Hailing from Philadelphia is Snap Infraction, a three-piece musical powerhouse comprised of Steve Karsch on vocals, guitar & percussion, Dave Kerr on bass and Tony Iannuzzi on drums. According to their bio, they “distill decades of rock n roll history into a modern sonic journey, crafting songs overflowing with hooks and dynamic instrumentation, echoing The Cars, Joe Jackson, early Fleetwood Mac and The Beatles, crafting a familiar, yet uniquely distinctive sound.” After listening to their considerable music catalog, I say that sounds about right!
From what I can tell, they’ve been around as a band for more than 15 years, and in 2009 released their first single “Try To See It My Way”, a pretty good rocker strongly influenced by the early Beatles sound. After a long hiatus, they released a five-track EP Chin Music in May 2017, then another three years would pass until their follow-up EP Stiff Arm, in May 2020. They were quite active in 2021, releasing several double singles throughout that year, followed by a very nice cover of the Beach Boys Christmas classic “Little Saint Nick” in December 2022, and their own original Christmas song “Christmas In The Islands” in December 2023. Now they return with “Keeping Score“, the lead single from their forthcoming full-length album Eephus, scheduled for release on May 3rd.
Written by Karsch, “Keeping Score” was recorded and engineered by Matt Weber at Gradwell House Studios, mixed by Mike Ian at Eyeball Studios (gotta love the names people come up with for their studios), and mastered by Tom Volpicelli at The Mastering House. The song was inspired by a conversation between Karsch and band drummer Ianuzzi, who yearned for a song channeling The Cars’ iconic sound. Karsch quickly got to work writing the song, placing special emphasis on drums to showcase Ianuzzi’s considerable prowess on his drumkit.
The result is a lively garage rock banger, opening with Ianuzzi’s impressive drumming front and center as he bangs out an aggressive thumping beat that gets our toes tapping and head bopping. He’s soon joined by Kerr’s wonderful buzzing bassline and Karsch’s earnest vocals that sound slightly reminiscent of Ric Ocasek here. As the song progresses, Ianuzzi injects flourishes of crashing cymbals with every chorus and sub-chorus, accompanied by Karsch’s spirited guitars that surprise at every turn while Kerr’s muscular bassline keeps the rhythm on solid footing.
The lyrics describe a man who recognizes his self-destructive ways and knows he needs to change, but just can’t seem to muster the fortitude to do what he must in order to become a better person: “I need to stop myself from becoming who I am./ I can’t help myself, you know I can’t believe my eyes./ What do they say about me? He lies, he cheats to get everything he needs, and maybe more. What will they say about me? I don’t need to know ’cause I’m not keeping score anymore.“
“Keeping Score” is terrific, and I think it’s one of Snap Infraction’s best songs yet. It’s a testament to their strong songwriting and musicianship, and a promising sign of what we can expect with their upcoming album.
It’s been a long while since I last published one of my Fresh New Tracks posts (partly due to the fact I quit writing reviews the last three months of 2023), but with so much new music out, I feel it’s time for a new installment. Today, I’m thrilled to present four excellent recently released songs by, in alphabetic order, British singer-songwriter Ben Gorb, British indie rock band Healer, Long Island, New York alt-rock band Morning Fuzz, and Los Angeles psychedelic indie rock duo The Nanners. I’ve previously written about Healer and Morning Fuzz, whereas Ben Gorb and The Nanners are new to me.
BEN GORB – “Brand New Day”
Photo by Alistair Mac
Ben Gorb is an affable, talented, and very tall singer-songwriter from Manchester, England who, in his early teens, developed a passion for the classic rock of such artists as Jimi Hendrix, The Who and AC/DC that prompted him to take up the guitar. He’s been recording and releasing music since 2014 when he was in his early 20s, and his output since then includes numerous singles, EPs and two albums, Reflections in 2020 and Burning Light in 2021. I like his pleasing, high-energy rock sound, plus he’s also a cat lover, which warms my cat-loving heart! He’s earned quite a following by performing throughout the Northwest and Midlands regions of the UK, both as a solo artist and with his band consisting of Jake Preistley on rhythm guitar, Joseph Shaw on bass and Josh Savage on drums.
