BEN PRIORY – EP Review: “Solent Side”

Ben PrioryBen Priory is a talented young music producer and composer from the southern English coastal city of Portsmouth. Influenced by some of his favorite artists like twenty one pilots, Mike Shinoda and Only The Poets, he skillfully creates fascinating and compelling synthwave and synthpop songs having a level of maturity beyond his young age. Last June (2019), he released his stunning debut single “Here We Go”, a collaboration with fellow musician and singer/songwriter Charlie Pereira, both of whom were only 17 years old at the time. I reviewed the song and loved it so much it spent many weeks on my Top 30, and ended up on my Top 100 Songs of 2019. He followed up that October with “If Only”, an enchanting and trippy song with trap and Middle Eastern elements, and featuring vocals by Michael Lacroix.

Now Ben returns with his first EP Solent Side, a concept work of sorts with songs inspired by his having grown up by the seaside. The sea around the city of Portsmouth is called “the Solent”, and Ben told me “Solent Side is about the connection with where you grew up, where you feel you belong.” Once again, he collaborated with several vocalists and musicians on the songs. The EP was mixed and mastered by Philip Marsden.

The first track “Night Shift” features captivating vocals by Belfast artist Crash Helmet Kid, who also played guitar. Starting with a throbbing synth bass groove, Ben layers all sorts of delicate and spacey atmospheric synths and sound textures to create a beautiful otherworldly soundscape for Crash Helmet Kid’s angelic, ethereal vocals. I could listen to this bewitching track again and again.

Burning” is a marvelous piano-driven track that transitions back and forth between a languid, rather moody vibe and an exuberant head-bopping dance beat. Ben’s keyboards are wonderful, as is the guitar work by Ollie Lowres and Charlie Pereira. We also finally get to hear Ben sing here, and his vocals are terrific. The lyrics seem to be autobiographical, speaking to his own coming of age as a musician and wanting to explore the world beyond Portsmouth: “There are dreams in my head, I have visions. Dancing on the stage, people singing my songs. I lie awake at night, simply thinking. You lie there too, simply aching. And we’re burning. / There’s a wide, wide world waiting for you. So get yourself outside and go find it. And we’re burning.

Ben takes a pensive turn with “Fluoride“, a lovely track about growing up and learning to accept responsibility for one’s actions, particularly with regard to how we treat one another (at least that’s my interpretation of their meaning). The poignant lyrics are beautifully sung by English singer/songwriter Elisia Carter, who conveys a vulnerable sense of resignation about her friend’s immaturity, yet remaining hopeful that he will learn to value and respect her: “Rolling downtown in your white Mini Cooper / Playing around in a drunken stupor / You wonder what’s it like, life on the other side. / Fluoride, fluoride, can you light up the night? Can you call me by my name?” I love the song’s mellow hip hip beat, jangly strummed guitar, gentle vocal harmonies in the chorus, and the sounds of falling rain throughout that give the track a somber vibe.

The final track is a remix of Ben’s prior single “If Only“. The original version had a strong trap beat, highlighted by a simple but mesmerizing piano riff, accompanied by otherworldly synths. The remix is shorter, and has a slowed-down trip hop beat, with harsher, more industrial-sounding synths and ominous piano keys that give this version a darker feel. In the original version, Michael Lacroix repeated the lines “I wanna follow my dreams / If only you let me”, but in the remix his vocals are electronically altered to the point of being an unintelligible chant that nevertheless resonates with the listener.

Solent Side is a wonderful little EP that provides further evidence of Ben Priory’s impressive songwriting and production talents. He’s an imaginative guy, and I love that he not only explores a variety of music styles and sounds, but also collaborates with lots of musicians in the creation of his songs. I can’t wait to hear what he comes up with next.

