In naming themselves after the entrance to an old newspaper distribution office in the center of Nottingham, England, it’s no surprise that British synth-pop band Express Office Portico do not shy away from tackling relevant and timely issues. Since forming in early 2020, the talented five-piece consisting of Tara Freeman (lead vocals, keyboards), Billy Townsend (lead vocals, keyboards), Reuben Tobolewski (guitar), Ben Phipps (bass) and Olly Walton (drums), has released three singles touching on mental health and well-being.
Their first, “I Like it Weird”, dealt with Obsessive Compulsive Disorder (OCD) and how it can exacerbate feelings of jealousy over past lovers. Their second, “Mishmesh”, explored the dangers of alcohol dependency, and how our coping mechanisms and compulsive tendencies can manifest themselves in toxic habits. (I reviewed both of those singles, which you can read by clicking on the links under “Related” at the end of this post.) Now they’re back with a new single “Then Wave“, which addresses the struggle of coping with abandonment and trust issues. The track was produced and mixed by Joshua Rumble and mastered by Fluid Mastering. The beautiful artwork was created by Antonio Pacelli.
With “Then Wave”, Express Office Portico gifts us with another beautiful synthpop song, overflowing with their signature swirling synths and Tara and Billy’s captivating harmonies. The sounds of theremin, accompanied by Ben’s throbbing bass notes and Olly’s perfect drumbeats, creates a dreamy backdrop for Tara’s enchanting vocals as she plaintively sings the lyrics describing someone struggling to reach out for affection amid their fears and anxiety over letting people get close to them. As she sings the verses, Billy repeats the words “Can’t get up” over and over, driving home the feelings of anxiety and helplessness in overcoming one’s insecurities:
Let me be swallowed by my own self doubt
Nauseous from constantly spinning around
(Can't get up)
Time to sit with my shame
(Can't get up)
Feeling flows through my brain
(Can't get up)You are infecting my very body
So close I can feel you inside of me
Time to sit with my shame
(Can't get up)
Feeling flows through my brain
(Can't get up)
I stop calling your name
(Can't get up)
Then wave, calling your name
(Can't get up)
Polarizer is a phenomenal five-piece band from Chicago who play a progressive style of alternative rock they appropriately describe as “loud, spacey epic rock”, earning them comparisons to bands like Muse, Rush and Jane’s Addiction. Formed in 2011, they’ve undergone a few changes in line-up over the years, and now consist of singer-songwriter Taylor Brennan, Stan Tencza (keyboards), Ian Palmer (guitars), Chris Shen (bass) and John Schiller (drums). (Brennan is also vocalist for Chicago rock band The Million Reasons, who I’ve featured numerous times on this blog.)
Polarizer released their debut EP Lightscapes in 2013, followed by a superb full-length album The Fall and the Swell in 2016, after which they stayed fairly quiet over the next few years. They returned to the studio in late 2019 to begin recording their long-awaited second album Love from the Underground, but the pandemic interrupted their progress for several months. Finally, in August 2020, they released their single “One for One”, then followed six months later with a second single “Metronome”, which I reviewed. Both singles are included on Love from the Underground, which dropped November 11th.
Two years in the making, the album is most definitely worth the wait. It’s a dark, beautiful, and utterly magnificent work that marks a triumphal return for Polarizer. While none of its 12 tracks can be described as “catchy”, they’re all incredibly melodic and meticulously-crafted. Overflowing with nuance, the songs are highlighted by deeply compelling lyrics, jaw-dropping instrumentation and Brennan’s arresting tenor vocals. It’s not often that I love every single song on an album, especially one as long as this, but that’s exactly the case with Love from theUnderground. I’ve listened to it more than ten times, and still feel almost giddy at the arrival of each song. This has also been one of the more challenging album reviews I’ve ever written, as there’s a lot to unpack, both musically and lyrically.
Like a lot of albums, this one also features songs addressing such oft-covered topics as love, loss, familial relationships and even politics. Kicking off the album is “Sink intothe Ghost“, an intense rock song that, along with closing track “Dead Can Sing“, as well as the hard-hitting gem “We’ll Meet Again“, speak of coming to terms with losing people that helped shaped you, who with their deaths took a piece of you with them, and leaving you wondering whether you could have done anything to change the outcome. On “Sink into the Ghost”, Brennan passionately implores “What if I sing aloud the right words? What if I sing aloud, could I really be heard? It won’t bring you back. It won’t make me whole. Until the dead can be, I will sing no more.”