He recently reached out to me with his latest single “Brand New Day“, which was released February 20th. He wrote the song, sings lead vocals and plays lead guitar, backed by his aforementioned band members. It’s a rousing kiss-off song addressed to a romantic partner who he tells in no uncertain terms that he’s done with the fights and her putting him down, and that he’s freeing himself of their five-year-long relationship once and for all: “Here I go, I’m on the run. Like a fox from a gun I’ll be gone. I don’t care what you think, I don’t care you say. The future’s mine, it’s the start of a brand new day.” I love the superb guitar work that really channels AC/DC, the tight rhythms, and Ben’s colorful vocals, backed by the guys’ wonderful harmonies.
HEALER is a five-piece alternative indie rock band based in Grimsby, England, comprised of Steve (lead vocals), Kirk (guitar), Dave (guitar), Tony (bass), and Jazz (drums). Formed in 2022, they’ve already built a strong following in the local music scene on the strength of their outstanding songs and riveting live performances, as well as garnering recognition and airplay on BBC Music Introducing and Amazing Radio UK/USA. Since the release of their debut single “Hurricane” in December 2022, the busy guys have followed with six more singles, one of which, “Bones“, I featured in a Fresh New Tracks post last May. The gorgeous song spent three months on my weekly top 30 and ranks #67 on my 100 Best Songs of 2023 list.
Their latest single “Wake Me Up”, released on February 2nd, is an anthemic rock banger, fueled by roiling guitars and driving rhythms. I must say that I love Steve’s distinctive singing voice that make’s HEALER’s songs immediately identifiable as theirs and no one else’s. About the song, the band explains “’Wake Me Up’ is a song about growing up, it’s about realising how much time you have wasted and hoping it’s not too late to stop the free spirit lifestyle and finally wake up. It also references the noise of the internet, visual media and how life can become one big blur and we sometimes need to wake up and smell the roses.” The imaginative video, which was filmed and edited by Misha Warren, shows a young boy played by Cole Ellis, sitting transfixed as he watches a wall of TV and video screens while wearing a spacesuit, juxtaposed with scenes of HEALER performing the song in a garage amid a bunch of vintage portable TVs.
Morning Fuzz is an exceptional band from Long Island, New York formed in 2009, and now comprised of singer/songwriter & guitarist Frank Fussa, bassist Chris Johanidesz, guitarist Michael Cullari and drummer Dan Leonardi. All are outstanding musicians, and together they make highly accessible rock they describe as “fun, bouncy guitar pop, happily shading in the intersections of the Venn diagram where mainstream pop and alternative music meet“, characterized by memorable melodies, ace instrumentation and intelligent lyrics delivered with Fussa’s commanding vocals. Though their musical output has sometimes been sporadic, over the past 15 years they’ve released two EPs, two albums, Chasing Ghosts in 2009 and Wherever We Go (which I reviewed) in 2023, and numerous singles, two of which, “Silent Sun” and “I’ll Be Around” I also reviewed. “Silent Sun” went on to rank #69 on my 100 Best Songs of 2017 list, while “I’ll Be Around” ranks #71 on my 100 Best Songs of 2019 list.
On February 23rd, Morning Fuzz dropped their latest single “New Moon“, the second of two B-Side tracks that didn’t make the final cut of Wherever We Go, but they still wanted to put out into the world. I’m glad they did, as it’s a great song, featuring the band’s signature electrifying guitar work, throbbing bass lines and thumping drumbeats we’ve come to love and expect. I also like that all four band members sing, with Chris, Michael and Dan’s backing harmonies beautifully complementing Frank’s raw, impassioned vocals. The lyrics, which feature quite a bit of earth and celestial metaphors, seem to address a troubled relationship where the singer has checked out emotionally, but chooses to hang on with a remaining thread of hope: “This is the part where I fall, but I just keep hanging on until I can’t feel anymore. I’ll hang around for a while. There’s not a bone to pick; I’ve already gone through the whole pile./ Everyone’s here for the good times, but I stick around for the bad times. Wherever there’s dusk, there’s a sunrise.”
Last, but certainly not least, I bring you The Nanners, the wonderfully zany L.A.-based music project of Nicholas Ewing and Thomas Ferraiuolo. From what I can tell, they officially formed last fall (of 2023), and have this to say about themselves: “Welcome to Banana World, where love, curiosity, angst, and nebulous speculations are explored through the lens of two meek and socially awkward grown men in banana costumes.” And while at first glance they might appear to be some kind of weird novelty act, they are in fact fine musicians and songwriters who also happen to be both hilarious and charming. Their pleasing sound is a happy mix of indie rock, psychedelia and dream pop, and I love it.