Connect with Ben:  Facebook / Instagram
Stream/purchase his music:  Spotify / iTunesGoogle Play

Top 30 Songs for April 26-May 2, 2020

1. CAUTION – The Killers (6)
2. BLINDING LIGHTS – The Weeknd (1)
3. BLACK MADONNA – Cage the Elephant (5)
4. USED TO LIKE – Neon Trees (2)
5. ADORE YOU – Harry Styles (4)
6. DON’T START NOW – Dua Lipa (3)
7. LOST IN YESTERDAY – Tame Impala (9)
8. EVERYTHING I WANTED – Billie Eilish (7)
9. SHINE A LITTLE LIGHT – The Black Keys (11)
10. OH YEAH! – Green Day (12)
11. OVER AND OVER – Amongst Liars (13)
12. BAD DECISIONS – The Strokes (14)
13. YOUR LOVE (DÉJÀ VU) – Glass Animals (15)
14. DELETER – Grouplove (16)
15. HERO – Michael Kiwanuka (10)
16. VAN HORN – Saint Motel (8)
17. MARIA – Two Feet (18)
18. LET’S FALL IN LOVE FOR THE NIGHT – FINNEAS (19)
19. ME & YOU TOGETHER SONG – The 1975 (20)
20. LEMON DROP – Absofacto (24)
21. BEAUTIFUL FACES – Declan McKenna (23)
22. DANCE OF THE CLAIRVOYANTS – Pearl Jam (17)
23. IF NOT FOR THE FIRE – The Million Reasons (25)
24. HELL N BACK – Bakar (26)
25. LEVEL OF CONCERN – twenty one pilots (N)
26. LONELINESS FOR LOVE – lovelytheband (28)
27. RUN – Joji (30)
28. LOVE YOU FOR A LONG TIME – Maggie Rogers (21)
29. HOW WILL I REST IN PEACE IF I’M BURIED BY A HIGHWAY?// – Kenny Hoopla (N)
30. HALF YOUR AGE – Joywave (N)

Song of the Day Challenge – Day 10: ABSOFACTO – “Lemon Drop”

Song A Day Challenge

Today’s Song of the Day Challenge is “A song that’s been stuck in your head”, and my pick is the delightful “Lemon Drop” by Absofacto. I love the song, which is currently in the midst of a long run on my Weekly Top 30.

Absofacto is the solo project of singer/songwriter and musician Jonathan Visger. He’s been making music for over 15 years, first as a member of Michigan-based indie rock band Mason Proper, and later as a solo artist, and recently scored his first breakthrough hit with his captivating single “Dissolve”. A sleeper hit, the song was originally released in 2015, but went nowhere. In 2017, he signed with Atlantic Records and released his EP Thousand Peaces. “Dissolve” was included on the EP, then re-released as a single in 2018, but once again failed to gain traction, which is hard to believe as it’s such a great song.

Absofacto

In 2019, the song received renewed interest due to a meme on the music and video-sharing app TikTok, and became a surprise hit. It debuted on the Billboard Alternative chart in June 2019, and after a long, steady climb, reached #1 in January 2020. Absofacto followed up with the single “Rewind” in November 2019, then in March 2020, dropped “Lemon Drop”, along with another song “Python”.

On his Facebook account, Absofacto describes his music as “warped cloud odd dream beat / bubblejam / idyllicrunk / spacebass / twilight zoneout / wavewave“, which pretty well paints an accurate and colorful picture of his cool, synthpop sound. “Lemon Drop” is one of his best tracks, with a breezy, uptempo vibe and infectious dance beat. He uses lots of sweet and spacey synths to create a dreamy, atmospheric soundscape for his soft, breathy vocals. They have an ethereal, yet seductive quality that makes them utterly enchanting as he sings to a loved one of his ardor. It’s a fresh and modern take on the age-old subject of romance.

Blond camaro, gold leaf, yellow lemon drop
You’re my one and only, just the way you are
Wanna see the world from the front seat of your car
Tell me you ain’t far, tell me you ain’t far 

Follow Absofacto: Facebook / Twitter / Instagram

New Song of the Week – BEATING HEARTS CLUB: “Black & White Love”

Beating Hearts Club

Beating Hearts Club is an indie folk-rock four-piece originally from the UK, and now based in Sydney, Australia. I learned about them when they reached out to me about their new single “Black & White Love“, and I’m glad they did, because I love their music. Comprising the band are Duncan Welsh (vocals/rhythm guitar), Ciaran Loughran (lead guitar/backing vocals), Peter Holt (drums) and Lukas Thurner (bass). Exactly one year ago, they released their beautiful debut single “Heroin”, an uplifting song about regaining hope through love. “Black & White Love”, which dropped today, April 24th, is the second single from their forthcoming album due out later this year, and I’ve chosen it as my New Song of the Week.

