1. EVERYTHING I WANTED – Billie Eilish (1)
2. NOVOCAINE – The Unlikely Candidates (3) 20th week on list
3. WARS – Of Monsters and Men (4)
4. THE BEST – AWOLNATION (5)
5. MIGHT BE RIGHT – White Reaper (2)
6. USED TO LIKE – Neon Trees (7)
7. DON’T START NOW – Dua Lipa (8)
8. DANCE OF THE CLAIRVOYANTS – Pearl Jam (9)
9. LIFE IN THE CITY – The Lumineers (10)
10. LOVE YOU FOR A LONG TIME – Maggie Rogers (18)
11. HOW WE LIVE – Mandalan featuring Cadence XYZ (14)
12. VAN HORN – Saint Motel (15)
13. MARINERS APARTMENT COMPLEX – Lana Del Rey (16)
14. ADORE YOU – Harry Styles (17)
15. YOU? – Two Feet (13) 21st week on list
16. ORPHANS – Coldplay (6)
17. UNCHAINED – Devon Gilfillian (21)
18. CAN’T STOP – Vox Eagle (20)
19. BLACK MADONNA – Cage the Elephant (22)
20. LOST IN YESTERDAY – Tame Impala (23)
21. COLORS – Black Pumas (24)
22. TEXAS SUN – Khruangbin & Leon Bridges (25)
23. HERO – Michael Kiwanuka (26)
24. UNEVENTFUL DAYS – Beck (11)
25. 2ALL – Catfish and the Bottlemen (12)
26. REASONS I DRINK – Alanis Morissette (28)
27. SHINE A LITTLE LIGHT – The Black Keys (29)
28. OH YEAH! – Green Day (30)
29. WHITE LIES & PALM TREES – The Lovepools (19) 22nd week on list
30. OVER AND OVER – Amongst Liars (N)
Tobisonics is the music project of Toby Davis, a longtime music producer, composer and writer based in Luxembourg. He’s used his creative vision and talents mixing, mastering or remixing other artists and bands’ music for some time, but more recently, has chosen to create his own solo works. For his first effort, released in December 2018, he teamed up with the theatrical, genre-bending Las Vegas-based duo Fans of Jimmy Century to re-imagine their modwave neo-noir song “Noirstar (Memories of His City)”, which he redubbed “Noirstar (Dark City Edition)”. Giving their song a cinematic synthscape treatment resulted in a dark and sexy track with a slightly menacing vibe that artfully conveys the sense of excitement, titillation and danger inherent in big city life. I wrote a review of the track, which you can read here. Now he returns with a brand new single “All These Things“, which I’ve chosen as my New Song of the Week.
He states that the song is a bit of a departure for him, as he usually works primarily with virtual instruments and midi, whereas this one is more loop-based and more pop. He provided some background for the song and his inspiration behind it, including an admission that he’s struggled with PTSD, chronic anxiety and depression for years, and only rediscovered music in his mid 30s. “I’d played in bands as a teenager, but hadn’t picked my guitar up for over 15 years. It’s like the depression drowned out the music in me. Once I started seeing a psychiatrist and taking anti-depressants, the music just flowed. I couldn’t have stopped it, if I’d wanted to. I’ve always been pretty open about my depression and anxiety. The reasons that lie beneath, I’m not so open about. I guess that’s where the music comes in.”
“‘All These Things’ explores a difficult subject matter, but remains a compelling piece of contemporary pop, painted in fiercely percussive tones and an ear-catching vocal hook. It begins as an apparently simple love song, painted in soulful tones and lo-fi beats. The infectious chorus ‘All these things I remember’ arrives early, perhaps nostalgic for a summer love. But as the track unfolds, a darker truth emerges, one that can not be forgotten nor easily escaped: ‘Nobody can stop me, I am running’.”
Tobisonics skillfully employs a colorful kaleidoscope of sultry keyboards, mesmerizing beats and a mix of glittery and spacey looped synths to create a lush and captivating soundscape. As the track progresses, the music becomes heavier and the mood darker, culminating in a stunning crescendo of swirling string synths in the bridge. The previous beat-driven tempo then returns along with the refrain “All these things I remember”, which continues through to the song’s end.