The duo released their delightful debut single “Sweet Tooth” in December, for which they had their own signature soft drink created, describing it as “the result of 6 years of food science and rigorous flavor profile testing. The ingredients are rare, illegal, and hardly FDA approved. Because they’re so good!” On February 7th, they dropped their second single “New Pony“, an equally delightful song about relaxing at a magical airbnb in the Mojave Desert with unlimited towels. To a mellow groove overlain with gently strummed jangly guitars and delicate sparkling synths, the guys croon in their soothing harmonies: “We’ll bring you more towels and immortality. Check out when you want, it’s a loose policy. We can help you find anything you need in the folds of time, just like magic. I wanna get pampered with you. Bananas get pampered too.” The farcical but sweet video for the song, showing the guys enjoying life and letting loose, was filmed at an actual airbnb in Joshua Tree, about an hour from where I live in the Coachella Valley. You’re in for a treat!
Hailing from the southwest coast of Wales, David Oakes is an imaginative and prolific musician and composer of electronic alternative rock music. Strongly influenced by his love of such acts as Dream Theater, Mastodon, Metallica, Therapy?, Green Day and Smashing Pumpkins, his musical output ranges from gentle synth-driven compositions to aggressive guitar-driven hard rock, though his last several works have trended toward the latter. I really like his music and have featured him on this blog many times over the past eight years (you can read some of those reviews by clicking on the links under “Related” at the end of this post).
David’s been actively involved in making music since his late teens, when he started playing in various bands. From 2001-06, he and his younger brother were members of the rock band KOTOW, for which he played drums. He went on to study guitar and music theory at the Academy of Contemporary Music in Guildford, England from 2009-12, after which he began composing music as a solo artist, all of which he records and produces himself in his little home studio setup. This drum kit is his pride and joy!
He released his first album The Juggernaut in 2014, and in the years since, has recorded and released an astonishing eleven more albums, the latest of which is Prosthetic Soul, which he released on Bandcamp on February 16th. His first new album in two years, Prosthetic Soul serves up 28 minutes of superb psychedelia-tinged melodic instrumental rock, featuring many of David’s signature electronic and guitar-heavy elements we’ve come to love and expect. But here he’s pushed himself even further, experimenting with new sounds and instrumental techniques, along with what seems to be an even greater emphasis on industrial elements employed by bands like Nine Inch Nails, Rammstein, Dream Theater and Depeche Mode.
Album opener “Minus One” starts off with distant sounds of super-gnarly guitars, which are soon joined by a mix of spooky industrial synths, heavy, razor-sharp percussion and jagged guitar notes layered over an ominous droning synth bass groove. The track immediately segues into “Super Zero”, and we’re off to the races. Though only 1:49 minutes long, the track packs a powerful punch, beginning as a mysterious soundscape of wobbly synths, then exploding into a furious maelstrom of raging grungy guitars and crushing drumbeats.
“The Future Has Begun” is a bit of a musical tour de force, beginning gently with eerie pulsating synths accompanied by a somber piano movement. Forty seconds in, the music abruptly transitions to a rapid barrage of raging guitars and thunderous percussion before calming back down at roughly two and a half minutes to a lovely introspective interlude. Seeming to end at around three minutes, those raging guitars suddenly come roaring back for the next 30 seconds before fading out.
With it’s glitchy sci-fi vibe, infused with both Western and Middle Eastern touches soaked in reverb, the appropriately titled “Dust” would be a perfect fit on the soundtrack for an installment of the Dune film franchise. And David’s skills on guitar and drums are on full display on the marvelous title track “Prosthetic Soul”, as he unleashes a furious onslaught of blistering riffs while beating the hell out of his drum kit. It’s one of my favorite tracks on the album.
“The Dissociation Suite Parts I and II” are a rather intense but melodic couplet, with lots of great keyboards that work quite well with the twangy and grungy guitars that build to a wailing solo toward the end. Living up to its title, “The Reality Bomb” is a glorious little blast of atomic energy, with swirling distorted guitars layered over a grinding bassline, fortified with smashing drumbeats. Halfway into the song, the music calms down to a darkly beautiful interlude of haunting synths, harsh percussion and bewitching stummed guitar notes before exploding into a brief raging torrent in the finale.
