Category: Reviews

Fresh New Tracks Vol. II

On By EclecticMusicLoverIn Reviews5 Comments

It’s been a while since I last posted the first of what was supposed to be a weekly, or at least occasional, digest of newly-released singles, but as they say, the road to hell is paved with good intentions. Now that the holiday season is behind us and we’re well into a new year, lots of new music is being released, far more than I can keep up with! This week I’m featuring three new releases by (in alphabetical order) Neil and Adam, Shimmer Johnson and Zero Azimuth.

“Bright Light” by Neil and Adam

Neil and Adam are singer/songwriters Neil McCloskey and Adam Hilligardt, who hail from suburban St. Louis, Missouri (where I lived from 1995-2011). Friends since high school, the duo have been making pleasing and melodic folk/pop/rock music on and off for several years. They were one of the earliest acts I featured on this blog, back in August 2016 when I reviewed their beautiful uplifting single “Everything is Alright”. They followed up with a couple more singles after that, and have just released “Bright Light“. It’s their first new single in three and a half years, and it’s great to have them back.

In their own words, “Bright Light” is a “powerful and heartfelt love song that touches on the struggles of intense feelings and emotions.” Over an infectious toe-tapping beat, the guys layer a mix of strummed acoustic and chiming electric guitar notes over Adam’s warm keyboards and sparkling synths, creating a lovely backdrop for Neil’s wonderful plaintive vocals. He implores to a loved one of the depths of his feelings, feeling frustrated by her unwillingness or inability to open herself up to love: “Scared of the bright light that’s burning in your heart / Waiting for the fist fight that rages in your heart.”

Follow Neil and Adam:  Facebook / Twitter / Instagram

“Love is Possible” by Shimmer Johnson

Singer/songwriter Shimmer Johnson has such a uniquely beautiful singing voice that it’s puzzling to me she has not yet become a major star – though her 2017 single “Pride” has been streamed more than 239,000 times on Spotify. Originally from Edmonton, Alberta, Canada, she started out writing and recording Country songs, but wanting to broaden her musical horizons and take advantage of her amazing vocal talents, she relocated to Los Angeles a few years ago, and has been working with songwriters such as Michael Jay, John West, Richard Bergman and Relik Gregos. A fine guitarist and pianist, Shimmer writes and sings compelling and lovely songs about life and love that we can all relate to. Her clear, pitch-perfect vocals skillfully convey the subtle yet powerful emotions expressed in her heartfelt lyrics, allowing us to connect with her songs on a deeply personal level.

I first featured her on this blog three years ago in February 2018 when I reviewed her single “Getaway”, and am now pleased to feature her latest single “Love is Possible“, which dropped January 5th. It’s a beautiful and hopeful pop ballad about the healing power of love. Shimmer’s silky vocals are comforting as she earnestly croons to a loved one that their love will endure through good times and bad: “I’d rather be safe and one with you than by myself. Two hearts as one they beat, I’m not by myself. Just a leap of faith in the stormy days, love is possible.” It’s a wonderful track.

Follow Shimmer Johnson:  Facebook / Twitter / Instagram

“Go With the Flow” by Zero Azimuth

Zero Azimuth is a young artist I’ve been following for a while who’s just released a great new single “Go With the Flow“. I don’t know a whole lot about him, other than that he’s an affable singer-songwriter named Adam from Columbus, Ohio who makes pretty good music that incorporates elements of alternative, indie rock and grunge. He released quite a bit of music in 2017, including two EPs Ex Post Facto and Quaint, as well as several singles, then went quiet for a couple years before returning in May 2020 with his terrific single “Same Evil”.

On January 4th, he dropped his latest single “Go With the Flow”, a song about trying to not let others’ indifference get the best of him. He starts off feeling a bit sorry for himself with the humorous lyrics “Oh hey there pretty baby, would you like to come over? I’m taking a bath, how ’bout you throw in a toaster.” But he eventually comes to a sober sense of resignation that he’s every bit as worthy a person as they are: “No one wants me. I’ll work on myself and give you all a goodbye kiss / And I’ll go, go with the flow, cause I think I know something they don’t.” With its mellow, alt-pop vibe and lively guitar-driven melody, the song reminds me of some of the music by Duncan Sheik and Blink-182.