Regarding the bewitching female vocals, which sound to me a bit like an early Madonna, Tobisonics found the right vocals he desired and looped them. Unfortunately, under the terms of their use, he was not allowed to credit the vocalist.
I was a big fan of soul singer Barry White (born Barry Eugene Carter in September 1944), and love many of his hit songs. But my favorite of them all is “Can’t Get Enough of Your Love, Babe“. Throughout his long career, which lasted much of his adult life from the 1960s until the late 1990s, White was a singer, songwriter, composer, musician and producer. Known for his distinctive bass-baritone voice and sensual singing style, his biggest success came during the 1970s as both a solo artist and as producer/conductor of The Love Unlimited Orchestra, when he scored a number of top 10 soul, funk and disco hits.
White was born in Galveston, Texas, but grew up in South Central Los Angeles. His parents never married, so his mother gave him her last name at birth, but he later assumed his father’s surname. He was the older of two boys. White grew up listening to his mother’s classical music collection and taught himself to play the piano at a young age. His voice deepened suddenly when he was 14. He later recalled to music writer Larry Katz that his mother cried at the time “because she knew her baby boy had become a man.” Sadly, both he and his brother got involved with street gangs in their early teens, and his brother Darryl was tragically murdered in a fight with a rival gang, whereas White spent four months in jail for theft charges. After he was released, he cleaned up his act and began singing with groups and working for various small independent music labels in the L.A. area.
He got his big break in 1972 when he began producing music for girl group Love Unlimited, with whom he had a fairly sizable hit “Walkin’ in the Rain with the One I Love”. The following year, he created The Love Unlimited Orchestra, a 40-piece orchestral group that would perform the background music for Love Unlimited as well as his own songs. With Love Unlimited Orchestra, he released the gorgeous instrumental piece “Love’s Theme” in late 1973, which went to #1 in January 1974 on the Billboard Hot 100. White’s first chart hit as a solo artist was “I’m Gonna Love You Just a Little More Baby” in 1973, followed later that year by “Never, Never Gonna Give Ya Up”, both of which reached the top 10. In late June, 1974, he released “Can’t Get Enough of Your Love, Babe” as the lead single from his album Can’t Get Enough. The song ultimately reached #1 on both the Hot 100 and R&B charts.
It’s a beautiful R&B song with soulful guitar and percussion, backed by sweeping orchestration, the highlights of which are the exuberant brass and lush strings. All serve to create a swirling romantic soundscape for White’s deep, velvety vocals as he fervently professes the depths of his love and devotion to his beloved:
My darling, I, can’t get enough of your love babe Girl, I don’t know, I don’t know why I can’t get enough of your love babe Oh no, babe
Girl, if only I could make you see And make you understand Girl, your love for me is all I need And more than I can stand Oh well, babe
How can I explain all the things I feel? You’ve given me so much Girl, you’re so unreal Still I keep loving you More and more each time Girl, what am I gonna do Because you blow my mind
“Can’t Get Enough of Your Love, Babe” was later covered in 1993 by the wonderful singer Taylor Dayne as “Can’t Get Enough of Your Love”. Oozing equal amounts of soul and sex appeal, she does great justice to the classic song.
Follow Deep is a young indie/alternative rock band from Hull, England who are making quite a name for themselves on the UK music scene with their dynamic, innovative music and high-energy performances. Making the music are Luke Bushby (vocals, guitar & bass), Joe Ingram (bass, keyboards & saxophone), and Jed Pearson (drums, vocals). The talented trio skillfully blend elements of alternative, progressive, psychedelic and grunge rock to create their unique, eclectic sound, with an added bonus of having two vocalists and a saxophonist in the mix.
They released their debut single “Bad Influence” in December 2017, then dropped an EP of the same name in July 2018. They followed up with several new singles in 2019, and in December, released their debut album Will You Still Love Me, which I’m finally getting around to reviewing. The album features ten songs addressing the highs and lows of love, along with the myriad perils of entering into romantic relationships.
