought that someone can’t escape from. The video has three elements; the sad musician, a gold sand dollar necklace and a remote tropical island. What exactly happened, what he’s remembering, and how these other two elements relate to him, is ultimately up to the listener.“

“A Recurring Thought” is a really lovely and tranquil instrumental piece, the perfect antidote for these quite troubling times. So sit back, put on your headphones, and let those warm guitar notes and gentle congas envelop and sooth you. 

To learn more about Terry, visit his Website

Find his music on Apple Music / Amazon Music / YouTube 

NAVE – Album Review: “X”

On By EclecticMusicLoverIn Reviews3 Comments

Hailing from lovely Bournemouth on the southern English coast is NAVE, the solo music project of British singer-songwriter, multi-instrumentalist, composer and producer Nathan Evans. Incorporating a broad array of genres and styles, including alternative rock, electronica, trip-hop, folk, ambient, orchestral and dark wave, the hyper-talented artist creates dramatic, incredibly compelling music that’s often atmospheric and gorgeous, but sometimes also harsh and unsettling. Though he says he generally shies away from listening to a lot of music, as he prefers to “be naive and not heavily influenced by others’ music” in the creation of his own songs, he admits to finding inspiration from the music of his youth by such acts as Radiohead, Nirvana, Queens Of The Stone Age, Muse, BRMC, UNKLE, Deftones, Limp Bizkit, Morcheeba and Moby. And in fact, Nathan formed a band called Deltorers in his teens, which eventually took him to Australia in support of Queens Of The Stone Age.

Nathan’s a deeply thoughtful guy who’s unafraid to tackle issues relating to social justice, mental health and emotional well-being. A truly prolific songwriter, he’s released a staggering amount of music over the past 12 years or so, both as NAVE and as front man of alternative psychedelic rock band Native Tongue. He’s been on a creative tear since 2021, and has released a ton of music, including numerous singles, several EPs and a monumental album God’s Waiting Room, featuring an astounding 31 tracks, in April 2023. (You can read my review here.) And one of his singles “Broken Record”, a hauntingly beautiful song decrying the addictive nature of social media and its negative impacts on our emotional well-being, went all the way to #1 on my Top 30 chart and ranks #14 on my 100 Best Songs of 2022 list.

His latest release is a fastinating and dark 10-track album titled simply “X“, which dropped January 31st. I’ll discuss the songs and my take on their meanings later, but in a nutshell, the album tells the story of a girl who suffers from a major life-altering trauma at the age of 14, and how she deals with it going forward. When I asked Nathan about the rather obscure title, he responded “The album has intentionally been made for the listener to find their own meaning. Think of it as when David Lynch is asked what it means, ha ha – he leaves it to the audience to make up their mind. So this album has a little privacy behind it but which I think makes it special, as people will ask so many questions. The title ‘X’ refers to the Roman numeral 10 for 10 songs in the album, and also as a symbol for its open interpretation.”

First and foremost, the songs on X are equal parts melancholy, disturbing and beautiful. The music consists predominantly of pensive acoustic guitar notes, accompanied here and there by haunting atmospheric orchestral synths, gentle piano keys and soft percussion, lending an enchanting texture to the otherwise moody tracks. Another interesting feature is how Nathan sings in both his deeper voice and an ethereal falsetto, which almost gives the impression of having two different vocalists on a few tracks, as well as providing a bit of contrasting tension.

The album opens with “The Tide”, in which NAVE introduces us to a young girl who is harmed, possibly raped by someone she’d trusted: “Innocence and wonder were the lights that she stood under. When she turned 14 the world wasn’t what it seemed. Predatory eyes, devils in disguise. Cartoons had not prepared her for the pain that god declared her. To clip an angel’s wings, and tie them up strings./There’s nothing left to say, only bide your time and wait.”

On “The Ashes”, she’s taken somewhere where she’ll be safe, but the effects of her trauma continue to haunt her, with her possibly resorting to cutting or burning herself to try and deal with her emotional pain: “Her stomach grows sick, her wings were clipped, and slowly her blood had drained. She felt so weak, wiping the ashes stuck to tears on her cheek./Emotional wreck, digging her nails in the back of her neck.”