One of the highlights on an album full of them is “Metronome“, a truly spectacular song calling out the divisive and destructive ways of many of our leaders, and urging newer generations to rise up against those forces to build a better future, with a lyric from which the album’s title comes: “The old way is divisive. It keeps us small. Make way for the new kids. They’re coming up. / The future belongs to those in love from the underground.” Everything about the song is perfection from start to finish, and when the music erupts into a monumental crescendo, bolstered by Brennan’s impassioned vocals that almost sound like another instrument in themselves, I’m left covered with goosebumps. I love the song so much that it spent 20 weeks on my Weekly Top 30, going all the way to #3. I love the video too, which shows the guys giving a socially-distanced yet electrifying performance in a Chicago studio.
Continuing on a similar theme, “One for One” is a scathing takedown of those who traffic in conspiracy theories, intolerance and extreme political views, nicely delivered with hard-driving rhythms, grungy riffs and psychedelic synths. Brennan’s vocals are almost chilling as he sings the biting lyrics: “I’m fluent in this psycho talk. I speak the party’s opinion. Last one in on the lie and the lie’s all yours. I am a nightmare in the dark. Turn on the lights I come to life. Melody never taught that you can’t catch falling stars. I’m all for one and one for one. The story ends. You’ve lost your friends to the party’s opinion. There’s a lot on the line. So where is your line crossed?” Man, those last three lines really resonate with me, as recent political trends have greatly strained or ended several friendships and familial relationships.
Polarizer ventures toward metal rock on “Eventually You Get Caught“, with an opening guitar riff that reminds me a bit of “Enter Sandman”, though the song sounds totally different, both melodically and structurally, than the Metallica classic. And the flourishes of distortion at the end are definitely metal-esque. The hard-driving “Everything is Mad” is heavy and intense, though Brennan told me it’s meant to be a joyful song about a parent feeling so stunned and humbled by bringing a new life into the world, but also left wondering what this responsibility and joy means when they aren’t living their own truth. Will the compromises they need to make in order to experience true happiness be reachable?
The band’s extraordinary musicianship is showcased on virtually every track, highlighted by Palmer’s virtuoso guitar work, Tencza’s colorful keyboards and the tight rhythmic grooves of Shen and Schiller not to mention Brennan’s gorgeous resonant vocals. Case in point is “Ever a Stranger“, with beautiful riffs layered over a galloping bassline, and featuring a thrilling guitar solo by Palmer in the bridge. The lyrics touch on the loss of innocence, and realizing you can no longer rely on a relationship when your partner refuses to meet you halfway. “Fear the attraction, harder to trust. You’re calling it love, but your love’s not returned. /And I need you now, how I knew you then, but strangers still have a way to go.”
The centerpiece of the album is “Le Drama Des Os” (The Drama of Bones), a stunning five-minute long celestial masterpiece that tells the romantic saga of Black Hole and Nova. Brennan explained the meaning behind their characters: “Black Hole is the more isolated loner, living day to day, not pushing himself to find happiness, just floating about, not taking chances. The ‘black hole’ title means that this character needs light and joy in his life he hasn’t seen before. Like a black hole when he receives this light, this energy, he can’t get enough of it, consuming it at all costs. And Nova is the opposite, an endless giver of light and energy, who meets Black Hole at the time when he needs her most, but the mutual need and attraction is almost unsustainable, its almost destructive. It’s like two magnets being pulled apart slowly but that attraction being too strong to break it apart. They get together at all costs, and it either is the most beautiful love ever on record, or it ends the world around them as they know it.“
The song opens with Palmer’s glittery guitar riff, accompanied by Shen’s gentle bassline as Brennan softly introduces us to the two characters: “Black Hole was proud to be alone. He never had to give a piece away. Nova had pieces on her mantle, that never added up to anything. The Big Bang they felt was catastrophic challenged everything they thought they knew.” The music explodes like a supernova in the choruses with a riotous mix of raging and swirling guitars, thumping bass, otherworldly synths and thunderous drums, before calming back down in the verses as Brennan concludes the story: “Finally their eyes met from a distance. The bigger bang had stolen from their core. As the world around them faded into darkness, nothing of the pieces that they were. Traveling the path of least resistance. Compromise with the best intentions, still halfway to nowhere.”