Follow Zero Azimuth:  Twitter / Instagram

CRYSTAL CITIES – Single Review: “”Jenny, How Were We to Know?”

On By EclecticMusicLoverIn Reviews6 Comments

Ever since first hearing their stunning and critically-acclaimed debut EP Who’s Gonna Save Us Now in early 2017, I’ve been a huge fan of Sydney, Australia-based dream rock band Crystal Cities. With a lush, melodic sound they describe as “like Death Cab For Cutie had a War On Drugs with The Beatles” – all bands I love – it’s no wonder I would love their beautiful music too. The supremely talented and strikingly handsome trio consists of Geoff Rana (vocals, guitars, keyboard), Jared King (bass, backing vocals) and Daniel Conte (drums, percussion). I’ve previously featured them three times on this blog, and ranked their gorgeous single “Under the Cold Light of the Moon” at #10 on my Top 100 Songs of 2019. Their outstanding debut album of the same name, recorded at the legendary Abbey Road Studios, also received widespread acclaim.

It’s an understatement that 2020 presented significant challenges to musicians around the world, and like many artists and bands, Crystal Cities have had to make the most of a difficult situation by being creative in terms of how they record and release new music. Accordingly, they made the bold decision to self-produce, record and engineer their second album Hold Me Close Hold Me Tight, as well as release it as ten individual singles, one at a time. Bassist Jared King explains their thinking behind this move: “I think content and momentum are two very important things to be aware of in the streaming-age. Releasing multiple songs all at once is wasted potential in my eyes. We’ve worked so hard on each and every track on this album so why not let each one have it’s time in the spotlight rather than getting lost in the noise of an entire album release all at once.”

Last August, they released their first single “Don’t Speak Too Soon” (you can read my review here), and followed up over the next few months with “Got My Back to the Wind” and “Shadow of a Doubt”. On January 1st, they dropped the fourth single “Jenny, How Were We to Know?“, and it’s another beautiful gem in an unbroken string of superb singles. The song has a somewhat dreamier vibe than the previous three singles, more in the vein of their earlier songs. But as to be expected, the beautiful melody, swirling guitar work, subtle bass and thumping drums are flawless, and I love Geoff Rana’s warm, pleasing vocals.

The song seems to speak about desire and the uncertainties of love, but the lyrics are intentionally ambiguous. Rana elaborates: “The meaning behind this song is something I’ve chosen to remain a mystery. Being a music artist in 2021, we’re encouraged to share every little detail about our lives with our audience. While this has opened up many opportunities for artists to have unique and personal interactions with fans – something which we encourage and take full advantage of in Crystal Cities – there are some things that perhaps should be kept to ourselves in order to set boundaries and protect and respect the privacy of other people… In this instance, I want the context of this song to be left up to the listener’s own interpretation.”⁣

Have a listen to this captivating song:

Connect with Crystal Cities:  Facebook / Twitter / Instagram
Stream their music on Spotify / Soundcloud / Apple Music
Purchase on Bandcamp / iTunes 

Song of the Week – “Fire” by Two Feet

On By EclecticMusicLoverIn Reviews11 Comments

At the end of a week that saw one of the darkest days in recent American history, Two Feet goes and drops a fantastic new single “Fire“, bringing some badly-needed light and joy into the lives of his many fans. I think it’s one of his best songs yet – which is saying a lot – and I’ve chosen it as my Song of the Week.

Beginning with the release of his breakout single “Go Fuck Yourself” in 2016, the Brooklyn, New York-based singer-songwriter and guitarist has been on a creative roll, releasing several singles, including his #1 hit “I Feel Like I’m Drowning” in 2018, and two outstanding albums, the most of recent of which was last year’s Pink (you can read my review here). He’s become my favorite artist, and I love every single piece of music he’s released. Since that album’s release, Two Feet has dropped three singles – “Think I’m Crazy”, which is currently enjoying a long run on my Weekly Top 30, “Time Fades Away”, and now “Fire”, which dropped today, January 8th. 