One of the most disturbing but sonically beautiful tracks is “The Scars”, which continues to explore her coping mechanisms, this time focusing on her dreams of exacting revenge on those who hurt and/or failed to protect her, and erecting walls to keep her safe from predators: “She would awake from nightmares with tears in her eyes. Dreams of torture, her family burned alive. Plagued by corruption by her own broken mind. What kind of asshole rips an angel’s wing? She built a castle to stop them getting in.“

Just past the halfway mark of X we’re hit with quite a surprise on the haunting track “The Apology”, in which NAVE reveals that the young girl and her story were fabricated in order to make the listener take notice and connect with him and his music. The lyrics are incredibly poignant, and probably accurately reflect the sentiments of more than a few musicians and authors: “We’re over halfway and I’m sorry to say I fed you all a lie. The girl never existed. I had to stop writer’s block, so I made her up. Can you forgive me? I’m sorry to disappoint, emotionally exploit. I’m just playing the game so you would remember my name. I know it’s kind of pathetic. I hope you still think I’m poetic. Please forgive me for lying through my teeth. I’m trying to make you feel something that is real. I must connect to gain all of your respect. To stop me from feeling worthless and give me some kind of purpose.”

Then, on track eight “The Moment”, he returns to the girl who’d been victimized, indicating that she is in fact real after all. “The moment she couldn’t speak of. The moment she was afraid. The moment no one listened to a word she had to say. The moment she was a victim as an innocent young girl. This world makes me angry. It’s no joke, that’s a real person in pain. What’s the matter with you, that’s a real person, broken and bruised…screaming for help.”

On “The Strangest Secret”, it appears that the passage of time has allowed the girl to heal somewhat and take back control of her own life: “That little girl has discovered a secret. Now she gets to keep it all for herself. Silence growing, her life is glowing. Attracting nature to her, power runs right through her. Knowledge now she knows she’s reaping what she sows.”

On the stunning closing track “The Lost and the Found”, NAVE sings to the young woman who’s now become his muse, joyous in the fact they’ve found each other and in the process, rescued themselves from their demons and emotional traumas”: “I wanna freeze time, and stay here forever now I’ve found you, I wrote us these songs to heal our wounds and free us at last. You are my muse. You are my lost and found./ Time goes so fast, I’m grateful for every second I have that passes me by.”

It’s a beautiful, heartwarming and comforting end to both the story being told and the album itself. And once again, I’ve been blown away by NAVE’s artistry, creative imagination and soul-baring honesty.

Here’s the album on Bandcamp:

​And on YouTube:

For more information, check out NAVE’s Website  

His Socials: Facebook / X / Instagram

Find his music on Spotify / Apple Music / Bandcamp / YouTube / Soundcloud

Fresh New Tracks, Vol. 39 – Darksoft, Frank Joshua, Kiffie, Koyal

On By EclecticMusicLoverIn Reviews13 Comments

It’s time once again for another edition of Fresh New Tracks, and today I’m pleased to feature terrific new songs released over the past week by four talented acts I’m especially fond of from both a musical and personal standpoint. They are, in alphabetical order: Portland, Maine-based alternative dream rock artist Darksoft, English singer-songwriter and producer Frank Joshua, English singer-songwriter, composer and producer Kiffie, and L.A.-based indie pop-rock band Koyal.

Darksoft – “After All”

I love dream pop/rock in all its forms, and the music of singer-songwriter, producer and multi-instrumentalist Darksoft is right up my alley. Originally from Seattle, he relocated in late 2021 to Portland, Maine, where he’s continued creating music that’s both sumptuous and pleasing, with compelling lyrics addressing timely and relevant issues related to technology, social media and disillusionment, and delivered with his soothing ethereal vocals. Starting with the release in late 2018 of his brilliant debut album Brain, a concept work named for the first computer virus to attack the internet back in 1986 (which I reviewed), the imaginative, talented and hard-working artist has released five more concept albums, another of which, Beigeification, his beautiful 2023 work featuring songs inspired by overused phrases and idioms like “it is what it is”, “you gotta do what you gotta do” and “only time will tell”, I also reviewed.  

Darksoft began the new year by dropping a new single “Devil’s In The Details”, the first from his forthcoming seventh album Rationalism, slated for release on February 21st. Now he returns with a second single “After All“, released via Spirit Goth Records. Once again, he serves up an enchanting and dreamy slice of ear candy, filled with crystalline jangly guitars and assertive but gentle percussion. His captivating vocals beautifully express a sad resignation as he croons the lyrics touching on feelings of loss and regret over a romantic relationship’s that ended: “After all we’ve been through, thought that we’d be close. But all is said, said and done. And you’re so far away.” Given its first two tracks, Rationalism promises to be another superb album.