“Dirt…” seems to pick back up where “Dust” left off, with more of those mysterious and glitchy sci-fi vibes, only this time accompanied by some really marvelous twangy guitars. The final track is the original version of “The Dissociation Suite Part II”, which David has designated a Bonus Track. To my untrained ear, it sounds fairly similar to the final version, except with a longer lead-in and not quite as many synth flourishes.
Prosthetic Soul is another stellar album by David that ranks among his finest works. It nicely showcases his continued growth as both a composer and musician.
Over the past year, London-based Frank Joshua – a rather enigmatic yet 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 beautiful 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. His lush, vibrant vocals are soothing and warm in the vein of crooners like Michael Bublé or Michael Feinstein, only better in my opinion. Despite his wish to remain somewhat anonymous, it hasn’t kept him from engaging with his fans on social media and showing genuine appreciation toward them. He’s been particularly supportive of me, which makes me more than happy to support him in return.
The prolific artist has released a staggering amount of music over the past three years or so, including two albums and numerous singles, all of which have been exceptional. Every one of his songs is a captivating feast for the ears. I’ve previously written about two of them, the lovely “Bluebell Wood”, which spent three months on my Weekly Top 30 and ranks #53 on my 100 Best Songs of 2023 list, and “Patent Leather Car”, a breezy tune Frank said is about “feelings of fear and love, and finding solace in something you know probably isn’t good for you.” His enchanting single “Winter Cowboy” is currently enjoying a long run on my Top 30, where it currently sits at #8.
On February 16th, he dropped his 32nd single “On This Night“, yet another outstanding track released via Numen Records. Although Frank writes some of his songs, like the majority of his singles, “On This Night” was written by his frequent collaborator Simon Pitheakley, and produced by Tony White. The song, along with several of his recently released singles, will be included on his forthcoming third album Turn To Your Soul, planned for release in April.
The song opens with ambient sounds of wind or perhaps the distant rumbling of a subway, accompanied by sirens, creating a foreboding sense of danger. This is soon joined by gentle thumping beats, wispy atmospheric synths and somber piano keys as Frank begins to sing of searching for guidance that might help him find peace of mind and his sense of purpose in this world: “On knees in the outback. Open hearted for cross check. Praying for purpose, needing a voice on this night. Deep in this night.” The music gradually builds into a dramatic soundscape of glittery piano keys, crisp percussion and soaring cinematic synths, as Frank’s vocals grow more impassioned in the choruses, expressing a fervent sense of desperation and pain I’ve not heard from him in any of his previous songs.
It’s a gorgeous, dark and impactful song that immediately ranks among my favorite of his many great songs.
Giving something and nothing Giving faith and nothing When skies turn to seas Turn to oceans Skies turn to oceans
On knees in the outback Open hearted for cross check Praying for purpose Needing a voice On this night Deep in this night
And if it pleases this mortal For all his falter Is pleading for guidance Is trying for peace In this night Peace in this night
Of mind in this distance Should it please your indifference Would love to be shown the path of your choice In this night Deep in this night
And for all this muddle And to give in his struggle His heart would believe if you’d give him the choice In this night Deep in this night
Though the eye’s full of trouble Of a simplistic struggle A truer devotee could not be found On this night Deep in this night
Let him bleed forever If the bleeding’s essential If hurting may heal His eternal fight On this night Deep in this night
The beautiful video, produced by Italian filmmaker Diego Monfredini, features scenes of a dire medical emergency set amidst a world of glittering nightlife in a dense urban environment, skillfully conveying the contrasting sense of danger and beauty of the night, where every emotion and experience seem heightened in one way or another. Sexual attraction and romantic desires feel more intense, and entertainment in all its forms, be it the theater, movies, music concerts, gambling, etc., seem more enjoyable (perhaps due in part from higher consumption of alcohol or other mind-altering substances), whereas our worst fears and worries feel more burdensome and intractable, emergencies more calamitous, and the unfamiliar or unknown more ominous and threatening under the cover of darkness.