I’ve stated previously that many of his songs are slow burns, and that’s certainly the case with “Fire”. The song has a sensuous and smoldering deep bass groove that sounds like a slowed-down version of “Every Breath You Take” by The Police – one of my all-time favorite songs. Two Feet and his trusted keyboardist/programmer Geoffrey Hufford (aka Huff) layer bluesy guitars and gorgeous sultry synths to create an almost cinematic soundscape that soars to a scorching crescendo befitting the song’s title. Two Feet sings in a much higher octave here than usual, with an almost breathy, yet impassioned falsetto as he croons to a lover of his intense ardor: “Darling, You call my name / I like the games you play / Charming, My love for you / Burning, I feel it too.” I love it!

Connect with Two Feet:  Facebook / Twitter / Instagram
Stream/purchase his music:  Spotify / Soundcloud / Apple Music / Amazon

CLINT SLATE – Album Review: “Dragons”

On By EclecticMusicLoverIn Reviews3 Comments

Clint Slate is the music project of French singer-songwriter and multi-instrumentalist Gregg Michel. Based in Paris, the versatile musician has been involved in numerous projects over the years, and wanting to further explore and experiment with his art, Michel created Clint Slate in 2015. The moniker is a variation of ‘clean slate’. That same year, he released his debut solo album Before the Dark, a beguiling work featuring 12 tracks he described as “a trip between sonic landscapes and electro-organic sounds, a travel in my mind, a snapshot of life between light and darkness.” The album was an exploration of his feelings of grief and loss after the death of his father. He followed up in 2017 with his exquisite second album Woodn Bones, which he premiered in a live performance on the internet with a full band plus choir in a theatre. It was an album recorded live and in a single take.

At the start of 2020, Clint was preparing to release his third album, a progressive concept work titled The Last Man, but then the Covid-19 pandemic swept across Europe, resulting in a lockdown in France and many countries. He decided to postpone the album’s release until the time comes that he can give it a proper release in front of an audience. He had also been involved with several collaborative projects, including becoming a metal singer for the former drummer of Skakin’ Street, a crooner for Alexandre Azaria’s soundtracks, Bono for a U2 Tribute, and a rock’n’roll clown for the musical stage troupe Les Franglaises.

The coronavirus brought all these activities to a halt, which then led him to conceive of a new project based on the idea of a ‘cadavre exquis musical’ (or ‘exquisite musical corpse’), and that could be created virtually and remotely. Enlisting the help of two other musicians, bassist Francesco Arzani and drummer Louison Collet, Clint set to work on an album entitled Dragons, which dropped today, January 4th. He wrote the music and lyrics, sang vocals and played acoustic and electric guitar, keyboards, stylophone and percussion. He also produced, mixed and mastered the album. Louison also played glockenspiel on “Dark is Wire” and Clint played bass on “Obstacles”.

Dragons was inspired by Clint’s love of David Bowie’s album Earthling, which he explains “allows itself to digest Drum&Bass, Jungle and electro and to spit them out totally transfigured in a unique result. It’s thanks to this album that I realise the importance of breaking genres and codes, like listening to Mike Garson’s jazz out piano parts on the volcanic electro/rock “Dead Man Walking” or Reeves Gabrels’ string after string guitar solo with alien like sounds on “Looking For Satellites”. It also allowed me to discover William Burroughs and the Beat Generation, Bowie explaining that he applied the cut-up principle to several songs. But what is cut-up? It’s a process created by the surrealists where words written in the course of thought or newspaper clippings were mixed in a bowl and randomly drawn to create new phrases. It is a way to shake up inspiration, to renew oneself, to explore the unconscious and to play with meaning or nonsense.” Clint told me Dragons is a kind of love letter to artists and explorators he admires.

Work on Dragons took place between May and July 2020. Clint would compose the music, working as quickly as possible to keep from overthinking while he recorded melodies, riffs or suites of chords. He then sent them to Louison and Francesco without giving them any more information than an audio clip, chords and a BPM, which allowed them to add their own touches without knowing what the other did. The rules were simple: Be spontaneous and think as little as possible, record yourself three times maximum and get out of your playing habits. Once he received their tracks, Clint added them to the guitar parts and then distorted everything until the original idea had been transfigured or even supplanted by the new sounds. Each track was given a random name, which was then entered into a word generator to find the lyrics, flirting with nonsense, abstract and surrealism.

