British electropop/funk band The Winachi Tribe make some of the catchiest and fun music of any artists around today, and I love them! Based in and around Leeds, they draw from a ton of legendary influences such as Parliament-Funkadelic, Sly & The Family Stone, Primal Scream, Grandmaster Flash & The Furious Five, Massive Attack, The Stone Roses, Talking Heads, D’angelo, Prince and Daft Punk to create their infectious funk-infused style of electro/dance pop. In 2018, I reviewed their fantastic song “Transition”, and am thrilled to feature them once again with the release of their latest single “Funky But Chic“, which dropped on March 6th. The delightful song is a marketing collaboration with iconic Italian fashion brand Pantofola d’Oro, and coincided with the release of the very handsome and sporty Pantofola d’Oro Winachi Collection Trainers, pictured in the heading.
Formed in 2015, The Winachi Tribe is comprised of Liam Croker (vocals), Antony Egerton (keyboards, programming), Inder Goldfinger (percussion), Jamie McGregor (lead guitar), Ritchie Rich (bass) and Mr. Whommit (drums) (although their previous guitarist Mike Bee played on “Funky But Chic”). All accomplished musicians in their own right, they’ve collaborated with musicians and producers in both the UK and Southern California, and have released a number of critically acclaimed singles.
As with many of their songs, they start off with a bouncy dance beat that aims straight for the hips, immediately hooking us in and commanding that we get up and get moving! Then they serve up generous helpings of wobbly psychedelic synths, funky guitars, throbbing bass and snappy percussion. The result is a delicious and upbeat tune with more funky grooves than a boxful of Funkadelic records. Liam’s wonderful vocals exhibit equal amounts of humour and sexiness as he croons with a cool and casual air:
I got a pair of shoes I swear that somebody gave me
My mama says I look pretty fruity but in jeans it feels rockin’
I don’t wear nothing that’s too fussy on me
I just want something so I can walk down your street
Eh, come on baby, let’s get on down to the boutique
Let’s bring back something that’s funky but it’s chic
The entertaining video was produced by John X of Earthstar Creation Center, and directed by Pro Direct Select, and shows some of the band members sneaking into a warehouse to steal several pairs of the trainers. They then go on a high-speed chase with a police car through the countryside, finally eluding the police and connecting with a guy played by Liam who’s waiting for their haul in a parking garage.
We need some fun and exciting music to help rescue us from these rather depressing times, and Dua Lipa’s “Don’t Start Now” is the perfect song to do it! It leaps five notches to #1 this week.
1. DON’T START NOW – Dua Lipa (6)
2. EVERYTHING I WANTED – Billie Eilish (2)
3. THE BEST – AWOLNATION (3)
4. WARS – Of Monsters and Men (4)
5. USED TO LIKE – Neon Trees (5)
6. DANCE OF THE CLAIRVOYANTS – Pearl Jam (7)
7. NOVOCAINE – The Unlikely Candidates (1) 22nd week on list
8. LIFE IN THE CITY – The Lumineers (8)
9. LOVE YOU FOR A LONG TIME – Maggie Rogers (9)
10. VAN HORN – Saint Motel (12)
11. ADORE YOU – Harry Styles (13)
12. UNCHAINED – Devon Gilfillian (15)
13. BLACK MADONNA – Cage the Elephant (16)
14. LOST IN YESTERDAY – Tame Impala (17)
15. HOW WE LIVE – Mandalan featuring Cadence XYZ (11)
16. COLORS – Black Pumas (19)
17. TEXAS SUN – Khruangbin & Leon Bridges (20)
18. HERO – Michael Kiwanuka (21)
19. MARINERS APARTMENT COMPLEX – Lana Del Rey (14)
20. CAN’T STOP – Vox Eagle (18)
21. MIGHT BE RIGHT – White Reaper (10) 20th week on list
22. SHINE A LITTLE LIGHT – The Black Keys (24)
23. OH YEAH! – Green Day (25)
24. REASONS I DRINK – Alanis Morissette (23)
25. OVER AND OVER – Amongst Liars (27)
26. BAD DECISIONS – The Strokes (28)
27. BLINDING LIGHTS – The Weeknd (N)
28. ME & YOU TOGETHER SONG – The 1975 (29)
29. GO EASY – Matt Maeson (30)
30. YOUR LOVE (DÉJÀ VU) – Glass Animals (N)
Debris Discs is the solo music project of British singer-songwriter James Eary, former front man of Manchester, England alternative dream pop band Coves & Caves. Last October, I featured his first single “Animals“, and now he’s back with his third release “We Never Die“. It’s a beautiful and poignant song that touches on the notion that love is a powerful and enduring component in the cycle of life. The song is part two of his hope and survival themed audio triptych, the first of which was his previous single “Daniel and the Apocalypse”, which he released in January.