The great songs keep on coming. “Phases of the Moon” is a full-blown rocker, loaded with a chugging barrage of gnarly riffs and explosive rhythms. Brennan’s vocals sound lower and more muscular on this track, and I love how they trail off to a low growl at the end. The darkly beautiful “Time of Death” has a strong Muse vibe, thanks to its eerie piano riffs and shredded guitars. Brennan passionately laments “Throw me a line, I feel insane. Does it seem that way to you? It falls away, it’s all the same. Another hour I’m making mirror deals selling out my future self. High hopes are put off until tomorrow.” And the marvelous Alice in Chains-esque “Glow”, with its fierce, jaw-dropping guitar work and explosive rhythms, speaks of being drawn to someone so intensely that you can barely function.
The dramatic album closer “Dead Can Sing” brings things full-circle with a blend of shimmery and gnarly guitars, sparkling keyboards, pummeling bass, tumultuous percussion and soaring vocals, giving the song a wonderful anthemic quality. In the final chorus Brennan plaintively sings the refrain “Until the dead can sing and be heard, where do I turn to? And in the end when it’s my turn, how will I find you?” as the song fades off in a trail of spooky synths and military drumbeats.
What more can I say about this spectacular record that I haven’t already gushed about? Love from the Underground is a marvelous, flawlessly-produced album, and one of the best of 2021 in my humble opinion. I love Polarizer’s music, and hope my readers will give this album a listen and enjoy it as much as I do.
Hailing from Chicago, post-punk band a million rich daughters play a unique and fascinating style of, in their own words – “garage/industrial/horror inspired alternative post-punk – music that transcends the typical boundaries of the observable universe.” Founded by brothers Brett and Jake Grant, with Brett on vocals, guitars and synths, and Jake on drums, the four-piece now includes Matt Clepper on guitar and Dani Putrino on bass. (Brett also has a solo project under the moniker brett.grant.5.) Exactly two years ago to the day – November 15th also happens to be Brett’s birthday – they released their brilliant debut EP Hidden Parents, which I reviewed. Now they’re back with a haunting new single “Left Behind“, their first new music release in two years.
Brett was inspired to write “Left Behind” during a painful separation from his wife Ashlee (which thankfully was only temporary, as they’re both very special people who I’ve become quite fond of, albeit by long distance). He elaborates “In the broader sense, it’s about the helplessness of being left behind by someone who has outgrown you, and the feeling of betrayal that comes with that. One thing about this song is it’s all just AAA format. It’s a single verse repeated over and over as the music builds around it to the climax at the end. I intended for it to convey the whole concept of ‘the definition of insanity is doing the same thing over and over and expecting different results.’ When I was going through all that, I was literally just stewing in my emotions, self medicating with whatever I could get my hands on, and I felt unable to break out of the cycle. Add to this, this ALL happened right at the beginning of Covid. So I was going through all this, and suddenly I couldn’t leave the house or see anyone.“
The song is darkly beautiful and melodic, with more of a dream pop sound than most of their previous songs. It opens with a simple, rather somber guitar riff as Brett forlornly laments “Well, I’ll swallow my pride and ‘ll eat my mistakes. And I’ll throw up the memory if that’s what it takes. Devour the regret, I’ll gorge on the shame. If it means in the end you’ll absolve me of blame. Your words when you left me been plaguing my mind. Now I’ve been vanquished, you’ve finally left me behind.”
Approximately 50 seconds into the track, Matt’s gorgeous swirling guitar enters, accompanied by Dani’s gently thumping bassline and Jake’s measured drumbeats, creating a dreamy but haunting backdrop for Brett’s increasingly impassioned vocals, backed by lovely soaring harmonies. Everything continues to build to a dramatic crescendo, replete with a blistering guitar solo in the final verse before trailing off in a outro of spooky synths as Brett sadly concludes “Your words when you left me been plaguing my mind. Now I’ve been vanquished, you’ve finally left me behind.” I love this song, and think it’s their best one yet.