The result is a totally unique, fascinating and eclectic collection of songs that (in Clint’s words, as I couldn’t possibly say it better myself) “winds between styles, genres and atmospheres to propose a new journey through the unconscious and surf on the wave of the moment. The nine songs of the album are as many monsters and chimeras to discover and tame.” The album opens with “Sunset, Nova and Earth“, an interesting track that starts off with Clint rapping over an almost dubstep beat, accompanied by clicking sounds, then settles into a languid folk rock vibe with bluesy guitars. As promised, the lyrics are abstract and surreal: “You noisy capture birds to get the galaxies, the warm aurora of unseen specific lights. Recognize in us storytellers. Raw change might help sunset, Nova and Earth.”

David Bowie’s influence can be heard on “Reconciliation TV (The Love Tides)“, which to my ears also has a strong Pink Floyd vibe, thanks to its sweeping organ riff and colorful mix of jangly and distorted guitars, followed by relatively calm, introspective interludes. Clint’s knack for sounding like Bono is evident on the hauntingly beautiful “Ghost America“, a song that seems to allude to an America now past its glory “The rise of the greatest worldwide team. Theft beyond trading. The ghost of America, America.” “Dead Noise” has a somewhat cinematic feel as it builds to a dramatic crescendo, while the brooding “Dark is Wire” seems to channel Radiohead. With its combination of delicate synths, strummed guitars and Glockenspiel layered over Francesco’s moody bass line, the captivating song is one of my favorites on the album. And once again, the lyrics are obscure: “Nothing to die / dark is wire / shortcuts useless / a crisp stark pink interface.”

“The Sixth Trip Plan” is a melodic and upbeat track based on a twenty seconds long riff on two very simple chords that Clint developed, and enhanced by a bass riff created by Francesco. I really like this video showing each of them performing independently, but sounding fantastic together. The lyrics are rather non-sensical, but make for a fun listen: “Fresh self-respect / Carbon exchange / Join the flowers of a hundred dictionaries / Double bread crown for twin Spanish horses / Challenge the last dance call that’s the sixth trip plan.”

The darkly beautiful “Obstacles” is another favorite, with stunning guitar work that Clint states was recorded in a single take shortly after he composed it. He adds that the song “mourns a world that has become as cold as steel“, as expressed in the lyrics “A wireless force / Dangerous events holding the web, focused / You offer everything / Stealth warranty / Candidates multiply instantly.” Though the lyrics are rather foreboding, his vocals are warmly comforting.

On the futuristic “Systems and Batteries“, Clint uses wobbly industrial synths, throbbing reverb and a skittering beat to create a harsh, yet dreamy otherworldly soundscape for his droning vocals, augmented by electronically-altered vocals speaking the lines “Imperial common unit / Imperial views / Theoretical tools and technology measure something here.” The final track “Smash” is an exhilarating guitar-driven progressive rock song that ends with the album title as the last word: “Update the leaders, compatible with riders / Commit together, contact the dragon.”

Dragons is an unusual but sonically satisfying album that I found immensely enjoyable. I applaud Clint for his imaginative approach in the creation of this unique work, proving that – even in isolation – musicians are capable of producing some really innovative and compelling work. If you like music that ventures outside the norms in terms of melodic structure, lyrics and sound design, you will enjoy this album.

Follow Clint Slate:  Facebook / Twitter / Instagram

Stream his music:  Spotify / Soundcloud / Apple Music

Purchase:  Bandcamp / Amazon

VICIOUS ROOSTER – Single Review: “Something Goin’ On”

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This past September, I featured Argentine-born and now Los Angeles-based artist Vicious Rooster on this blog when I reviewed his darkly beautiful single “The Moon is Dancing”. The music project of singer-songwriter, musician and producer Juan Abella, Vicious Rooster draws inspiration from some of his favorite bands like The Beatles, Led Zeppelin, The Black Crowes, Guns’n’Roses and Alice in Chains to create his own unique style that’s a wonderful melding of classic and Southern rock, folk and grunge. Both his guitar playing style and vocals sound like he’s from Nashville or Austin, rather than Argentina. On November 25th, he released his follow-up single “Something Goin’ On“, delivering three raucous minutes of bluesy Southern rock goodness for our listening pleasure. The song was mixed by Mikal Reid, who’s worked with renowned artists such as Mick Jagger, Alice Cooper, Ben Harper, and Kenny Wayne Sheperd.