Eary states that the song was inspired by a visit to his grandparent’s memorial bench on a windswept day on the Northwest English coast. “‘We Never Die’ is an attempt to find comfort in the despair of loss. It tells the story of lifetime lovers so entwined they reach their end of days in tandem. They search for solace in the legacy they leave behind and a love that burns in perpetuity. It’s a message to each other and their families that this is not the end. There are no goodbyes.”
“We Never Die” is an enchanting dream pop gem, fashioned from a rich palette of swirling glittery synths, subtle guitar chords and gentle percussive grooves. Debris Discs skillfully incorporates all these musical elements into a lush, sweeping backdrop for his sweet vocal harmonies, resulting in an achingly beautiful track that captures the power and romance of an enduring love. He has a marvelous singing voice that registers in the higher range, just below a falsetto, and it’s positively sublime on this track.
It’s ok we never die They keep our dreams And our names they engrave in aluminium On a park bench plaque For all to see Who we were, what we did, where we’ve been
Muscles knotted All our words forgotten Milky eyes, milky eyes We’ve come too far So now we wait for stars And no goodbyes, no goodbyes
It’s ok we never die No eulogy Just a spark, flickers free from the embers To illuminate and help them see Who we were, what we did, where we’ve been Who we were, what we did, where we’ve been
Amidst all the bad news of late regarding rogue viruses and collapsing financial markets, one of the few bright spots has been the release of the new album Pink by singer-songwriter and guitarist extraordinaire Two Feet. Released via Republic Records on March 13th, I’ve had Pink on repeat for the past several days, and can emphatically state that it’s the best album of 2020 so far. I’m writing this review with a bit of trepidation, as I hope to do justice to this magnificent work.
For those unfamiliar with Two Feet, he’s the musical alter-ego of New York City-based singer, songwriter, multi-instrumentalist and producer Zachary William “Bill” Dess, who I think is one of the finest guitarists around today. His songs are slow burns, characterized by soulful, smoldering vocals, intense, bluesy riffs, cool jazz and hip-hop undertones, and booming synth bass grooves that cut straight to our cores. He also writes brutally honest and compelling lyrics that resonate with many of us. As beautifully described in his Google Play bio, “his songs are the soundtrack for staying up late into the night, aching to figure out how to remedy heartbreak, anxiety, and uncertainty.”
Two Feet first gained notoriety in 2016 with the release of his single “Go Fuck Yourself”, which quickly went viral on Soundcloud. He soon followed up with a couple of EPs (the cleverly titled First Steps and Momentum), then hit the big time in the summer of 2018 with his breakthrough hit “I Feel Like I’m Drowning”. The gorgeous song went to #1 on the Billboard Alternative chart, and ended up at #18 on my list of 100 Best Songs of the Decade. That October, he released his extended EP A 20 Something Fuck, which featured “I Feel Like I’m Drowning” and the beautiful track “Hurt People”, a deeply personal and haunting duet with Madison Love.
I had the pleasure of seeing him perform in Los Angeles in November 2018 (you can read my review here). He spent the first few months of 2019 touring with Panic! At the Disco, which exposed him to a whole new audience who hadn’t heard of him previously. I relished reading all the tweets from people who’d gone to see PATD and came away enthusiastic new fans of Two Feet. In fact, I have to say that his are some of the most fiercely loyal and devoted fans I’ve seen for any artist. He’s made a point of being open and honest with his fans and followers about his own personal struggles with depression and anxiety, and engages with them fairly regularly on Twitter. That’s pretty rare for artists once they become well-known, so it shocked the hell out of me a few months ago when he tweeted words of encouragement to me in response to my tweet about feeling depressed and overwhelmed. Needless to say, I was deeply touched, and it made me love him even more.