The brilliant opening track “Before The Storm” is a shining example of Follow Deep’s solid songwriting and musicianship. The song has everything I love in a great rock song: a complex melody, a strong, driving bassline, intricate, multi-textured guitars, explosive percussion and superb vocals that span a wide emotional range. The aggressive gnarly riffs contrast nicely with the more subdued jangly guitars and deep bass during the track’s calmer interludes, and along with the dramatic stop-start breaks in the melody, keep the song’s overall tension on a high level. I really like Luke’s voice, which goes from a seductive croon as he sings “You’re a fan of Mozart / I love him too / But it’s now your time to…“, then launches into a chilling full-blown scream with “Sing!” I also love his well-placed shouts of “Woo” and the harmonica riff that comes later in the track. The lyrics seem to speak to our darker impulses, and possibly someone suffering the effects of PTSD. In an voice electronically altered to sound evil and menacing, we hear the words “Do you know what it is to be a monster? You have no idea.”
The band has released two videos for the song, first a lyric video to coincide with the album release last December, then an official video at the end of February. I’ve included them both, as the film footage in the lyric video nicely complements the lyrics, whereas the official video shows the band performing the song.
Next up is the album’s lead single “Alive“, a terrific rock song about the overpowering feelings that hit us when we fall hard for someone: “Cuz you are the reason that I’m not OK. Cuz you are the reason that I’m in pieces.” The dual contrasting vocals of Luke and Jed are highlights on this track and also the sexy and grungy “Sweet Innocence“, one of my favorites on the album. A torrent of grimy guitars and crashing cymbals are layered over a deep, throbbing bassline, creating a sizzling-hot backdrop for the guys’ sultry mix of falsetto and deeper vocals as they alternately croon and wail: “Cuz I don’t wanna behave anymore. There’s no good in your heart.” “Press Rewind” is a bittersweet song about a couple facing the fact their relationship is over, and needing to move on. The track has a pleasing guitar-driven melody, backed by some gentle, sweeping keyboard synths.
Another standout for me is “Hearts In Hands“, with its outstanding bluesy guitars and the guys’ passionate vocals making for a really stellar track. “Lifeline” is a hard-driving rocker, with fuzz-coated jangly guitars, crunchy bass and lots of crashing cymbals. But the real treat is Joe’s lively saxophone solo in the bridge, injecting a bit of a jazzy flourish to the track. “Steal A Flower” is a dark, grungy song with a strutting bass-driven melody. Luke laments about a relationship that began with promise, but ended badly. “How did it get so dark? You are not my destiny. I know what we could have been.” The intense, gnarly riffs and heavy percussion that erupt in the final chorus are fantastic.
“Paradise” is another fine example of how Follow Deep expertly fuses grunge with progressive and psychedelic elements to great effect. The track starts off with a fairly straightforward grunge rock melody, with some fine guitar work setting the tone. At 2:23, the guys inject a blast of grinding psychedelic riffs and spooky swirling synths that last about 28 seconds before calming back down to the previous melody. Luke admonishes: “I’ve told you once, won’t tell you twice. I’m sick of being nice. Why do you think you’re making it to paradise?” With that, the music abruptly launches back into the psychedelic trip, only this time with an onslaught of screeching, heavily distorted guitars that continue to the end.
The guys pull out all the stops on the final two tracks, beginning with the bombastic “Start A War“. Luke’s blazing guitar work is positively mind-blowing, accompanied by Joe’s lush, ominous synths that seem to channel Depeche Mode. Jed attacks his drum kit like a man possessed, adding tremendous power to this glorious track. On the 7:18 minute long “The Same“, they complete the question they began asking in the album title “Will you still love me the same?” This monumental track has more of a prog-rock feel, starting off slowly with a hauntingly beautiful little acoustic guitar riff. Gradually, the music expands into a thunderous soundscape, then Joe enters with a terrific, moody sax solo that’s pure bliss. At 3:50, the music calms down to the gentle acoustic guitar of the beginning, while Luke repeatedly croons the question in a lovely falsetto: “When I’m no longer here no more, will you still love me the same?” The music intensifies again, this time into a gorgeous extended instrumental, highlighted by a stunning guitar solo that continues for the last two minutes before fading out. It’s a magnificent track.