“Something Goin’ On” has a harder rock edge than “The Moon is Dancing” and I like it! Abella is a fine guitarist, and he lets er rip, slicing through the airwaves with an onslaught of layered gritty and bluesy guitars, punctuated by tasty little flourishes of distortion and highlighted by a scorching solo in the bridge. A throbbing bass line and explosive percussion keep the driving rhythm firmly on track. His fervent vocals keep pace with the intensity of the instrumentals as he exclaims to his love interest of the powerful effect she’s having on him: “Let me tell you baby, you’re breaking me in two. But there’s something goin’ on between me and you.”

If Vicious Rooster keeps putting out excellent records like these two singles and his previous album The Darkest Light, I’m confident he’ll have a long and successful career.

To learn more about Vicious Rooster, check out his website

Follow him on Facebook / Twitter / Instagram

Stream his music:  Spotify / Apple Music / Soundcloud

Purchase:  Bandcamp / Amazon 

THE FRONTIER – Single Review: “Sleep”

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One of my absolute favorite indie artists is The Frontier, the music project and brainchild of singer-songwriter, guitarist and producer Jake Mimikos. Based in Fairfax County, Virginia, Jake is a talented, gracious and funny guy who I’ve grown quite fond of, both as an artist and a human. Since 2015, he’s released a substantial amount of music both as a solo artist and as a band under The Frontier moniker, and we’ve been following each other on social media for nearly that long. As with many bands, the members and lineup of The Frontier have varied over the years, but for the time being, the act is now mostly a solo project.

Drawing upon elements of pop, folk, rock and electronica, his music is always pleasing and flawlessly crafted. I’ve featured him several times on this blog, most recently this past June when I reviewed his wonderful single “It’s You”. I love it so much, it spent five months on my Weekly Top 30, and turned out to be my most-streamed song of the year on Spotify. (You can read that and previous reviews by clicking on the links under ‘Related’ at the end of this post.) Now he’s back with a beautiful new single “Sleep“, and I already love it too! The track was recorded and produced by Austin Bello for Fearless Records.

Jake is an excellent guitarist, and here his layered strummed and chiming guitars are so stunning, they take my breath away. He’s also gotten quite adept at programming synths and keyboards to create lush, sparkling soundscapes, as well as layering his lovely, heartfelt vocals into a rich tapestry of harmonies. He plaintively sings of the pain and unease he feels over not knowing where he stands with another, and yearning for a little sleep to momentarily forget his troubles: “I lay awake, but I’m dreaming / I just can’t get my mind off of you / All of these stories keep repeating / I don’t know which voice to listen to / I’ve never been one to get what I want / I’m always trying too hard / It’s something that I’ve been working on / It’s always so close yet so far / But for now, til the answers are found / Got to quiet the sun to sleep.“

“Sleep” is a gorgeous and deeply stirring track that’s sure to be another hit.

Connect with The Frontier: Facebook / Twitter / Instagram
Stream: Spotify / Soundcloud / Reverbnation / Apple Music
Purchase: Bandcamp / iTunes / Amazon

New Song of the Week – “Undone” by Tough on Fridays

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In early October, I wrote a review of the outstanding debut album A Fantastic Way to Kill Some Time by Texas grunge pop-rock band Tough on Fridays. I knew the talented female-fronted band had a loyal and growing fan base, but I had no idea just how large and passionate it was. In just two and a half months, the review has received nearly 1,000 views, the most of any post I’ve written in 2020! Now the trio, consisting of Caleigh on vocals & guitar, Carly on bass & vocals, and Chris on drums, are back with a great new single “Undone“, which I’ve chosen as my New Song of the Week.

The song opens strong with Carly’s intricate moody bass riff and Caleigh’s cold, matter-of-fact vocals that perfectly convey the sadness and pain expressed in the biting lyrics addressing a selfish and miserable friend of her disappointment with them: “I wish you were special / I really wish you were special / No one was miserable like you.” Suddenly, we’re hit with a blast of her raging gnarly guitars and Chris’s smashing drumbeats as the song ramps up to a fast-paced punk-like tempo. Caleigh’s vocals turn more impassioned as she bitterly informs her friend that their relationship is broken beyond repair and finally come ‘undone’. It’s a banger, and I think it’s their best song yet.