He started writing songs for Pink in the fall of 2018, some of them influenced by events happening in his life. In September 2019, he began teasing his fans by dropping a series of tracks in advance of Pink’s release, beginning with “Lost the Game” – though it falls squarely in the center of the track listing. In a heartfelt statement, he expresses his hope that the album will touch us in a meaningful way, also recommending that we listen to it in its entirety, from beginning to end: “With the way the world is going right now, I hope listening to it gives you some peace, or makes you cry, or makes you feel sexy, or makes you happy, or briefly brings you to a different world. As long as you feel SOMETHING, I’m good with that. I worked hard on the track list. This isn’t an album of singles, it’s a ‘thing-in-itself’. Please listen in order. Front to back.”
Two Feet records and performs his music with the assistance of his longtime keyboardist/drummer Geoffrey Hufford (aka Huff), who is adept at delivering the deep, floor-rattling synthesized bass that gives his music such incredible depth. This can clearly be heard on the minute-long opening track “Intro“, with chest-thumping beats surrounded by swirling psychedelic synths and Two Feet’s bluesy guitar notes. Up next is the title track “Pink“, a song that beautifully encapsulates the album’s overall theme. He states “A lot of the songs deal with the passage of time and how you interpret it.”, a topic nicely articulated by the song’s introspective lyrics: “25 don’t feel the same way… / And I keep getting older / My mind is getting colder / The things that all once mattered, I know for sure won’t last.” His intricate guitar work is stunning, and even if you didn’t listen to another track on this album, you’d still have to concede that he’s a phenomenal guitarist.
For this album, Two Feet incorporates a wider range of elements into his songs than ever before, resulting in a more diverse and exciting overall sound. “BBY” is a good example of this, with its bouncy EDM beat that builds as the song progresses. Once again, his guitar work is fantastic, and I love the sweeping spooky synths and his seductive, breathy vocals. “Call Me, I Still Love You” is a gorgeous and bluesy instrumental interlude that provides a perfect segue to “You?“, a dark scorching-hot song about coming to the realization that the relationship was always one-sided: “So tell me the truth was it me then, who needed you?” I realize I’m sounding like a broken record, but once again the intricate guitar work is breathtaking, and I love how the music alternates from a sultry vibe in the verses to a bombastic explosion of fiery riffs and earth-shattering percussion in the choruses. “You?” is perfection from start to finish, and easily my favorite track on the album. It spent five weeks at #1 on my Weekly Top 30 from late December through late January.
Two Feet had an official video made for the song, but I like this live studio performance better, as it features a killer extended guitar solo that really showcases his fearsome guitar skills. You can hear the original version on the Soundcloud playlist at the end of this post.
On the moody, synth-driven “44 Lies“, he seems to touch on how we delude ourselves in order to help us fit in, feel accepted, feel ‘normal’: “44 lies /Told in your 20s /Keep you alive /Make you feel empty / All of the guys / Wearing the same shoes / Telling me things / Praying they ain’t true.” Figuratively speaking, the melancholy “Lost the Game” represents the emotional low point on the album. The lyrics speak of coming to the painful realization that the relationship is over for good, with no hope of reconciliation: “And what can I do, I do, I do I know it’s over / Cause I lost the game, I can’t get lower / Caused you pain, it’s taking over.” With all hope now gone, “Grey” sees him rationalizing his fate and accepting that he must move on. Likewise, his mood has evolved from black into something a little less bleak – a shade of grey: “Before I fall away I feel like I should say I’ve always liked your eyes / But now I’ve got to leave / It’s okay It’s alright / I feel good I feel fine.” Musically, the song is dominated by a deep, buzzing bassline set to a mesmerizing hip hop beat, over which Two Feet serves up some of his signature bluesy riffs.