Frank Joshua – “Walls”

Over the past two years, London-based Frank Joshua – an enigmatic but enormously talented singer-songwriter and producer who, wanting his music to speak for itself, shares no photos of himself – has become a favorite of mine on the strength of his gorgeous baritone voice and beguiling music style. It’s no exaggeration for me to say that Mr. Joshua has one of the most enthralling singing voices I’ve heard in a long while, and I was blown away the moment I first heard his music. The prolific artist has released a staggering amount of music over the past four years or so, including three albums, an EP and 41 singles! Every one of his songs is a captivating feast for the ears, and I love them all. I’ve previously written about three of them, most recently last February when I reviewed his single “On This Night”. His song “Bluebell Wood” ranks #53 on my 100 Best Songs of 2023 list, while “Winter Cowboy” ranks #36 on my 100 Best Songs of 2024. 

His latest and 41st single is “Walls“, released via British music label Numen Records. Although Frank writes some of his songs, like the majority of his singles, “Walls” was written by his frequent collaborator Simon Pitheakley, and produced by Tony White. And like all his songs, this one’s a real beauty, with gorgeous reverb-drenched bluesy guitars accompanied by warm piano keys, soaring orchestral synths and gently crashing cymbals layered over a sensuous pulsating beat. It all creates a glorious cinematic backdrop for Frank’s melancholy yet captivating vocals which are both passionate and heartfelt.

The poetic lyrics speak of the challenges of growing older and maintaining a long-term relationship, in which there’s often a tug of war between the comfort and security that comes from being with a devoted loved one, and the primal urge to be independent and free of responsibility or commitment – which is something I’ve long struggled with myself. “It has to be love though it hurts to let go. The blue of your eyes and the shame of the know. I am in it too deep and I can’t let you go. I can’t let you go. Makes no sense to be sunny. But there she is sipping Mai Tais with honey. Confused this boy is.” The lyrics then address the added element of trying to raise children amidst all this drama, which I think is a brilliant addition to the song: “Our children are smashing up downtown, spouting logic and facts without sense. Rootless sensationless moody and cute, they just pound on the walls of their age.” “Walls” is another oustanding addition to Frank’s already impressive repertoire. 

Kiffie – “The Exclusion Principle”

British artist Kiffie (the music moniker of Daniel Paul Kiff) is a creative and fascinating singer-songwriter, composer and producer of electronic music based in Norwich, England. Drawing from a wide range of music genres including electronica, hip-hop, rock, folk and classical, his arresting songs are inspired by current events, as well as the oft-covered topics of love, lies and betrayal. Kiffie records and produces all his own music at home using hardware instruments, synthesizers and drum machines. In a space of only four years, the incredibly prolific artist has released an astonishing 15 albums, 12 EPs, two compilation albums, two CDs, and numerous singles. His songs have received critical acclaim, and garnered airplay on BBC Radio 6 and other internet radio programs. In July 2023, I reviewed his album The Product, a powerful work addressing such timely issues as creeping authoritarianism, income inequality, misinformation and fake news, anti-science/conspiracy mongering, and political corruption. (Read that review here.)

Now, the busy artist is back with a new instrumental track “The Exclusion Principle“, the third in a series of tracks from his forthcoming album Approaching the Horizon. The album will be the third and final installment of his ‘Home’ trilogy which began with his 2021 collaborative album Home, followed by his 2022 album Interplanetary Exodus. Kiffie explains “The trilogy is basically a cosmic space opera about love at a distance and the idea that all of us one day will be refugees, escaping some never explained planetary problem that forces us to seek somewhere else to live. The love aspect is that during this upheaval people will become separated. ‘Approaching the Horizon’ is going to reunite the ‘star crossed lovers’ and many of the tracks will have titles based on physics and quantum theory.” “The Exclusion Principle” is a marvelous spacey track featuring an array of ominous sound textures and beats that nicely convey a sense of impending upheaval without ever becoming over dramatic. I like how it gradually builds, then slowly trails off.