 I wish you were special
 I really wish you were special
 No one was miserable like you
 No, no one had it as bad as you
 Oh lately
 You’ll always be temporary
 
 So point blank and in your face
 Maybe you’ll learn someday
 Make sure I’m not a necessity
 Right before you dispose of me
 Hate yourself and that’s ok
 I want out of your fucked-up game
 
 You’re in misery
 Stay far from me
 I want out of your fucked-up game
 
 You never had anyone
 You never liked to have fun
 I wasn’t just anyone
 Made me come all undone
 I was never really done
 Lie to me,
 Use me
 Stay far away
 Can’t use me up anymore

Follow Tough on Fridays:  Facebook / Twitter / Instagram

Stream:  Spotify / Apple Music / Soundcloud / Reverbnation

Purchase:  Bandcamp / Amazon

ImageBeatZ – Single Review: “Now or Never”

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ImageBeatZ is the latest music project of British composer and producer Justin Stephens. Based in the historic town of Ipswich in the eastern English county of Suffolk, the prolific musician has recorded and produced an impressive amount of electronic music since early 2016, both as a solo artist and in collaboration with other artists. He’s covered a wide range of styles, including Deep House, Chill House, Chill Step, Trap, Trip Hop and Lounge, though his preferred style is Deep House.

His first music project was called Infected Sun, and I reviewed one of his mini-EPs “Summer Nights” in 2018. He created his second music project AudioBytes in early 2020, and continued to release a tremendous output of music, including a terrific 18-track album Hold Me Tonight in September. He also hosts Friday Night House Sessions, a two-hour Deep House show he runs every other week on Facebook Live at 7:30 pm GMT, where he’s often joined by other special guest DJs. It’s an enjoyable show, so check it out if you’re into House music. He’s amassed more than a quarter million streams under that name. Now he’s created yet another new project ImageBeatz, which he’ll launch on New Year’s Day 2021 with his first single “Now or Never“.

With his latest project ImageBeatZ, Stephens blends Deephouse with NuDisco and pop to create a more upbeat and accessible sound. His first single “Now or Never” is an infectiously catchy dance song that aims straight for the hips. The lyrics speak to taking a chance on something or someone new. Starting with a thumping Deephouse EDM bass groove, he layers crisp percussive beats and sultry synths, then tops it off with a deliciously funky Nile Rodgers-style guitar riff. His use of a more prominent guitar is something new for Stephens, and I like the extra textural dynamic it adds to the track.

The lovely vocals are provided by a singer who, for reasons that both Stephens and I cannot fathom, does not wish to be named. She sings to someone to whom she’s attracted, wanting to be more than just friends: “I believe we can find what we’re looking to find / Someone to make us whole again / Doesn’t take very much to look around and see us, maybe we can be more than friends / You know we’ll make it feel right / We can turn this night into something new to relive again / So take my hand, take a chance / Let’s not let this night end, again / Now or never, let’s take a chance and do what we would never do.”

“Now or Never” will be available for streaming on Spotify and for purchase (if you would like to support the artist) at Beatport.com on 01/01/2021.

Stephens also hosts the Friday Night House Sessions, a two-hour Deep House show he runs every two weeks on Facebook Live at 7:30 pm GMT. He’s often joined by other special guest DJs like DJ JerryS and DJ Embrace. It’s an enjoyable show, so check it out if you’re into House music.

Follow ImageBeatZ:  Facebook / Instagram

JONNY POLONSKY – Album Review: “Power and Greed and Money and Sex and Death”

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This past April, I wrote a feature article about Brooklyn-based artist Jonny Polonsky, along with a review of his marvelous album Kingdom of Sleep, which you can read here. An accomplished singer-songwriter, producer and multi-instrumentalist, he’s been actively involved in the music industry for over a quarter century, both as a solo artist and as a session musician and/or member of a number of bands, including Big Nose (with Audioslave/Rage Against the Machine drummer Brad Wilk and bassist Tim Commerford) and Puscifer. On November 13, Jonny returned with his eighth album Power and Greed and Money and Sex and Death, featuring eight songs touching on the good, the bad and the ugly of this thing called life. He wrote, arranged, recorded, produced and engineered the album at home during the pandemic lockdown in Spring and Summer 2020. Mixing was done by Mike Tholen and mastering by Dave Collins. 