The wonderful artwork for the single was created by Brett’s beautiful and creative wife Ashlee.
A little over a month ago, I featured British alternative psychedelic rock band Future Theory when I reviewed their marvelous single “Hang Your Hat”. I’ve been following this talented group since early 2017, and their incredible musicianship has never failed to blow me away on every one of their releases. I’ve written about them numerous times over the years (you can read some of my reviews by clicking on the links under ‘Related’ at the end of this post), and am happy to feature them yet again so soon, as I love their latest single “One and the Same“, which I’ve chosen as my New Song of the Week.
Blending elements of alternative and progressive rock, psychedelia, grunge, shoegaze and funk, Future Theory creates music characterized by lavish, complex instrumentation, intelligent lyrics and mesmerizing vocals. Like many bands, the Lincolnshire-based foursome has experienced some changes in lineup over time, and now consists of Max Sander on rhythm guitar and vocals, Chris Moore on lead guitar, Jacob Brookes on bass and Tom Paton on drums, although as with “Hang Your Hat”, former band members Rex Helley played bass and Rohan Parrett played drums on “One and the Same”. The track was recorded at 2fly Studios by Alan Smith, mixed and produced by Koncide (aka Chris Hengmith), Max and Chris, and mastered by Yves Altana and Chris Ree.
“One and the Same” is magnificent, and quite possibly one of their best songs yet. It starts off slowly and rather introspectively with shimmery strummed guitars, accompanied by gentle bass and crisp drumbeats as Max sings in his distinctive sultry croon that I love so much. Around 45 seconds, the music erupts in the first chorus into a glorious cinematic soundscape, highlighted by a glittery cascade of chiming guitars and fiercely crashing cymbals, instantly covering me with goosebumps. The music calms back down for the second verse, only to return to an even more dramatic crescendo in the final chorus, with Max’s vocals now more impassioned than ever, before the song ends in a trail of reverby distortion.
The official video, produced by Lewis Carter of 3Link Media, is as breathtaking as the song, with beautiful footage of marine life and outer space, combined with images of the band performing, overlain by kaleidoscopic explosions of color.
I’ve been following British psychedelic garage/punk band DENSE pretty much since their beginnings nearly five years ago, and it’s been gratifying to watch them grow and mature as artists. Based in Leeds, the wickedly talented trio – comprised of Charlie Fossick (Guitar/Vocals), Dylan Metcalf (Bass) and Sam Heffer (Drums) – live up to their moniker by combining thick, fuzz-coated grooves with progressive elements and fierce instrumentation to create music that’s electrifying, innovative and intense.
I’ve written about them numerous times over the past four and a half years, most recently in August 2020 when I reviewed their debut EP Abjection, which I described as “four combustible sticks of dynamite packed into 14 explosive minutes” (you can read some of my previous reviews by clicking on the links under ‘Related’ at the end of this post). Now the guys are back with a new single “Reckoning“, which they refer to as “a desperately needed release of energy“. After listening to the track, I’d say that’s almost an understatement, as it’s a furious eruption of wailing distortion and sonic mayhem.
The guys have gained a reputation for their electrifying live performances, and they’ve somehow managed to capture that energy and inject it into their songs. As MC (who goes by @LeedsGigs_ on Twitter and writes about shows in and around Leeds) commented on my review of Abjection, “Seeing them live is a visceral experience and their music demands your attention. Charlie contorting primeval sounds from both mic and guitar through his pedal board, Dylan prowling the stage with adrenaline-fueled rockstar stances, riffing on a parody of every bedroom axeman, and Sam, limbs akimbo, thrashing his drumkit into quivering submission.”
According to their press release, “‘Reckoning’ is an abstract journey through anguish, capturing the frustrations of modern day life through utilisation of melodic dissonance alongside a focus on rhythm and groove-led songwriting, conveying what the lyrics represent. The track boasts a mix from Ross Orton, who has worked with the likes of Arctic Monkeys, Drenge, God Damn, Pulled Apart by Horses and Working Men’s Club. This was the first track we wrote together in 12 months post-lockdown, and it feels like the track absorbed and channeled a lot of our pent-up energy and frustration that the three of us individually experienced during isolation.”