The smoldering track “Maria” was apparently a last-minute addition to the album. Overflowing with menacing synths, throbbing beats and haunting choruses, it’s one of my favorite tracks. Concurrent with the album release, Two Feet released a dark and sexy video for the song, his first to actually tell a story to fit the narrative of the lyrics. It opens with an ominous image of just his eyes, then shows him having a drink in a rather seedy bar, along with an assortment of shady-looking characters. Maria saunters into the bar, orders a beer and sensually dances while all the men gaze at her longingly. She eventually goes home with one of the guys as Two Feet laments “Oh oh oh while you’re getting in his bed, I’m alone without a friend tonight / Maria Maria, I tell ya I need ya..” Maria and the guy start to have sex, and she ties him to the bed. Sadly, he doesn’t get lucky, as she ends up stealing his valuables, even ripping his gold chain from his neck and leaving him tied up. We’re left wondering whether she’s just a gold digger who breaks men’s hearts (and wallets), or if she’s working in cahoots with the guy portrayed by Two Feet.
After the intensity of “Maria”, we need a bit of relief, which he nicely delivers with the captivating and soulful instrumental “Felt like playing guitar and not singing part 2“. The song is a nod to a similarly-titled track that appeared on A 20 Something Fuck. “I Can’t Relate” is a lovely, bittersweet tune that sees him revisiting what went wrong in the relationship: “The winter wind when we first fell in love was cold / You touched my face, my mind began to run, yeah / But you don’t care now, you tell me its all set and done / I’m numb’cause I can’t relate /Oh, I can’t relate to you.”
Another favorite of mine is “We Will Be Alright“, a poignant and hopeful song reassuring a loved one that your love will endure til the end, and all will be well: “And I, I want you by my side /And I, I need you ’til I die / And when that day comes you will be alright /Because we will love through time.“ The lyrics could represent either a coming full-circle back to the beginning, or else the birth of an entirely new relationship, but either way, it ends things on a more upbeat and positive note. Musically, it’s more low-key and stripped back than most of his songs, with the only sounds coming from his gently strummed guitar and comforting vocals.
The album closes with “Pink Reprise“, a bewitching instrumental track that revisits and continues upon the haunting melody first introduced with “Pink”. It serves as a fitting closure for the album, and a vivid reminder of Two Feet’s spectacular guitar-playing skills. Properly listening to Pink is an immersive experience that needs to be done in a single sitting for maximum enjoyment, and to fully appreciate it’s immense power and beauty. I don’t normally grade albums, but I would give this an unequivocal 10/10.
Two Feet is donating $1 from every sale of Pink to the Siegel Rare Neuroimmune Association, which benefits those diagnosed with rare neuroimmune disorders like his own sister, GG.
I love when artists collaborate on music projects, as the talent and creative energy each bring to the mix often results in some really terrific work. Last week I featured such a song by L.A. artists Harley Bird and Barren Gates, and am now pleased to feature another collaborative effort, this time by Seattle-based singer-songwriter and composer US3R, and Minneapolis-based synth artist and composer Jasper Mitchell. They teamed up to create a deliciously chill song “Forever Blue“, which dropped March 15th.
US3R
US3R (pronounced ‘user’, and the artistic moniker of a very nice guy named Kristian Alexander) makes synthwave-inspired electronic pop, dream pop and house music. I had the pleasure of meeting him and his lovely wife last December when they were in the Coachella Valley to visit family and friends before the Christmas holidays. (Kristian grew up in Cathedral City, where I now live.) I asked him about his name US3R, and he said it was inspired by his work in the IT industry: “I’ve been a computer guy since I was very young. In computer terminology/operating systems, there are references to “user” in a million different forms. It felt like an archetypal term that represented computer culture… and also in hacker culture, we have a tendency to talk in “leet speak” (where you swap numbers for letters), so, ‘US3R’ is a reference to the hacky nature of my music.“
US3R has had a very busy year, first releasing his debut album 1985 in May (2019), then following up in December with his second album INFLUENCE, a brilliant work addressing modern influencer culture and the loss of intimacy in the digital age. Both are outstanding, and I urge my readers to check them out on one of the music streaming platforms listed at the end of this review. In February and early March, US3R embarked on a North American tour covering Seattle, Portland, San Francisco, Hollywood, NYC, and Toronto, before it was abruptly halted by the Coronavirus outbreak.
Jasper Mitchell
Jasper Mitchell likewise creates dreamy chillwave, synthwave and atmospheric electronic music. He released his debut EP Awakening in 2018, and followed a year later with his stunning album Her, both of which I also highly recommend.