Will You Still Love Me… is a superb album from this very talented and creative trio who make up Follow Deep. I don’t know their ages, but I’m guessing they’re barely in their 20s, and their music has a maturity and complexity that’s quite impressive. With so many elements in the mix, there’s a lot going on here from a musical and compositional standpoint, and I found myself discovering something new with each listen. The guys are great songwriters and musicians, and have much to be proud of with their first full-length album. My lone criticism is that I wish a few more tracks featured Jed’s saxophone, but that’s pretty minor in the overall scheme of things.
Catch Follow Deep at one of these upcoming shows:
Sunday, March 8 – w/Bone Broke Kings, Slackrr & King Boa West Street Live, Sheffield, UK
Thursday April 16 – w/Dude Trips The Polar Bear, Kingston upon Hull, UK
1. EVERYTHING I WANTED – Billie Eilish (2)
2. MIGHT BE RIGHT – White Reaper (1)
3. NOVOCAINE – The Unlikely Candidates (3)
4. WARS – Of Monsters and Men (5)
5. THE BEST – AWOLNATION (6)
6. ORPHANS – Coldplay (4)
7. USED TO LIKE – Neon Trees (9)
8. DON’T START NOW – Dua Lipa (12)
9. DANCE OF THE CLAIRVOYANTS – Pearl Jam (13)
10. LIFE IN THE CITY – The Lumineers (14)
11. UNEVENTFUL DAYS – Beck (8)
12. 2ALL – Catfish and the Bottlemen (7)
13. YOU? – Two Feet (10) 20th week on list
14. HOW WE LIVE – Mandalan featuring Cadence XYZ (15)
15. VAN HORN – Saint Motel (16)
16. MARINERS APARTMENT COMPLEX – Lana Del Rey (17)
17. ADORE YOU – Harry Styles (19)
18. LOVE YOU FOR A LONG TIME – Maggie Rogers (20)
19. WHITE LIES & PALM TREES – The Lovepools (11) 21st week on list
20. CAN’T STOP – Vox Eagle (21)
21. UNCHAINED – Devon Gilfillian (22)
22. BLACK MADONNA – Cage the Elephant (23)
23. LOST IN YESTERDAY – Tame Impala (26)
24. COLORS – Black Pumas (27)
25. TEXAS SUN – Khruangbin & Leon Bridges (28)
26. HERO – Michael Kiwanuka (29)
27. THE RUNNER – Foals (18)
28. REASONS I DRINK – Alanis Morissette (N)
29. SHINE A LITTLE LIGHT – The Black Keys (N)
30. OH YEAH! – Green Day (N)
I’ve written previously about the tremendous amount of great music being produced these days, and though I make an effort to try and keep up, a lot of it slips beneath my radar. Fortunately, I saw a tweet yesterday by my Sheffield, England Twitter friend John Oxley about the new single “Why Are We Here” by alt-rock band Airport Impressions, and immediately liked it so much that I decided to make it my New Song of the Week. I was also a little embarrassed to discover that Airport Impressions and I already follow each other on Twitter, but I’d somehow neglected to check out their music. My bad, because they’re fantastic!
Hailing from Malta, they’re the first artists from that Mediterranean island nation I’ve featured on this blog. They’re also undeniably one of the most successful acts to emerge from Malta. Drawing from elements of rock, pop and folk, their music is incredibly melodic and beautiful, reminiscent of such bands as The Killers, U2, Kings of Leon, and Mumford and Sons. Like many a band, they’ve undergone changes in lineup since forming in 2008, and now founding member Errol Sammut (guitar, lead vocals) is the only original remaining member. In the past two years, Daniel Genius (bass, backing vocals), Ryan Magro (lead guitar) and and Daryl Curmi (drums, percussion) have all joined the band to replace the former members who left.
Under their previous lineup, Airport Impressions released two outstanding albums, Minutes of a Lifetime in 2010 and Mariette in 2014. They’re both overflowing with gorgeous songs, and I strongly urge my readers to check them out on one of the music streaming platforms listed at the end of this post. Since the new members came on board, the band has released a number of terrific singles, the latest of which is “Why Are We Here?”, which dropped February 28.
The song has a darker feel than most of their music, with ominous industrial synths and a deep, throbbing bass line forming a dramatic foundation for the phenomenal guitar work and smashing drums. The piano and moody organ keyboards add texture and tension to the track, and I love the gnarly guitar solo in the bridge. Sammut’s vocals are fantastic, starting off with a vulnerable croon that sounds a bit like Bono, then erupting into impassioned wails in the chorus, backed by haunting echoed vocals. It’s a magnificent track.