It starts off as a gentle ballad, with delicately strummed chiming guitars and somber but beautiful piano keys. The music gradually expands with the addition of subtle bass and just the right amount of drums, accompanied by some of the most achingly beautiful guitar work I’ve heard in a long while. Welsh’s plaintive vocals are lovely and heartfelt, and as the music builds to an anthemic crescendo in the final chorus, the guys’ soaring vocal harmonies are breathtaking, bringing chills to my body and a lump in my throat.

The moving lyrics continue to explore the theme expressed in “Heroin” – that finding true love in the right person can be a force for healing in our sometimes broken lives.

Bright eyes and pretty face
Will you meet me in the morning?
Since I have found my place
I can’t look back
I’m standing on the rocks where I’d once fallen
I sleep and call your name
Reach out, it’s you I’m holding
Since I have found my place
I’m on my feet I stare into your soul and I am home

Could you be the reason?
You know I need you
Seen my last chance die
But I’m still breathing
Do you feel what I’m feeling?
You know I need you
Shook me upside down
And I saw meaning

Your black & white love
My one adventurer
Well, when temptation comes
It’s clear to see that you’re the only one I’m thinking of

Could you be the reason?
You know I need you
Seen my last chance die
But I’m still breathing
Do you feel what I’m feeling?
You know I need you
Shook me upside down
And I saw meaning

Bright eyes and pretty face
Will you meet me in the morning?

“Black & White Love” is a real stunner of a track, and in my opinion one of the best songs of 2020 so far. It will surely make an appearance on my Weekly Top 30 soon!

Follow Beating Hearts Club: FacebookInstagram
Stream their music: SpotifySoundcloudApple Music
Purchase: Google PlayAmazon

Song of the Day Challenge Day 9: PRINCE – “Baby, I’m a Star”

Song A Day Challenge

Today’s Song of the Day Challenge is “A song that makes you dance”, and no song commands that I get up on my feet and shake my tail feathers more than “Baby, I’m a Star” by Prince. The song is from his monumental and groundbreaking soundtrack album for his film Purple Rain. Prince originally composed and demoed the song in December 1981, but the version included on Purple Rain was re-recorded with his band The Revolution in August 1983 at a live performance in Minneapolis. Prince later reworked the live recording in the studio, adding overdubs and other refinements to get the track to his liking.

The song is a joyously upbeat dance anthem about pop stardom, and its lyrics describe Prince’s status as a rising star when he wrote it in late 1981: “You might not know it now, baby, but I are — I’m a star. I don’t wanna stop ’til I reach the top.” Starting with a propulsive drumbeat, Prince layered exuberant synthesizers to simulate a horn section, along with funky guitar and driving bass to create a deliriously electrifying groove that aims for the hips and sends us straight to the dance floor. I think it’s one of the hottest dance tunes ever!

Something I never knew until reading about this song was that the opening barely audible and unintelligible lyrics sung by a woman are actually these played backwards:

Like, what the fuck do they know?
All their taste is in their mouth
Really, what the fuck do they know?
Come on, baby
Let’s go crazy!

Song of the Day Challenge Day 8: KESHA – “Tik Tok”

Song A Day Challenge

Today’s Song of the Day Challenge is “A song that’s a guilty pleasure”, and my pick is “Tik Tok” by Kesha (who also identified herself as Ke$ha back then). The catchy ear worm was co-written by Kesha and producers Dr. Luke and Benny Blanco, and released in August 2009. It took its time moving up the charts, but once it reached #1 on the Billboard Hot 100 that December, it held the top spot for nine straight weeks. It also topped the charts in Canada, Australia, Germany and 10 other countries.