Like many collaborations, “Forever Blue” was recorded and produced in different locations. Mitchell came up with the initial music concept, then sent it to US3R, who wrote the lyrics and made some chord changes. He recorded the vocals while in Southern California last December, then sent his vocal recording to Mitchell in Minneapolis, who did the production work on the track. They then worked back and forth over the internet until they got the song just right.
US3R states that the song is about driving down the Pacific Coast Highway in California from Santa Monica to Malibu, “reminiscing about a woman that used to sit in the passenger seat, and every time you do the drive it brings up old feelings.” He adds “Its about reflecting on your life in the face of mortality. We ironically wrote this before Coronavirus happened, but it seems very relevant all of a sudden.”
Employing a colorful mix of warm, sparkling synths, set to a languid trip hop percussive beat, Mitchell artfully creates a captivating atmospheric soundscape evoking a sun-kissed day along the California coast, but with an underlying air of melancholia. US3R has a silky-smooth vocal style that’s immensely pleasing, and the perfect voice for a chillwave song. His soft, almost breathy croons beautifully convey the wistful emotions expressed in the bittersweet lyrics: “If I died tomorrow would I be happy with it all? / I’ve had some good times / There’s so many things I saw / I don’t wanna go / There’s still so much i wanna see / I need to know are you the one who’s saving me? / Forever blue, when I look at you.”
1. NOVOCAINE – The Unlikely Candidates (2) 21st week on list
2. EVERYTHING I WANTED – Billie Eilish (1)
3. THE BEST – AWOLNATION (4)
4. WARS – Of Monsters and Men (3)
5. USED TO LIKE – Neon Trees (6)
6. DON’T START NOW – Dua Lipa (7)
7. DANCE OF THE CLAIRVOYANTS – Pearl Jam (8)
8. LIFE IN THE CITY – The Lumineers (9)
9. LOVE YOU FOR A LONG TIME – Maggie Rogers (10)
10. MIGHT BE RIGHT – White Reaper (5)
11. HOW WE LIVE – Mandalan featuring Cadence XYZ (11)
12. VAN HORN – Saint Motel (12)
13. ADORE YOU – Harry Styles (14)
14. MARINERS APARTMENT COMPLEX – Lana Del Rey (13)
15. UNCHAINED – Devon Gilfillian (17)
16. BLACK MADONNA – Cage the Elephant (19)
17. LOST IN YESTERDAY – Tame Impala (20)
18. CAN’T STOP – Vox Eagle (18)
19. COLORS – Black Pumas (21)
20. TEXAS SUN – Khruangbin & Leon Bridges (22)
21. HERO – Michael Kiwanuka (23)
22. YOU? – Two Feet (15) 22nd week on list
23. REASONS I DRINK – Alanis Morissette (26)
24. SHINE A LITTLE LIGHT – The Black Keys (27)
25. OH YEAH! – Green Day (28)
26. ORPHANS – Coldplay (16)
27. OVER AND OVER – Amongst Liars (30)
28. BAD DECISIONS – The Strokes (N)
29. ME & YOU TOGETHER SONG – The 1975 (N)
30. GO EASY – Matt Maeson (N)
From the ashes of what was the beloved West Sussex alternative rock band Third Time Luckie rises a new band The 86 Special. Calling their sound “modern day pop rock accompanied by 80s synth & stadium rock”, they aim to tickle our earbuds with music that’s retro, yet fresh, and always exciting. The 86 Special is made up of two former Third Time Luckie members Chris Horner (bass & lead vocals) and Carl Swietlik (drums), as well as Matt Dawe (rhythm guitar & vocals), Dom Parris (lead guitar & vocals) and Jake Rae (synth & keys). The band is so new that they don’t have any official photos yet.
They’ve just recorded their first song “Dancing By The Moonlight“, along with a promotional lyric video. It’s upbeat, catchy and fun, with a retro 80s blend of pop, rock and post-punk grooves that call to my mind some of the songs from bands like The Go-Go’s, Huey Lewis & the News and The Cars. The guys serve up a mix of jangly and fuzz-coated guitars, humming bass and snappy drumbeats, creating an exuberant, head-bopping song that’ll have even the worst wallflower heading straight for the dance floor. I especially love Jake’s lively piano keys that are liberally sprinkled throughout the track. Chris’s pleasing vocals are perfect for the song, and nicely accompanied by Matt and Dom’s backing harmonies. Great job all around guys!