The lyrics could be open to a rather broad interpretation, but to me they seem to speak to the eternal question of the reason for man’s existence – namely, what is the meaning of life, and what is our purpose on this earth? The lines “Can you hear my cries in the pouring rain? Can you walk the walk? Can you hear my call? Can you see me crawl?” are a plea to be noticed, to feel significant, to feel that our existence is worthwhile, especially to those around us.
To learn more about Airport Impressions, check out their Website
“Losing My Religion” by R.E.M. is a gorgeous and haunting musical masterpiece. Released in February, 1991, it’s my favorite song from the 1990s, and one of my top ten favorite songs of all time. From their seventh studio album Out of Time, it’s their highest-charting hit in the U.S., reaching #4 on the Billboard Hot 100, and #1 on the Modern Rock and Album Rock Tracks charts. It was nominated for several Grammy Awards in 1992, including Record and Song of the Year, and winning for Best Pop Performance by a Duo or Group and Best Short Form Music Video.
Although R.E.M. had been around for ten years, releasing six albums and scoring two top 10 hits, “The One I Love” and “Stand”, they were still primarily considered an “alternative” rock band whose music was played on mostly college and FM radio stations. The immense popularity and commercial success of “Losing My Religion” and Out of Time broadened their audience beyond its original fanbase, and catapulted them to international fame. When asked at the time if he was worried that the song’s success might alienate their older fanbase, band guitarist Peter Buck told Rolling Stone, “The people that changed their minds because of ‘Losing My Religion’ can just kiss my ass.”
I agree, as it really irks me when people bitch about an indie artist or band who they feel they discovered “selling out” or “going mainstream” if they have a commercially successful breakout hit. Jeezus, we should celebrate our favorite artist or band’s success, though I suspect there’s an unhealthy kind of jealousy that occurs when all of a sudden everyone else is loving a band we felt an odd sort of intimate connection or obsession with, but I digress…
One of the many aspects that make “Losing My Religion” such an amazing song is the stunning mandolin riff that serves as the track’s driving force. Buck wrote the main riff and chorus for the song on a mandolin he’d just purchased and was learning how to play while watching TV one day. Recording of the song began in September 1990 at a music studio in Woodstock, New York, with mandolin, electric bass, and drums. Bassist Mike Mills developed a bassline inspired by some of the work of Fleetwood Mac bassist John McVie, and the band decided to have their touring guitarist Peter Holsapple play acoustic guitar. Singer Michael Stipe recorded his marvelous vocal in a single take, which is remarkable in that it’s so perfect. In an interview with Guitar School, Buck later recalled, “It was really cool: Peter and I would be in our little booth, sweating away, and Bill and Mike would be out there in the other room going at it. It just had a really magical feel.” The beautiful, soaring orchestral strings, arranged by Mark Bingham, were later added to the song by members of the Atlanta Symphony Orchestra at Soundscape Studios in Atlanta, Georgia.
With regard to the compelling lyrics, Stipe has repeatedly stated they’re not about religion. The phrase “losing my religion” is a regional expression from the southern U.S. that basically means “losing one’s temper or civility” or “feeling frustrated and desperate.” Stipe told The New York Times the song was essentially about romantic expression, while he told British music magazine Q that it’s about “someone who pines for someone else. It’s unrequited love, what have you.” Well, they’re very powerful, and deeply resonated with me and millions of others.