I love the bouncy, electropop dance beat and hilarious bawdy lyrics about partying, getting drunk and having fun. (Ah, how I fondly remember those days!) Kesha later told Esquire that her inspiration for the song came from her own experiences coming home drunk and stumbling after a night out of partying. The opening line “Wake up in the morning feelin’ like P. Diddy” came from a time where she woke up in a big house (on Laurel Canyon in L.A. where the Eagles recorded “Hotel California”) surrounded by all these “beautiful women”, which led her to imagine P. Diddy being in a similar scenario. And he was more than happy to collaborate on the track, providing his vocals where he responds to her opening line with “hey what up girl“. Kesha’s vocals were heavily auto-tuned, but I think they’re perfectly suited for a song like “Tik Tok”.

On a weird level, the song also touches on female empowerment. In the lyrics “And now the dudes are linin’ up ’cause they hear we got swagger / But we kick ’em to the curb unless they look like Mick Jagger” and later “Boys try to touch my junk, junk / Gonna smack him if he gettin’ too drunk, drunk“, Kesha makes it clear that she and her girls have the upper hand when it comes to guys, and that they’re not gonna give it up to just anyone. OK, I know it’s a stretch, but work with me here!

Song of the Day Challenge – Day 7: “The Crying Game”

Song A Day Challenge

Today’s Song of the Day Challenge theme is “A song that’s covered by another artist”, and my pick is “The Crying Game” by English singer Boy George (born George Alan O’Dowd and formerly the vocalist of Culture Club). The song was written by English songwriter and producer Geoff Stephens, and originally sung by English pop singer Dave Berry back in 1964. The rather unusual and haunting lead guitar was played by session guitarist Big Jim Sullivan, with a very young Jimmy Page providing additional guitar work. Berry’s recording was a sizable hit in Britain, reaching #5 on the UK Singles Chart.

Boy George The Crying Game

The song was later covered by Boy George in 1992, and both his version and the original Dave Berry recording were used in the 1992 Neil Jordan film The Crying Game. Boy George’s version of the song was produced by the Pet Shop Boys and reached #22 on the UK Singles Chart, #15 on the US Billboard Hot 100, and #1 in Canada and Iceland. I much prefer Boy George’s version, not only because he’s a far better vocalist than Berry, but also because of the stunning music arrangement and production by the Pet Shop Boys, who I’ve long been a fan of and whose music I love.

Boy George had a gorgeous soulful and smooth singing voice, and I think his vocals on “The Crying Game” were among his finest ever. He sings in a soft, heartfelt croon, then rises to a breathy falsetto that’s truly sublime. The Pet Shop Boys used a similar twangy guitar to that used in Berry’s version, but backed it with soaring orchestral instrumentals and psychedelic atmospheric synths that give the song an even more haunting ethereal sound. It’s a magnificent track, and one of my favorite songs of the 1990s. Fun fact: I’ve long wanted to sing this to karaoke, but never summoned enough nerve to do it.

I know all there is to know about the crying game
I’ve had my share of the crying game

First there are kisses, then there are sighs
And then before you know where you are
You’re sayin’ goodbye

One day soon I’m gonna tell the moon about the crying game
And if he knows maybe he’ll explain

Why there are heartaches, why there are tears
And what to do to stop feeling blue
When love disappears

I know all there is to know about the crying game
I’ve had my share of the crying game

First there are kisses, then there are sighs
And then before you know where you are
You’re sayin’ goodbye

Don’t want no more of the crying game
Don’t want no more of the crying game
Don’t want no more of the crying game
Don’t want no more of the crying game

 

Here’s the original recording by Dave Berry:

FOUR THOUSAND MILES – Single Review: “Reflections”

Four Thousand Miles is a relatively new and interesting rock band with an international pedigree. Each of its four members are from a different country: England, France, Wales and the United States, hence their name ‘Four Thousand Miles’. They started out as a collaboration over the internet, and quickly grew to become a music project after finding that each of their own unique styles blended well together. The band members are Alex Fearn from Liverpool, England (and former front man of British rock group Diamond Days) on vocals and rhythm guitar, Lionel Pacreau from Bordeaux, France on lead guitar, Alex May from Atlanta Georgia, USA on drums, and Liam Sibbald from Prestatyn, Wales on bass.

4000 Miles - Reflections

The guys have gathered together a couple of times in Liverpool to record music and film videos, and released their excellent debut single “Lonely” this past Valentine’s Day. Now they’re back with their second single “Reflections“, which drops today. The song was mixed and mastered by Simon Jackman at Outhouse Studios in Reading, Berkshire, and is another hard-hitting banger!