Jonny Polonsky3

The album kicks off with “Electric Tears“, a foot-stomping psychedelic rocker that seems to touch on the vow “til death do us part”. With lyrics like “To the sound of thunder we’re torn asunder / O, Dulcinea! So sweet the vulture / The main offender, the plane descender / We fall together and live forever!“, I’m guessing the two lovers are about to perish in a plane crash, confirming their love for each other. On the timely and topical “In Between Worlds“, Jonny lobs a scathing attack on racism and bigotry, and those afraid or unable to accept that America continues to evolve, both socially and demographically: “I think your thinking is deranged / I see the sadness in your soul /Morbid, bent /And strange how you still fail to see that these changing times are not your enemy.” In the terrific video, he plays both a TV newsman reporting the news and a musician performing the song on a television show stage, accompanied by footage of street protests and a defeated-looking Trump. Musically, the song has an urgent, piano-driven melody, with gnarly guitars, organ and dark synths. The piano work is especially good here.

“Imitation Life” is a lively power pop gem, with a strong driving beat and wonderful jangly guitars that give the song a retro 60s sound. Jonny admonishes another to let go of phoniness and superficiality, and live her truth: “Sad eyes, you shouldn’t waste your time / Realize, this is no imitation life. You’re alive.” One of my favorite tracks on the album is “Summer Soldiers“, a melodic tune featuring lovely vocals by singer-songwriter and former member of the Go-Go’s Jane Wiedlin. The song’s uplifting lyrics seem to be telling us not to let others define us, nor keep us from living our full potential: “Don’t let ’em lay you down and roll you out / And when you’re alone and don’t know who to trust / Tempted to self destruct / Discarded and left to rust.” The song starts off with a brief snippet of Little Richard’s hysterical laughter, then settles into a pleasing mid-tempo beat, with enchanting spacy synths, shimmery keyboards and crisp percussion. I really like how Jonny and Jane’s vocals are in perfect harmony.

On the brooding “Under Your Spell“, Jonny uses sweeping industrial synths and beautiful distorted guitars to create a haunting cinematic soundscape that gives the song a bit of a David Bowie vibe. He has an unusual vocal style that’s both raspy and breathy, which he uses to great effect on this track. The lyrics speak to him having fallen for someone who seems to be emotionally unavailable, insecure and afraid of revealing their true self:  “How’d you end up on the inside? How do you know me so well? With your eyes on fire and your coat made of eagle, now I’m under your spell.” Another standout track for me is “Completely Surrounded by Love“, with its gorgeous blend of twangy and jangly guitars that give the song a folk-rock feel. The song seems to be a thank you to someone who helped him overcome his personal demons through their love and devotion: “I was afraid, so afraid of my own mind / I believed in you / I couldn’t think for my own self / But I know I am completely surrounded by love.“

Jonny saves the best for last with the stunning and bittersweet “Where the Sunset Sets“. Starting with an achingly beautiful melody, he layers shimmery keyboards, chiming guitars and airy synths to create a breathtaking atmospheric soundscape. His vocals are deeply heartfelt as he sings to someone who seems to be slipping away, possibly from dementia or even on the verge of their death: “And everything that had binded me to you, just leaves you sad and confounded / What once had been a folie a deux, is just a memory you detest. Your name, it doesn’t matter / Your face, you will soon forget / Our eyes, beaming into one another / Leave a trace in anyone you’ve ever met .” The seven-minute-long song has an epic and cinematic quality, and is my favorite track on the album.

Power and Greed and Money and Sex and Death is a wonderful album that gets better with each listen. I like how Jonny keeps things sounding fresh and varied by using different music styles, tempos and sounds on each track, and as always, the production values and arrangements are first-rate.