Today I’m pleased to present an act that’s new to me – Dublin, Ireland-based indie rock band Fruitz. Originally formed as a four-piece in late 2017, they quickly established themselves as one of Ireland’s most exciting live bands, and in 2018, released their marvelous grungy debut single “Knotz”. They followed a year later with “U&I” and “Girl Around the Corner”, then “Daydream” in January 2020. We all know what happened next, but the band used their down time to record new music, dropping more singles and their excellent EP The Pits and the Glamour, in 2021. During that time, they also reduced down to a trio consisting of James Keegan on guitar and lead vocals, Adam Whelehan on bass and backing vocals, and Jacqueline Campion on drums. From what I’ve been able to determine from their various social media accounts, Campion eventually left the band, and by early 2023, they became a duo consisting of Keegan and Whelehan.
James Keegan and Adam Whelehan
In May 2023, they came roaring back with their beguiling single “Visions of You”, and now return with a terrific new single “Man On Fire“, which dropped yesterday, February 16th. For the recording of the single, the guys rejoined forces with engineer Cian Synnott, who they’d previously worked with on their debut EP The Pits and the Glamour and the single “Visions of You”.
About “Man On Fire”, Keegan explains “This is a statement release from us; it is the start of a new chapter for Fruitz. ‘Man On Fire’ is a perfect example of our sound and our vision. It’s a fairly old tune now; I wrote this in 2020 the day after we supported Louis Berry. ‘The tune actually came from the name of the tour he announced that day, ‘The Man On Fire Tour’, and it kind of just stuck. Musically as well you may hear his influence. The timing to release this song just felt right, it’s a proper indie banger.” Whelehan adds: “This new song encapsulates lively rock guitar sounds, Punchy bass lines and a driving drum progression.“
The guys get right down to business, as the song charges through the gate with a barrage of roiling guitars, humming bass and smashing drumbeats. Keegan’s layered guitar work is outstanding as he delivers an exhilarating mix of beautiful twangy notes and soaring reverb-soaked riffs that give the song a strong Kings of Leon vibe. Throughout, Whelehan keeps the driving rhythm moving forward with an intricate but powerful bass line, accompanied by thunderous percussion that never lets up. Keegan has an arresting singing voice that’s perfectly suited to the dynamic instrumentation, as he fervently sings of struggling to figure out where he stands with a woman he’s strongly attracted to. It’s a proper banger indeed!
Though Chicago-based power pop trio The Heads Up officially formed in the summer of 2022, its roots go back nearly two decades earlier, when Jack Ruggiero and James O’Connor began playing music together at the age of 13 while still in middle school. Now in their early 30s and wanting to become a serious band, they enlisted the help of their friend Colin Dill and The Heads Up was born, with Ruggiero on guitars, lead vocals and backing instruments, O’Connor on bass and Dill on drums. Dill also plays drums for rock band The Million Reasons (who I’ve previously written about on this blog), as well as cover band Dad’s Night Out.
Jack, Colin & James
Influenced by acts ranging from Vampire Weekend to the Police to R.E.M., Ruggiero says their aim is to play energetic live songs that are both catchy enough so people at a bar could sing along and enjoy, even if they were hearing them for the first time, yet still interesting enough that they wouldn’t be bored by the simplicity. “The idea is to let loose, have fun and make it memorable” – all worthy goals in my book!
They released their debut EP Eponymous! on December 29th, featuring three delightfully catchy tracks that most assuredly achieved their mission. Now, only seven weeks later, they return with a second EP So Obvious, once again featuring three great tracks dealing with relationships that have run their course.
Things kick off with the title track “So Obvious”, and the Vampire Weekend influences are quickly apparent as our ears are treated to a colorful flourish of Ruggiero’s plucked, twangy and shredded guitars, accompanied by O’Connor’s funky bassline and Dill’s rapid, thumping drumbeats. The song has an enthusiastic, high-energy vibe, in sharp contrast with the more serious lyrics about an unpleasant person who’s highly judgmental of others yet cannot handle criticism of her many shortcomings, and always playing the victim to get her way: “Never understated. Constantly degrading. You’re always gonna get your way /Well you weaponized your pride it’s so insidious. The Hermès on your wrists a bit oblivious. And you know you’re gonna play that part again, yes you know you’re gonna play that part again. Oh you’re gonna play that part again, it’s so obvious.“
“Sour Grapes” opens with Dill’s emphatic drumbeats, which are soon joined by Ruggiero’s stabbing guitar before things settle into an upbeat and pleasing cadence in the verses, punctuated with sweet twangy guitar notes. Though it runs only 3:12 minutes, the song is a musical tour de force, with multiple tempo changeups, highlighted by some brilliant little guitar solos and drum flourishes. Ruggiero’s animated vocals are terrific, rising and falling with the music as he tells a romantic partner he’s done with her: “Shove me out the way. I will not complain. Lying lonely sad and sober. Me at the buffet, eating sour grapes. Really I’m so glad it’s over.”