The song is darker and heavier than “Lonely”, and more synth-driven. The song opens with eerie synths and a galloping percussive beat that set an ominous tone. Then a brief barrage of fiery riffs ensue, before calming down to a haunting melody as Fearn begins to sing. The EDM touches that arrive late in the first verse are terrific, and contrast nicely with the thunderous, driving riffs and explosive percussion in the choruses. They produce a great back and forth effect that imparts a strong sense of tension, making for a very exciting listen. Pacreau and Fearn are both fine guitarists, and I love the interplay between Pacreau’s blistering riffs and Fearn’s more melodic guitar notes. Sibbald and May keep the pummeling rhythms on firm footing throughout the proceedings. The guys’ collective musicianship is quite impressive!

Fearn has a powerful and emotive vocal style that’s perfectly suited to their dynamic sound. He transitions easily from a plaintive vulnerability to raw, almost feral screams that bring chills. He uses them to maximum effect as he passionately belts out the searing lyrics spoken to a former lover whose actions have stripped him of his sanity and sense of self-worth: “You stole the greatest part of me and now I’m struggling to breathe. Not gonna take much time before I lose my mind!

The dark, beautifully-filmed and expertly-produced video nicely captures the drama and frenetic energy of the song.

Follow Four Thousand Miles: FacebookTwitterInstagram
Stream their music:  SpotifyApple Music
Purchase:  Google PlayAmazon

Song of the Day Challenge – Day 6: Sheryl Crow – “All I Wanna Do”

Song A Day Challenge

Today’s Song of the Day Challenge theme is “A song from the 90s”, and my pick is “All I Wanna Do” by the lovely Sheryl Crow. Released in April 1994, the song was from her debut album Tuesday Night Music Club, and was a breakthrough hit that made her an international star. The song was written by Crow, along with Wyn Cooper, David Baerwald, Bill Bottrell and Kevin Gilbert, and remains her biggest US hit. It peaked at #2 on the Billboard Hot 100 in the fall of 1994, spending six straight weeks stuck behind “I’ll Make Love to You” by Boyz II Men. I think it’s far superior to the sappy “I’ll Make Love to You”, but what do I know? At least it reached #1 in Australia and Canada, and won Grammy Awards in 1995 for Record of the Year and Best Female Pop Vocal Performance.

I love its breezy, country pop vibe and lively mix of twang and slide guitars, but to me the highlight of the song are the wonderful and humorous lyrics that tell the little story of her time spent in a dive bar on Santa Monica Boulevard with a patron named Billy, watching people washing their vehicles at a car wash across the street. The lyrics were adapted from Wyn Cooper’s 1987 poem “Fun”, and resulted in Cooper earning considerable royalties, and also helping to promote his book, originally published in a run of only 500 copies, into multiple reprints. (Wikipedia)

Hit it!
This ain’t no disco
It ain’t no country club either
This is LA!

“All I wanna do is have a little fun before I die,”
Says the man next to me out of nowhere
It’s apropos Of nothing
He says his name’s William but I’m sure,
He’s Bill or Billy or Mac or Buddy
And he’s plain ugly to me
And I wonder if he’s ever had a day of fun in his whole life
We are drinking beer at noon on Tuesday
In a bar that faces a giant car wash
The good people of the world are washing their cars
On their lunch break, hosing and scrubbing
As best they can in skirts in suits

They drive their shiny Datsuns and Buicks
Back to the phone company, the record store too
Well, they’re nothing like Billy and me, cause

All I wanna do is have some fun
I got a feeling I’m not the only one
All I wanna do is have some fun
I got a feeling I’m not the only one
All I wanna do is have some fun
Until the sun comes up over Santa Monica Boulevard

I like a good beer buzz early in the morning
And Billy likes to peel the labels from his bottles of Bud
He shreds them on the bar
Then he lights every match in an oversized pack
Letting each one burn down to his thick fingers
before blowing and crushing them out
And he’s watching the bottles of Bud as they spin on the floor

And a happy couple enters the bar
Dangerously close to one another
The bartender looks up from his want ads