That pent-up energy and frustration is manifested in an explosive barrage of super-gnarly guitars, grinding bass and bombastic percussion. Dylan drives the chaotic rhythm forward with a deep, chest-thumping bassline while Sam smashes his drumkit like a man possessed, the two of them somehow bringing order to the madness. Charlie unleashes the full fury of his double-barreled arsenal of gritty guitars and savage vocals, thrashing the airwaves with frantic, reverb-drenched psychedelic riffs, punctuated here and there by flourishes of screaming distortion, while sending shivers up and down our spines with his signature demonic wails and screams. The song is so intense, I’m left in a quivering heap by the end. It’s good to hear that DENSE have not lost one bit of their fearsome edge in the 12 months they’ve been quiet.
The guys pull no punches with their bitter lyrics that speak to a sense of hopelessness and despair, a reckoning with the terrible state of things:
When I get inside I never feel dry the rain it constantly pours and I’ll ask for more
I feel a nervous pulse men riding on horse been dropped in the tank shot, point blank
residing I’m torn providing I’m born declining I’m torn reclining I’m born
I’m formed we’re scorned No future And no past
and it sails, to the core sailing down to the core, to the core, to the core
Reliving Past lives and I’m always Terrified
The ends are looking frayed Cause it tore me Fired under No cause
residing I’m torn providing I’m born declining I’m torn reclining I’m born
Reckon now? Reckon now? Re, Reckoning, Reckoning
I’m formed we’re scorned No future And no past
and it sails, to the core sailing down to the core, to the core, to the core
DENSE will be launching “Reckoning” at a show tonight at the Castle Hotel in Manchester. They’ll perform again on the 13th at Royal Park Cellars in Leeds.
Sam Rappaport is an engaging, tousle-haired singer-songwriter based in Brooklyn, New York, and he’s just released a wonderful new single “Journeyman’s Ballet“. It’s his second single as a solo artist, following the release this past February of his debut single “Till the Morning Comes”. Sam is also a founding member of Brooklyn indie R&B/blues rock band Gooseberry, who’ve released a number of terrific singles over the past couple of years.
Growing up in the San Fernando Valley of Southern California, Sam began playing piano at the tender age of five, however, he never considered himself good enough to be a “musician”. Throughout his youth and well into his years at Vassar College, basketball was his first love. But as he told NYS MUSIC earlier this year for their article about his debut single: “I held onto the NBA dreams as long as I could, but once I hit college it was pretty clear that those dreams were out of reach. Still, I spent the first three years of college thinking that I’d end up overseas playing in some Euro league. I remember finishing a practice my senior year, running to the bathroom, heaving all the liquid in my body into a trash can, and thinking–I don’t want to do this anymore. So I quit.“
After college, Sam worked at a variety of jobs, including as a case manager at a welfare office, a reporter for local newspapers and a bartender at a Sichuan restaurant. But through it all, he never lost his passion for music. He settled for a few years in Chicago, where he played keyboards for R&B singer Brandon James, then relocated to Brooklyn, where he honed his music skills by playing at open mics, house parties and comedy shows. Through those performances, as well as his live shows with Gooseberry – not to mention both his and Gooseberry’s fine music releases – he’s garnered a growing base of loyal fans and followers. I was amazed by the outpouring of love and support for Sam and his single on Instagram today.
“Journeyman’s Ballet” was written and sung by Sam, who also played piano. The remaining instruments were played by Daniel Alvarez and Jordan Dunn-Pilz of the band Toledo, who also produced the track. Mastering was done by Mike Kalajian of Rogue Planet Mastering. The song has a pleasing jazzy soft-rock vibe reminiscent of late 70s/early 80s Steely Dan. Sam’s sparkling piano keys are nicely complemented by Daniel and Jordan’s lilting guitar notes and gentle percussion that enhance, rather than overpower, allowing his lovely piano to really shine. Sam’s smooth, understated vocals are soothing and lovely, and perfectly suited to the song’s languid melody.