And on “Alright”, Ruggiero confronts someone in denial about a negative situation: “Never understood when you said it’ll be alright. So I never trust a word when you say it’ll be alright. Just a bit disturbed that you said it’ll be alright. When you knew it never would but you said it’ll be alright.” I love the song’s lively, almost frantic groove, punctuated by swirling guitars, thumping bass and smashing drums.
So Obvious is a terrific little EP, and despite its rather bleak subject matter, it’s a fun, light-hearted romp from start to finish. I’m really enjoying the two EPs released thus far by The Heads Up, and can’t wait to hear what they have up their collective sleeves.
And here’s the EP on YouTube:
The Heads Up will be performing their new songs at Snüzfest this Saturday night, February 17th at the Beat Kitchen Bar in Chicago. Get your tickets here.
Based in South London, England, Oli Barton is a wildly creative and exceptionally talented singer-songwriter, not to mention a dangerously charismatic charmer. Though I’m sorry to say I’ve never had the pleasure of seeing him perform live (him being in the UK and me 5,500 miles away in Southern California), he’s gained a reputation for his wild, uninhibited live shows that Reyt Good Magazine describes as “straight from indie heaven”. Barton has supported such acts as Kid Kapichi, Baxter Dury and Starsailor.
I’ve been following him for seven years, both as front man of his backing band the Movement, and now as a solo artist, and have featured him many times on this blog. (You can read some of those reviews by clicking on the ‘Related’ links at the end of this post.) His eccentric yet sophisticated style of alternative rock is a colorful mix of post-punk and psychedelia, fortified with touches of funk, grunge and pop, and I can state without exaggeration that I’ve loved every single one of his songs. Five of them have appeared on my Weekly Top 30 charts – the provocative 2017 single “Kinky”, which went all the way to #1, as well as “44”, “Martyr”, “Just Like Always” and, most recently, “Paid Off”, all of which reached the top 5.
It’s always a good day when Barton releases new music, and I’m thrilled to present his latest single “It’s Over Now“, released today via Coke & Dagger Records. For the song’s recording, Barton was joined by Jamal Aggoun on guitar, Marco Fuzz Paone on bass and Josh Needham on drums. Produced by Alex O’ Donovan (Sea Girls) and mixed by Cenzo Townshend (Inhaler), the song is an exuberant piece of indie-pop ear candy, with a lively blend of crunchy and shimmery guitars, fortified by deep thumping bass and propulsive drumbeats layered over a rousing, infectious groove. Or, to put it more simply, this song fucking rocks!
I always love Barton’s distinctive, resonant singing voice and rich accent, which he uses to full effect here as he plaintively implores to a romantic partner, asking if what they once shared is truly over, or if there’s still any chance of reconciliation: “Would you say that it’s over now, or should I wait? Would you say that it’s over now, is it too late?Should I stay?”
About the song, Barton says, “it’s in the whole world of teenage heartbreak and social media; the way that jealousy gets inside us and really makes us into a whole different person and perhaps distorts the decisions we make“, which he nicely articulates in the lyrics “So now I’m spending night times tracking down precise times. I’m addicted to my screen. I see you follow him and you follow her, and it all just seems so clean. But then you drop a like, and well it don’t seem right, and I’ll just sit there green.”
Today I have a terrific new dance single to share with my esteemed readers – “Dream Tonight“, a collaboration by British artists The Ocean Beneath and Liz Mann that dropped yesterday, February 9th.
The Ocean Beneath is the music project of Leeds-based electronic musician, composer and producer Matt Burnside. Influenced by bands such as Gunship, HVOB and Talk Talk, he combines 80’s synthpop elements with modern recording techniques, analogue synthesizers and huge melodic grooves to create music that sounds retro, yet fresh. Like many electronic artists, he often collaborates with other musicians and vocalists, and has released a substantial amount of outstanding music, some of which I’ve reviewed previously.
Liz Mann is a silky-voiced synthpop artist from Manchester who, in her own words, “mixes 60s pop melancholy with a synth-based vintage style”. Thus far, she’s released two wonderfully sultry singles, “Chocolate” in 2022 and “COOL” in 2023.