Otherwise the bar is ours,
The day and the night and the car wash too
The matches and the Buds and the clean and dirty cars
The sun and the moon but

All I wanna do is have some fun
I got a feeling I’m not the only one 

Song of the Day Challenge – Day 5: Rachmaninoff – “Rhapsody on a Theme of Paganini”

Song A Day Challenge

Today’s Song of the Day Challenge theme is “A song everyone should listen to at least once in their life”, and my pick is the magnificent classical masterpiece “Rhapsody on a Theme of Paganini” by Russian composer Sergei Rachmaninoff. Many have heard a famous snippet of the piece, namely the beautiful 18th variation that’s been featured in numerous films, but I’m guessing relatively few know where that variation is actually from, nor have they heard the exquisite 24-minute long work in it’s entirety.

Although I love classical music dating back to the early 1700s by composers such as Antonio Vivaldi and Johann Sebastian Bach, my personal favorite period for classical music is the late romantic and post-romantic era lasting generally from 1860-1935, especially by composers like Pyotr Ilyich Tchaikovsky, Nikolai Rimsky-Korsakov, Jean Sibelius, Ralph Vaughan Williams, Maurice Ravel and Sergei Rachmaninoff. Three of my top 10 all-time favorite classical works – “Symphony No. 2 in E Minor”, “Piano Concerto No. 2”, and “Rhapsody on a Theme of Paganini” – are by Rachmaninoff, making him my favorite composer.

He wrote “Rhapsody on a Theme of Paganini” at the age of 61 while in Switzerland during the summer of 1934. It is written for solo piano and symphony orchestra, closely resembling a piano concerto, but in a single movement. Although it’s performed in one stretch without breaks, it can be divided into three sections, corresponding to the three movements of a concerto: variations 1 to 10 correspond to the first movement, variations 11 to 18 are the equivalent of a slow movement, and the remaining variations make a finale.

It boggles my mind that someone could compose such gorgeous melodies, then decide upon just the right types and number of instruments to use to bring those melodies to life. And then the fact that people are able to coax those gorgeous sounds from musical instruments! It’s also amazing that Rachmaninoff could write such a beautiful work given the fact the world was still in the midst of the Great Depression, and that in Germany next door, Adolph Hitler continued to consolidate power and had already begun his 12-year-long reign of terror.

Rachmaninoff played the solo piano part at the piece’s premiere at the Lyric Opera House in Baltimore, Maryland, on November 7, 1934 with the Philadelphia Orchestra, conducted by Leopold Stokowski. The very first recording of the piece was also done by the Philadelphia Orchestra, with Stokowski conducting and Rachmaninoff playing piano, and released in late 1934 by the RCA Victor Red Seal label.

Rachmaninoff Rhapsody on a Theme of Paganini

The slow and stunningly beautiful 18th variation is by far the best known, and is often included on classical music compilations without the rest of the work. It’s based on an inversion of the melody of Paganini’s theme, in which the A minor Paganini theme is literally played “upside down” in D major, with a few other changes. Rachmaninoff himself recognized the appeal of this variation, saying “This one, is for my agent.” (Wikipedia) That variation is arguably one of the most beautiful and moving melodies ever written, and so breathtaking that it brings tears to my eyes.

The 18th variation has also been used in various movie and TV show soundtracks to different degrees, including The Story of Three Loves (1953), Somewhere in Time (1980), Dead Again (1991), Groundhog Day (1993), Ronin (1998), the 2014 documentary Alive Inside: A Story of Music and Memory, and a 2015 episode of the TV show The Good Wife. But the entire piece is gorgeous, and worth a careful listen.

I’ve included two videos. The first is a spectacular 2018 performance by the German Philharmonie Südwestfalen at the Concertgebouw in Amsterdam, Netherlands, conducted by Gerard Oskamp, with the brilliant young pianist Anna Fedorova doing a masterful job playing the challenging piano parts.

This second video is of one of the definitive performances of “Rhapsody on a Theme of Paganini”, by the London Symphony Orchestra in 1970, conducted by André Previn and with piano by the great pianist Vladimir Ashkenazy. I have this recording on both vinyl and CD.