About the song’s title, Sam explained it’s “about the dance of someone who is avoidant, always on the move, always looking to escape, to outrun the monsters within. This dance does welcome isolation.” The lyrics speak to those operating under the delusion that they can escape their problems or outrun their personal demons, hoping for a desired outcome simply by changing jobs, romantic partners or where they live, without directly addressing their inherent issues first. (I hate to admit that I’ve been guilty of this myself more than once.) In the song’s chorus, he ponders “Who are we for the mile we walk alone? Who are we when the lies become our home? Who are we when the night turns day, and the monsters still remain.“
For the song’s video, Sam enlisted the help of Cassandra Angelini-Vazquez, who dressed him in a tutu and filmed him at Coney Island. Unfortunately, the video won’t be ready for several more days, so for now we’ll have to settle for this audio and a still of Sam standing in New York Bay.
This past August, I featured the marvelously trippy single “Naked Monkey on a Spaceship” by British psychedelic pop/rock band Solar Eyes, which you can read here. Now the Birmingham trio, who are comprised of Glenn Smyth, Tom Ford and Sebastian Maynard-Francis, are back with a fantastic new single “I See the Sun“. “I See the Sun” is their third release in six months, with many more to come.
“I See the Sun” was born from a conversation Glenn had with the band’s mixing engineer Jeff Knowler. After Glenn mentioned to Jeff that he’d written a cool ’60s-sounding Tarantino-esque track on his newly acquired 12 string guitar, Jeff suggested that he watch Tarantino’s film Once Upon A Time In Hollywood before recording the track. Glenn took Jeff’s advice, and went up to his sweltering attic studio, where he found inspiration in the resounding reverb and echo chambers of late 60s music. He presented his recording to Jeff, who then put Once Upon A Time In Hollywood on loop in the background while he mixed Glenn’s track. The result is a gorgeous, cinematic song, highlighted by twangy western-style guitars that would make Ennio Morricone proud.
Everything about this song is perfect, beginning with that jolting opening guitar note to the infectious, galloping drumbeat, the swirling cinematic synths, castanet-like percussive sounds, soaring harmonies and, most of all, those fabulous spaghetti-western guitars. Then there are Glenn’s beautiful, reverb-drenched vocals as he sings of his eternal love for another: “I see the sun. The light shines on you and me. And that’s the way it’s meant to be, for eternity.” What a great song this is, and I’m loving this band.
As with their previous videos, the colorful animated video for “I See the Sun” was created by Matt Watkins, a videographer, lighting and visual design producer who’s a frequent collaborator with Gorillaz.
British electro-funk collective WINACHI (formerly The Winachi Tribe) make some of the most deliciously catchy and dangerously sexy music of any band around today. Formed in 2015, and based in Warrington, which is situated roughly halfway between Liverpool and Manchester, the group has undergone a few line-up changes over the years, and now consists of founding members Liam Croker (lyrics and vocals) and Antony Egerton (keyboards, programming), Inder Goldfinger (percussion), Andy McKay (lead guitar), Richard Ritchie (bass) and Paul Lawrence (drums). Inspired by such legendary acts as Parliament-Funkadelic, Sly & The Family Stone, Primal Scream, Grandmaster Flash & The Furious Five, Massive Attack, The Stone Roses, Talking Heads, D’angelo, Prince and Daft Punk, their infectious blend of funk-infused electro dance/pop serves up more grooves than a jukebox full of vintage 45s.
They’ve collaborated over the years with musicians and producers in both the UK and Southern California, and released several critically acclaimed singles and remixes, a number of which I’ve reviewed (you can read some of them by clicking on the links under ‘Related’ at the end of this post). And while their songs touch on oft-covered topics like heartbreak, pain, mental health and even politics, their overriding message is always one of joy, positivity and love. WINACHI have built a growing fan base through their exciting live shows and touring with The Charlatans, Happy Mondays, The Sugarhill Gang & The Furious Five. They’ve also garnered airplay and press both at home and abroad on radio stations like BBC 6 Music and L.A. public ratio station KCRW, and publications such as The L.A Times, L.A Record, Manchester Evening News and Billboard China.