Koyal – “hiatus”

Photo by Jeremiah Rafferty

Koyal is delightful and charismatic indie pop-rock band I’ve been following for a couple of years. Originally formed in Atlanta as a six-piece in 2018 while still in college, the band reduced to a trio in 2023 consisting of Pooja Prabakaran (lead vocals), Noah Weinstein (guitar, production) and Henry Wallace (drums & piano). With a shared love of Glass Animals, Yeah Yeah Yeahs and GROUPLOVE – all acts I love too – Koyal draws from an eclectic range of elements, including indie, alternative, rock’n’roll, blues and jazz. They started releasing a series of singles in 2020 which culminated with the release of their debut album Mountain City in July 2021. They followed with more singles, along with an EP Joyride in November 2022, which I reviewed. In February 2024, they began dropping a series of excellent disco/dance-infused singles that will be featured on their second album breathe in. breathe out, scheduled for release on February 28th. And in September (2024), they relocated from Atlanta to Los Angeles.

On January 28th, they dropped “hiatus“, their fifth single from the forthcoming album. Co-written by all band members along with singer-songwriter and musician Tony Doud, who also co-produced the track with Noah and played the wonderful saxophone, the song’s a bouncy, yet sophisticated, dance gem about disconnecting from your phone and enjoying a bit of quiet solitude. Though it seems to pay homage to some of the disco hits of the late 70s, “hiatus” feels fresh and contemporary. I love the sensuous dance groove overlain with swirling synths, sparkling piano keys, funky guitar notes and Tony’s warm sax. Pooja’s lilting vocals are full of unbridled euphoria as she sings the joys of having a bit of alone time to herself: “Where my time, time is my own, I can turn, turn off my phone. Take a hiatus.“

The charming video, shot in a single take at Elysian Park in Los Angeles, shows Pooja singing the song while playfully walking through the park, and features animated artwork and lyrics created by her.

UNQUIET NIGHTS – Double Single Review: “Everything Seductive”/”Straight To The Ground”

On By EclecticMusicLoverIn Reviews3 Comments

Unquiet Nights is an outstanding rock band I’ve been following for seven years and have featured several times on this blog. Originally started in 2006 as a solo project by Luke Mathers, a talented singer-songwriter and guitarist from Belfast, Northern Ireland, with  the help of Rodger Firmin on drums he began recording songs for what would become the first Unquiet Nights album 21st Century Redemption Songs. In 2010, Luke moved to Italy, where he eventually finished and released the album. He was later joined by Italian musicians Francesco Piciucchi on bass and keyboards, and drummer Matteo Bussotti for live shows, though Rodger still played drums on their recordings. 

In 2015 they released their beautiful second album Postcards in Real Time. One of the tracks from that album, “George Best City”, which was never released as a single but was used in the Federico Buffa Racconta documentary series, landed them several live national appearances on Italian TV stations, and became their best known and most successful song, garnering more than half a million streams on Spotify alone as of today. Mathers eventually moved back to Belfast in 2016, where he continues to record and release music with Firmin and Piciucchi as Unquiet Nights. In 2022, they released a compilation album First Ten (2012-2022), a sort of ‘greatest hits so far’ work commemorating the 10-year anniversary of their debut album 21st Century Redemption Songs. They followed two years later with their third studio album Seasons in Exile, released last January (2024). I reviewed the album’s lead single “Diamond and the Missing Son”, which ended up ranking #11 on my 100 Best Indie Songs of 2024 list, and #65 on my 100 Best Songs of 2024 overall list. (Also, their 2019 single “Four Winds“ ranks #76 on my list of 100 Best Songs for that year.)

Now they’re back with a double single “Everything Seductive”/”Straight To The Ground” which, like all their music, was produced by Mathers, and mixed and mastered by Neal Calderwood. The songs were recorded during the Season in Exile sessions, but since they didn’t fit in with that album’s storyline concept, they weren’t included. Both being excellent songs, Unquiet Nights decided to release them now as stand-alone singles. The first, or A-side “Everything Seductive”, is an exuberant foot-stomping rocker, with fuzz-coated gnarly guitars punctuated here and there by twangy notes and accompanied by Fermin’s urgent drumbeats. Mathers’ commanding vocals nicely convey a sense of sad resignation as he sings of a romantic love affair that’s hit its end, leaving him feeling dejected and wondering what went wrong: “Tell her I’m discouraged, and she should know the reason why. Everything seductive in this life just seems to pass me by.“