The song is scheduled for release on May 18 for streaming and download on all major music platforms.
James Bakian is an exceptionally talented, hard working and charismatic young singer/songwriter from London, England. He wrote his first song at the age of six, began studying piano at seven, and released his first EP By Your Side in 2016 when he was only 13. He followed up in late 2017 with his appropriately-named second EP Unstoppable, a really fine effort featuring six tracks. Since then, the prolific artist has released an astonishing 18 singles, his latest of which, “Find Me,” drops today, March 13th. I’m pleased to choose the soulful track as my New Song of the Week.
James writes all his lyrics and music, records all the instruments, and produces his own songs. I’ve been following him for over three years, and it’s been gratifying to watch him grow professionally. Now 16, his songwriting, music and vocals get better and better as he matures, and he’s grown from a cute kid into a teen heartthrob. (I’ve featured him three times previously on this blog, and you can check out those reviews, which are listed under ‘Related’ at the bottom of this page.)
“Find Me” is languid and sultry, highlighted by James’ sublime piano keys that have an almost jazzy feel. With his piano riff as a centerpiece, he adds warm, shimmery synths of strings and gentle percussion to create a romantic soundscape for his smooth and soulful layered vocals. As James has matured, his voice has likewise deepened quite nicely. The music, melody and vocals are all incredibly pleasing, resulting in an exceptional track.
The lyrics speak of longing for a girl to the point of obsession, even though she barely knows that you exist:
Just leave me be I’m doing my own thing Didn’t suspect that you would notice me Tryna figure out if I still fit in my skin And I ain’t tryna change Take me back Back to the time when I didn’t have a care in the world and I knew I had a purpose I don’t wanna live in a world where I can’t share my life with somebody who is worth it
I think I’ve found a girl but she gotta find me Cause I know that one day ima call her baby and I’ll tell her what I want whispering it slowly When I look at that smile I keep going crazy
I keep dreaming ‘bout you Always longing for you Ain’t no reason not to And I’ve been meaning to let you know I keep dreaming ‘bout you Always longing for you Ain’t no reason not to Oh-oh-oh I’ll let you know one day as long as you find me I’ll let you know one day as long as you find me
Girl you got what I been needing Everything about you turns me on Do I gotta have an explanation I’m obsessed with you is that wrong? Tell me what I need to do If I wanna spend whole my life with you I’ve been all alone in my feelings Ain’t nobody who make me feel like you do
Ain’t nobody, ain’t nobody, ain’t nobody Ain’t nobody make me feel like you do Ain’t nobody, ain’t nobody, ain’t nobody Ain’t nobody make me feel like you do
Melotika is an indie/alternative pop artist born and raised in Montreal, and now based in Toronto. The alter-ego of singer/songwriter Mel Yelle, her distinctive, sultry vocal styling and exotic beauty set her apart from other female artists. With a strong sense of individuality and determination coupled with an endearing vulnerability, she writes brutally honest and relatable lyrics touching on subjects of relationships, love, and how social media and pressures to conform can affect our emotional well-being.
I featured Melotika on this blog twice in 2018, when I reviewed her previous singles “Unaware Part II [Blindside]” and “Bittersweet Reality“. On February 18th, she dropped her latest single “Bury The Bones“, a dark, haunting song about a woman who’s a psychopathic killer. The song was co-written by Melotika and New York-based songwriter and producer Gory Gloriana, and produced, mixed and mastered by Sean Savage. About the song, she explains: “‘Bury The Bones’ reveals suppressed dark emotions about an unhealthy, fictional love story. As a society, we have a weird obsession with psychopaths, murder and lust. This song is a creative take on these subjects from the perspective of an individual with an unsettling mind.”
The song opens with sounds of someone digging shovelfuls of earth, backed by gentle, mysterious synths and Melotika’s eerily chants of “do it”, conjuring up images of a black night where something really bad is about to go down. A languid beat kicks in as the music swells with a darkly beautiful mix of contrasting shimmery and gnarly keyboard synths, increasing the sense of unease.