In anticipation of the upcoming release of their long awaited debut album, WINACHI have dropped “PARASITICAL ELIMINATION E.P.“, featuring four collaborative remixes of three of their previous songs by international artists and producers Howie B, Paolo Baldini, Jim Spencer, and Impey. Actually, some of the tracks should more accurately be considered as re-imaginings, rather than remixes, as they take on an entirely new vibe under the guidance of these producers.
First up is “PARASITES PARADISE ft. I Kong (Paolo Baldini Dubfiles Remix)“, the first of two re-imaginings of their 2019 single “Parasites Paradise featuring I Kong”. The original song, featuring guest vocals by legendary Jamaican reggae singer I Kong, is a bouncy electro-soul number about being true to yourself and living a life free from users and ‘parasites’ who want to suck the life out of you or try to dictate how you should live. For this remix, Italian dub producer Paolo Baldini gives the song a makeover by slowing things down a bit and adding a strong dubstep beat that actually enhances the reggae vibe. He then layers swirling industrial synths and funky guitar notes for a nice finish.
The second remix of the song, “PARASITES PARADISE REVISITED ft. I Kong (Impey Remix)” is a re-imagining by young London dub electronica/neo-soul producer Impey. Impey really slows down the original song’s tempo to a languid, almost sensual groove, which also lengthens the track by more than two minutes. He essentially deconstructs the original song and refashions it into something completely different and new, and unlike anything WINACHI has ever done before. I Kong’s vocals are still recognizable as his, but WINACHI lead singer Liam Croker’s electronically-altered vocals sound totally different. The song is darkly beautiful, trippy and mesmerizing.
“A ROOM WITH A ZOO (Howie B Remix – Optimum Master)” was actually recorded and released in 2017, and is a remix of WINACHI’s very popular 2016 single “A Room With a Zoo”. I could be wrong, but my take on the song’s meaning is that it addresses the challenges of surviving as an artist in the crazy music business, and making music that’s honest and true. Liam croons “Give my soul back, give my soul back to me. I’ve been giving it up for too long, too long. Selling my heart and my soul.” Howie B is a renowned Scottish musician, producer and DJ who’s worked with a long list of artists, including Björk, U2, Tricky and Siouxsie and the Banshees, among others. On this optimum master of his remix, Howie B refashions the song into a pulsating trip hop extravaganza, with a strong, driving beat overlain with wobbly psychedelic synths and lots of sharp percussive textures and sounds, lending a dramatic new feel to the song.
The final track “SENSE OF DANGER (Spencers Revenge – Jim Spencer Edit)” is a re-imagining of WINACHI’s 2016 single “Sense of Danger”. As the title implies, the song is a dark, almost menacing track about obsessive love, and the original version has a trippy vibe, with a sort of dubstep beat, and highlighted by sinewy electronic synths, spooky organ and Liam’s rather menacing breathy vocals, backed with eerie choruses. The remix by Jim Spencer, a British producer and sound engineer who’s worked with such acts as New Order, Johnny Marr and The Charlatans, gives the song a more cinematic feel by greatly enhancing the dubstep beat, instrumentals and vocals. The dark synths and spooky organ now sound sharper and more well-defined, and the twangy guitar notes and piano are more pronounced as well, injecting added texture and drama into the track.
“PARASITICAL ELIMINATION E.P.” is a marvelous little bundle of energy that makes for a very fun listen. It’s always fascinating to hear how producers reimagine others’ songs, and I love what these have done with some of WINACHI’s best songs. The EP will only be available through Bandcamp.
Boy Called Killian is the new music project of Shane Radford, a singer-songwriter from Kansas City, Missouri who I’ve been following for more than five years. He’s also a member of Kansas City alt-rock band Lost in the City, who’s currently on hiatus. I reviewed their excellent albums, “Genesis” in 2016 and “Leaving Home” in 2018, and it’s hard to believe it was that long ago! At any rate, I’m happy that Shane is continuing to make new music, and he’s just released his debut single as Boy Called Killian, “What isTomorrow?“
Shane came up with the idea for his moniker ‘Boy Called Killian’ by combining his love of Peter Pan and middle name Killian. His sound is influenced by an eclectic range of genres ranging from 80s pop to 90s hip hop to modern rock. He felt compelled to write “What is Tomorrow?” as a way of expressing his feelings of exhaustion and numbness resulting from the pandemic, which hit close to home for Shane. Sadly, he lost his grandmother to Covid, and all the lies and false information some people were spreading about the virus, masking and vaccines made him frustrated and angry. He wrote, sang and played all instruments and programmed all synths on the track, which was recorded and mixed by Bret Liber at Red Roof Productions.