The B-side “Straight To The Ground” is more personal for Mathers, who told me he never had the opportunity to meet one of his grandads because he died of a heart attack after the IRA (Irish Republican Army) destroyed his corner shop in a bombing. The song’s lyrics are meant to describe his grandad’s bitter feelings after seeing his life’s work blown up: “I built all that you can see. I built on solid rock for those who depended on me. You ever tried to make the best out of all that you found? You ever stood and watch it all falling straight to the ground?” To drive home his message, Mathers serves up a distinctly darker tone than on “Everything Seductive”, with an ominous grinding guitar riff layered over a hard-driving rhythm of throbbing bass and pounding drumbeats. His guitar work is fantastic, highlighted by a one-two punch of a gorgeous chiming solo in the bridge, followed by a magnificent wailing guitar solo that leaves me covered in chills before the song quickly fades out. Befitting the subject matter, his vocals are more intense as well, fervently conveying the anger and bitterness expressed in the lyrics.

Though I really like both tracks, “Straight To The Ground” struck me at first listen, and it’s my favorite of the two. 

Connect with Unquiet Nights:  Facebook / Twitter / Instagram
Find their music on  Bandcamp / Spotify / Apple Music/ Soundcloud 

LYIA META – Single Review: “I Fall in Love Too Fast”

On By EclecticMusicLoverIn Reviews9 Comments

One of my favorite female vocalists – and music artists in general – is Lyia Meta, an immensely talented, gracious and lovely recording artist with a vibrant singing voice. Based in Kuala Lumpur, Malaysia and of Creole Portuguese ancestry, Lyia’s a multi-faceted artist in every sense of the word. With her smoky contralto vocal style, she can literally sing just about anything and in fact, has recorded songs in a wide range of genres including blues, jazz, pop, country, rock and even metal, bringing her international recognition and acclaim. 

She’s been nominated for, and won, numerous music awards around the globe over the years. Besides Malaysia, she’s also performed in India, Los Angeles and Texas, and has been featured in Rolling Stone, Billboard Magazine, FAULT Magazine and Reader’s Digest, to name just a few. As if all that weren’t enough, she’s also a highly-accomplished visual artist with several exhibits to her credit. (You can see some of her work here.) She even surprised me with a wonderful pencil drawing of myself in 2019.

A prolific artist, Lyia’s released an impressive amount of music over the past nine years, beginning with her debut EP This is Lyia in 2016. Since then, she’s put out two more EPs, two albums Always You in 2023 and Next in 2024, and scores of singles. I’ve written about her and her music many times, most recently last July when I featured her single “Easier and Easier“ in a Fresh New Tracks post. (The song ended up on my 100 Best Indie Songs of 2024 list.

Now she’s back with a new single “I Fall in Love Too Fast“, a sophisticated and jazzy pop number in the style of songs by the late great Ella Fitzgerald or contemporary artists like Diane Schuur and Diana Krall. The song was written by Los Angeles-based songwriter David Sanchez and co-produced by Lyia and her frequent collaborators, Nashville-based musician and recording engineer Bob McGilpin and musician and producer Gene Rabbai. For the recording of the track, McGilpin played guitar, drum and bass, as well handling the arrangement and sound mixing, while Rabbai played piano and orchestration.

I love the song’s lush orchestral arrangement and uptempo melody, highlighted by gently soaring strings, jazzy piano keys and a bewitching flute. As always, Lyia’s pleasing and warm vocals are sublime, flawlessly executed while matching the rich orchestration note for note.

The lyrics speak of letting your heart overrule your common sense, allowing yourself to fall head over heels with someone quickly after meeting them, mistaking intense physical attraction and infatuation for love. As a hopeless romantic in my younger days, it’s something I experienced far too many times myself. 

Why do I lead with my heart?
Why can't I learn from the past?
My head says 'Go slow, when it's too soon to start'
Oh I fall in love too fast

Promises made in the night
Are just illusions that love will last
It's the music and moonlight that I can't deny
Oh I fall in love too fast

That voice inside may scold me
'Let love come in it's own time'
But the room starts to spin each time he holds me
And my resistance unwinds

Did he come here tonight to bewitch me?
Should I run from the spell that he casts?
And maybe I'll just let him kiss me
Oh I fall in love too fast

Follow Lyia: Website / Facebook / X / Instagram / TikTok

Find her music on Spotify / Soundcloud / Apple Music / Amazon / deezer / YouTube