Jonny will be releasing a deluxe 12-inch vinyl version of the album, pressed on transparent red vinyl, with a full color cover and lyric insert with photos, and including a 16.5″x23″ fold out poster and free digital download card. Purchase of this deluxe album includes unlimited streaming of Power and Greed and Money and Sex and Death via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Shipping is anticipated on or around February 1, 2021.

Connect with Jonny: Facebook / Twitter / Instagram
Stream his music: Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Amazon

SOFT SHELTER – EP Review: “No Exits”

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Soft Shelter is a talented young singer-songwriter, guitarist and music producer based in Southern California, who writes songs that explore such themes as memory, nostalgia, time, relationships, and climate change. His pleasing style of indie dream pop is laced with alt-rock, psychedelic and electronic elements, and delivered mostly with guitar, programmed synths and his soft, breathy vocals. He writes, arranges, produces and mixes all his own music in his home studio.

The prolific artist has released a tremendous amount of music over the past year, starting with his first single “Ashes” in November 2019, which he followed with two EPs and several singles, two of which – his EP Judgment Day and his single “Just a Ride” I reviewed earlier this year. (You can read those reviews by clicking on the links under “Related” at the end of this post.). Now the busy man is back with a new four-song EP No Exits, which dropped on December 4th. He recorded the EP in his home studio with assistance by Noah Kastenbaum on songwriting and guitar, as well as backing vocal harmonies on “Those Days” and “No Exits.” Drums on “Butterflies” and “No Exits” were played by Grant Whitson. The EP was mastered by Matt Pereira (aka KOMAK), and the artwork was designed by Nikki Castro.

Opening track “Time (Pressure)” has an edgier rock vibe than Soft Shelter’s more typical sound, highlighted by Noah Kastenbaum’s terrific fuzz-coated electric guitar. I really like Soft Shelter’s languid melody and swirling synths that nicely complement Noah’s bluesy guitar licks. The lyrics speak to the relentless passage of time, and the pressures it places on our psyche and the way we live our lives, sometimes missing out on savoring the good stuff in our rush to the next big thing: “Hey wait – it’s gettin’ late. Don’t go – we’ll miss the show. Can’t sit and waste the time standin’ in that stupid line.”

On the contemplative “Butterflies“, he starts the track with a quote by French actress Anna Karina in the 1962 French film Vivre sa vie (My Life to Live), in which she leaves her husband and infant son hoping to become an actress, but ends up becoming a prostitute. She says “I forget that I’m responsible but I am. No, it’s like what I was saying: wanting to escape is a joke. After all, everything is beautiful, you just have to take interest in things and find them beautiful.” As such, “Butterflies” at first touches on the intense feelings of desire for someone: “She gave me butterflies every time and didn’t have to try. She made me lose my mind every time and didn’t have to try“, but then hits us with a cold reality that those feelings might fade: “How long ‘til you’re bored w/ this metamorphosis? How long ‘til you’re bored w/ this faded elegance?” Soft Shelter uses gentle piano chords and lush synths to create a dreamy backdrop for his soft, wistful vocals.

“Those Days” is a lovely, introspective track that Soft Shelter states was “written after an intensely nostalgic experience.” His delicate mix of shimmery synths, piano, horns and xylophone are supplemented with Noah’s subtle electric guitar notes and backing vocals that give the song a gentle anthemic quality. Soft Shelter’s breathy vocals are especially enchanting as he softly croons “Back home after many years. Is it time to face my fears? And before these memories nostalgia takes its toll on me. And what’s past was never meant to last.”

On the title track “No Exits”, he uses a double entendre to reflect on both the anxieties over climate-change and to serve as a metaphor for challenges faced in a long-term relationship: “Oh lord, tell us how we’ve strayed. Would we wanna go back anyway? The hourglass has melted away. The sun’s burning us and we can’t stay.” Musically, the song starts off with strummed acoustic and electric guitars accompanied by gentle bass, keyboard synths and soft percussion that give a mellow folk-rock vibe. Gradually, the instrumentals and vocals build to a harder rock crescendo as the song ends in a flourish of distortion.

No Exits is a great little EP that nicely showcases Soft Shelter’s growth as a songwriter, musician and producer. I like that he’s exploring his rock side a bit more, while continuing to write compelling lyrics that draw from both personal and timely, as well as classic themes.

Follow Soft Shelter on Instagram
Stream his music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Amazon