The song is darkly beautiful, with swirling otherworldly synths over a droning synth bass that create a rather ominous atmospheric soundscape. But he lightens the vibe with numerous musical touches like a skittering percussive beat and sparkling keyboards to provide glimmers of hope. His earnest vocals sound better than ever here, nicely backed by own lovely soaring harmonies as he laments “Everybody’s got somewhere to be. Everybody but me, me, me, me. So what is tomorrow? Will we ever be normal again?Everybody’s got an opinion. Everybody has got a wrong opinion./ What’s the point in spouting off? You look like an asshole./ Maybe you should shut your mouth.”
It’s a wonderful, expertly-crafted song that really strikes a nerve, as well as an excellent beginning for his new Boy Called Killian project.
Click here to watch the special animated video Boy Called Killian created for the song.
One of the best acts making music today is indie folk-rock band Lord Huron. Regular followers of my blog know I’m a huge fan of theirs, and their gorgeous single “Mine Forever” is currently enjoying a long stay atop my Weekly Top 30. The song recently peaked at #2 on the Billboard Adult Alternative Airplay (AAA) chart. For those still unaware of Lord Huron’s music, “Mine Forever” is a perfect introduction, as the song is both breathtaking and catchy. Those twangy, borderline surf guitars are gorgeous, and together with the soaring strings, captivating vocal harmonies and infectious toe-tapping groove, it all comes together to create a truly phenomenal track.
Their uniquely beautiful music is a glorious mash-up of folk, western, rock and roll, pop, surf rock and new age, and has been described by a few music writers as evoking the ‘high-lonesome’ sound of such legendary acts as The Band and Neil Young, as well as newer acts like Fleet Foxes and My Morning Jacket. The most striking features of their sound are the lush twangy and shimmery guitars, backed by stirring orchestral strings, and lead singer Ben Schneider’s achingly beautiful vocals, which have an arresting and heartfelt vulnerability. For me, listening to their music is an almost religious experience, transporting me to a dreamy, faraway place somewhere out in the open West. The cinematic quality of their music makes many of their songs perfect candidates for the soundtrack of a sweeping Western epic.
Lord Huron was formed by singer-songwriter and guitarist Ben Schneider as a solo act in 2010, after he relocated from Michigan to Los Angeles. The name was inspired by Lake Huron, one of the Great Lakes that border Michigan. The band eventually grew into a four-piece, and now includes Miguel Briseño on bass, keyboards & theremin, Tom Renaud on guitar, and Mark Barry on drums & percussion. They released their debut album Lonesome Dreams in 2012, but I didn’t learn about them until 2017, when I heard their beautiful ballad “The Night We Met”, from their second album Strange Trails. Their biggest hit thus far, the song has been streamed more than 857 million times on Spotify, and is one of my favorites of 2017.
“Mine Forever” is from their critically acclaimed fourth album Long Lost, an ambitious and stunning work released this past May, and featuring 13 songs plus three brief interludes. Every one of the 13 tracks is outstanding, and I think it’s hands down one of the best albums of 2021. Another one of the album’s singles, “Not Dead Yet”, topped both my Weekly Top 30 and the Billboard AAA chart this past June. I strongly urge everyone to set aside some time to listen to the album, because you’ll be glad you did. Even a few friends of mine who aren’t that much into music have remarked on how good it is.
The song’s lyrics seem to describe an obsessive and dysfunctional love-hate relationship, in which the singer feels he can’t live with nor without his lover. Lord Huron tends to make quirky entertaining story videos featuring a mix of newly-filmed and vintage B-movie footage, and the one for “Mine Forever” is no exception. The song ends with blurry images of a couple embracing as a woman speaks words in French. I love it!
Here’s the Spotify link of Long Lost for those who wish to check out the full album:
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