As is typical with The Ocean Beneath’s collaborations, he composed the music and beats and produced the track, while Mann wrote the lyrics and sang vocals. The track was mastered by Tony Dixon, with additional vocal production by Grant Henderson. The beautiful single artwork was conceptualised by Jack Loxham.
About the song, Liz explains “I’ve been such a big fan of The Ocean Beneath’s work since he remixed Purple Thread’s track ‘Something Good’ a few years ago. So this was a special collaboration in the making. It’s a bit of a departure from my usual sound, but we hope you’ll join us on a dark disco pop journey through the realms of dreams and desires, exploring the yearning to connect with a special someone in the ethereal landscapes of the subconscious mind.”
I’m a sucker for dance music of all kinds, so “Dream Tonight” fills the bill quite nicely. I love the hypnotic, thumping dance groove and enigmatic synths, punctuated by spacey and funky flourishes that call to mind some of the great 70s euro-disco music by artists like Cerrone and Alec Costandinos. Mann’s sensuous vocals perfectly complement the track’s dark and sultry soundscape as she croons, “Come close to me, come close to me, want you in my dreams tonight.”
Today I’m pleased to present Canadian singer-songwriter Danté Ravenhearst and her enchanting debut single “Asphalt“. Born and raised in Kawartha Lakes, Ontario and currently based in Toronto, Danté is also a scientist and conservationist. Her pleasing style of alternative folk draws from classic country, traditional folk, Americana, soft rock and jazz elements, which she delivers with thoughtful, compelling lyrics and warm, comforting vocals.
Photo by Sam Keravica
Recorded in November 2023, “Asphalt” was a labour of love and friendship between Ravenhearst and a group of close Toronto and Hamilton-based session musicians who helped bring her beautiful song to life. For the recording of the song, Ravenhurst played acoustic guitar and sang vocals, Ben McWebb played organ, Kurt Van Bendegem played lead guitar, bass and sang backing vocals, and Jonathan Horvath played drums. The track was produced by Matt Fasullo, who also sang backing vocals, and engineered by David Worthen.
The song is a stunning feast for the senses, with vibrant twangy guitar notes, throbbing bass and shimmery percussion layered over a somber organ riff, all coming together in glorious alchemy to create a mesmerizing backdrop for Ravenhearst’s captivating vocals. As the song progresses, the music builds to a soaring cinematic crescendo while her vocals overflow with passion, leaving me covered in goosebumps.
Ravenhearst shared her thoughts about her inspiration for writing the song: “I am really entranced by the correlation of loss between our emotional and physical spaces and the mourning that comes with that. ‘Asphalt’ is about searching for a connection that existed in a world that physically no longer exists. Its question “Where are you? Where are you?” hauntingly chanted to the listener, is only asked and never answered.“
On February 3rd, I saw alt-rock band Portugal. The Man at the wonderful art deco Fox Theater in downtown Pomona, California. A mid-sized city located 30 miles east of downtown Los Angeles, Pomona has a thriving art scene, with numerous venues for live music. (I’ve seen local bands play at a couple of smaller clubs, and in 2022, saw Two Feet play at the Glass House.)
I’ve never seen Portugal. The Man in concert before, and when I learned they were playing a show in Pomona, a shorter drive and infinitely more convenient location than L.A., it was a no-brainer for me to buy tickets to see them. They’re one of the few major bands who follow me on Twitter (now X), so I have a special fondness for them. The show I attended was the second night of their nationwide Winter of Summer Luv Tour, which began the previous night in Del Mar, and will end in Washington, D.C. on February 24th. Supporting them on this tour is Philadelphia-based dance funk collective SNACKTIME. (Portugal. The Man are playing two shows in Mexico in mid-March, then on May 1st, embarking on what they’ve dubbed The Knik Country Tour, which will run through July 17.)
For those unaware, Portugal. The Man was formed in 2004 in Wasilla, Alaska by John Gourley, Zach Carothers and three others. They eventually relocated to Portland, Oregon, where the band is still based. Over the years, they’ve experienced several changes in lineup, and now consist of founding members Gourley and Carothers, along with Kyle O’Quin, Eric Howk and Zoe Manville. Additional touring members include Kirk Ohnstad, Redray Frazier and Vincent LiRocchi.