Melotika’s sultry vocals are amazing, conveying a quiet desperation bordering on menacing as she entreats her lover in a thinly veiled threatening manner to not abandon her, or else he will pay:
Stepping by your place, I can’t erase you Another face, that I cannot replace Take another toll, tell me you want more Loathsomeness; I can’t ever love
Don’t ever leave
Don’t let me down
Don’t take the best of me
What goes around comes back around
You may abandon me but My heart beats steadily for you Cold dirt can’t hold me down Walk away and bury the bones
Finally reaching a point of madness, her voice rises to a chilling shriek in the chorus as she implores:
I can never love someone I’m your contaminated loaded gun Don’t you ever leave my friend Don’t you let me down
The dark and brilliant video, written by Melotika and filmed and directed by Eric Soto, brings the lyrics to life in a kind of horror film vignette. A couple, played by Melotika and her real-life boyfriend and songwriter/rapper Krosst Out, are shown walking to and entering her apartment after a night out. We’re shown scenes of them together, juxtaposed with scenes of her in her bedroom, singing the lyrics. They get comfortable, and she goes into the kitchen to arrange the flowers he gave her and pour them glasses of wine while he watches a video of her on TV. Problem is, she’s slipped some poison into his glass, and he soon drops dead. While all this is happening, the camera pans the numerous framed photos of other men on a nearby table. The video ends with yet another man appearing at her door with a bouquet of flowers, and the cycle begins again.
It’s not every day that I get the opportunity to meet a real-life music artist up close and personal, but that was the case this past November, when I had the pleasure of meeting Los Angeles-based singer-songwriter and musician Harley Bird. He and his girlfriend are good friends with my nephew, and came along with him to my home for Thanksgiving dinner. Harley’s as gracious and kind as he is talented and handsome, and we had a great time discussing and sharing music. He’s just released a dark and powerful new single “Last“, in collaboration with L.A.-based music producer Barren Gates, which I’m thrilled to feature today.
Harley Bird
A native of L.A., Harley has been involved with music for many years. He has a beautiful voice and undeniable charisma that make him a successful artist who’s very much in demand. He started out honing his craft by busking on the streets, and was the front man for alt-rock band The Shadow Heist from 2014-16. But his career really took off after he posted his cover of a song he recorded on Instagram. An electronica music producer who saw the post reached out to him about working together on his song that needed lyrics and vocals. Once they released that song, some of the music producer’s peers reached out to Harley about doing collaborations with them, and things spread like wild fire from there. Over the past four years, Harley’s worked with other musicians and producers both in the L.A. area and across the globe on scores of songs that have collectively racked up over 45 million streams on Spotify.
Barren Gates
Barren Gates (aka Brandon Lutowsky) is a highly accomplished and prolific electronic music producer and composer who’s also collaborated with numerous other artists on more than 40 songs and remixes. He and Harley previously worked together on their songs “Tomorrow” and “S.O.S.”, and “Last” is their latest collaboration. Barren arranged and produced the song, while Harley wrote the lyrics and melodies, played piano and sang vocals. The song has been released through the indie label Valiant Records.
The song opens with the sounds of Harley’s haunting piano chords, then quickly expands into an ominous and captivating soundscape of dark, spooky synths. Eventually, Barren injects a deep, grinding trap beat into the mix, taking the track into even darker territory. At about 1:17, the beats stop and the music calms back down to an interlude of the dark, reverby synths and bewitching piano keys we heard earlier. The music gradually swells, once again exploding into a repeat of the heavy, crushing trap beats that continue through to the end of the song.
With a vulnerable urgency in his breathy vocals, Harley lays bare his soul to a woman he’s strongly attracted to, fearing she may be toying with his emotions in order to use him, but hoping that perhaps her intentions are sincere: “Draw us in and kick us out. Girl you look so fuckin’ proud. Should I stay or should I go? I’ve gotta chase, I’ve gotta know. / I know I’m not the first guy to try tonight. But maybe I’ll be your last.” It’s a brilliant and stunning track.
ECLECTIC MUSIC LOVER 