Photo by Maclay Heriot
They’ve released nine studio albums, their latest of which, Chris Black Changed My Life, was released in July 2023. (Inspired by and dedicated to the band’s longtime friend Chris Black, who died in May 2019, the album chronicles the band’s turbulent few years following the runaway success of their monster hit “Feel It Still”, during which time there was a global pandemic, Gourley suffered from a broken jaw, his and Zoe’s daughter Frances was diagnosed with a rare neurodegenerative genetic disease, and Howk, Carothers and O’Quin all battled different addictions.)
They’ve won numerous awards, including a Grammy in 2018 for Best Pop Duo/Group Performance for their single “Feel It Still”. That song is their biggest hit, reaching #4 on the Billboard Hot 100 and #1 on the Alternative Songs chart, where it spent a record-breaking 20 weeks on top. It’s also my favorite song of 2017, and ranks #6 on my Top 100 Songs of the 2010s list.
Portugal. The Man have engaged in political activism and philanthropy in a variety of forms over the years, supporting environmental, animal rights, social justice and progressive political causes, voting rights, and the needs of Native American and indigenous peoples, among other things. In 2020, they founded the PTM Foundation, a non-profit charitable organization primarily focused on funding causes related to Indigenous peoples’ communities. The organization also aims to work toward the improvement of mental health issues, environmental issues, disability rights, and human rights through advocacy, philanthropy, community involvement, and increased awareness. With that in mind, they had Xochimilca artist and activist Xiuhtezcatl Tonatiuh open the show, performing a few of his songs accompanied by a guitarist.
Philadelphia-based band SNACKTIME took to the stage at around 8:15, whereupon they treated us to their high-energy style of music that’s a happy blend of soul, funk, punk, jazz, hip-hop, and R&B. With their exuberant brass-heavy sound, which includes a trumpet, trombone, two saxophones and a Sousaphone, they’re sort of like Earth, Wind & Fire with a bit of James Brown and Parliament thrown in for good measure. They performed for approximately 40 minutes, and with their engaging, playful delivery, were a lot of fun to watch and hear.
According to their bio, the seven-piece act formed “during the height of the pandemic, and began performing free shows that combined their love of music, food, and togetherness in Philadelphia’s Rittenhouse Square. They quickly amassed huge crowds and became a symbol of positivity and lockdown release, while showcasing the richness of their city’s musical history and community. This progressed to sold-out headlining shows, curation of neighborhood festivals, multiple appearances at Philadelphia 76ers halftime shows, and slots at major music festivals.” Following their tour with Portugal. The Man, SNACKTIME is set to appear at SXSW in Austin, TX, and plans to tour extensively for the remainder of the year.
Portugal. The Man member Eric Howk appeared on stage shortly after 9:00 pm and spoke briefly of his love of playing in the band and recalled some fun times spent performing at other venues in Pomona. He was then joined by the rest of the band, who quickly got down to business with a rousing medley of “Dopesmoker”, “Heart of the Sunrise”, “Heavy Games” and “Bellies Are Full”. Without missing a beat, they immediately launched into “Grim Generation”, from Chris Black Changed My Life. For the next two hours, they played nearly non-stop, without breaks between songs save for one moment when a group of Native Americans from a tribe near San Diego came on stage to perform a sacred song.
Throughout Portugal. The Man’s set, SNACKTIME joined them on a number of songs, adding their lively brass textures and infectious energy to create a truly exhilarating and enjoyable 90slive experience. My only criticism of the show is that the lighting was often dim during Portugal. The Man’s performance, making it difficult at times to see the painfully shy Gourley, who wore both a ball cap and hoodie, and his co-vocalist and wife Zoe Manville, who stood front and center throughout their set. Nevertheless, I was struck by how hard they rock in their live performances, exuding a palpable sense of love and joy. And the sound and production qualities were really outstanding.
After performing 23 songs, they stopped for a touching tribute video for Chris Black and John & Zoe’s twelve-year-old daughter Frances, who’s afflicted with an extremely rare genetic mutation of the DHDDS (Dehydrodolichyl diphosphate synthase) enzyme, which has only been diagnosed in six people worldwide. They then closed the show with spirited renditions of their two biggest hits “Live in the Moment” and “Feel it Still”, both from their 2017 album Woodstock. They quickly exited the stage afterwards, with no encore.
Portugal. The Man Setlist:
Dopesmoker / Heart of the Sunrise / Heavy Games / Bellies Are Full
ECLECTIC MUSIC LOVER 