Oh life, it’s bigger It’s bigger than you And you are not me The lengths that I will go to The distance in your eyes Oh no, I’ve said too much I set it up
That’s me in the corner That’s me in the spotlight Losing my religion Trying to keep up with you And I don’t know if I can do it Oh no, I’ve said too much I haven’t said enough
I thought that I heard you laughing I thought that I heard you sing I think I thought I saw you try
Every whisper Of every waking hour I’m choosing my confessions Trying to keep an eye on you Like a hurt, lost and blinded fool, fool Oh no, I’ve said too much I set it up
Consider this Consider this, the hint of the century Consider this, the slip That brought me to my knees, failed What if all these fantasies come Flailing around Now I’ve said too much
I thought that I heard you laughing I thought that I heard you sing I think I thought I saw you try
But that was just a dream That was just a dream
That’s me in the corner That’s me in the spotlight Losing my religion Trying to keep up with you And I don’t know if I can do it Oh no, I’ve said too much I haven’t said enough
I thought that I heard you laughing I thought that I heard you sing I think I thought I saw you try
But that was just a dream Try, cry, why try That was just a dream Just a dream Just a dream, dream
The beautiful and rather surreal music video for “Losing My Religion” was directed by Indian director Tarsem Singh. Stipe wanted a straightforward performance video, however, Singh wanted to create a video in the style of a type of Indian filmmaking, where everything would be melodramatic and very dreamlike. Singh won the argument, which among other things, required that Stipe lip sync the lyrics rather than sing them on the video. Singh has said the video is modeled after the Gabriel Garcia Marquez short story “A Very Old Man with Enormous Wings” in which an angel crashes into a town and the villagers have varied reactions to him. He also drew inspiration from the Italian painter Caravaggio, and the video features portrayals of religious imagery such as Saint Sebastian, the Biblical episode of the “Incredulity of St. Thomas’, and various Hindu deities. The video was nominated in nine categories at the 1991 MTV Video Music Awards, and won six, including Video of the Year, Best Group Video, Breakthrough Video, Best Art Direction, Best Direction, and Best Editing. [Wikipedia]
Two years ago, I was blown away when I first heard the music of London alternative blues rock band CuriousHour. In my review of their superb debut EP Explore, I wrote “If you like soulful, blues-soaked rock accompanied by raw, passionate female vocals, then you should be listening to the music of UK band CuriousHour.” It’s been far too long since they’ve put out new music, but I’m happy to report that they’re back with a great new single “She Lies“, which officially drops February 27th. And my recommendation still stands.
Formed in 2014, CuriousHour consists of vocalist Emily Grazebrook, guitarist Andy Grazebrook, bassist Aaron “Bison” Lafayette, and drummer Louis Ricard (who recently replaced Wal Srankiewicz, who played drums on Explore and “She Lies”. On the strengths of their powerful, unique sound and dynamic live shows, they’ve built quite a following in and around London and southern UK.
“She Lies” is a dark and moody track – a “murder ballad” as described by band guitarist Andy. The intense fuzz-covered jangly guitars and deep, muddy grooves are fantastic, with an almost watery quality that quite effectively complements the grim narrative laid out by the lyrics, which were written by Emily. Her raw, soulful vocals are incredibly powerful in expressing the pain and terror of her dire circumstances – that her man is going to drown her to punish her for things she’s done. The words “she lies” can be interpreted to have two meanings: that she’s a liar, and that she now lies at the bottom of the river. Some pretty heavy stuff here.
Father forgive me my sins He promised me many things And when he got a hold have mercy on my soul And when I told him no He took me down to the river He held me way down low Held me way down low on the riverbed
She lies (I never lied) Have mercy on my head
And here on my river bed Way down here on my river bed My sins washed away he said
The beautifully filmed but rather disturbing video shows scenes of Emily walking down to a river and touching the water, as a mother desperately clinging to a young boy who would appear to be her son (played by her actual son), knowing it will be the last time she’ll see him, and her lying dead in the river. Have a look and listen:
Catch CuriousHour at one of these upcoming shows:
Friday, Apr 17 – The Birds Nest, London Friday, May 08 – The Birds Nest, London
A few weeks ago, I featured Cork, Ireland-based collaborative music project SomeRiseSomeFall when I reviewed their beautiful song “The Rain Came Down on Everything”. After reading that review, fellow Corkonian (I love that word) musician and singer-songwriter Cormac O Caoimh reached out to me about his new single “I’m in Need“, and I’m glad he did because I really like his music! He’s a skillful wordsmith and guitarist, writing sublime indie folk/pop songs overflowing with thoughtful, intelligent lyrics about the universal subjects of life, love, hope and loss, and delivered with subtle hooks, fine instrumentals and his pleasing vocals that sounds a bit like Paul Simon at times. His catchy melodies seem to effortlessly draw us in, then stay with us long after the songs end. I found myself humming “I’m in Need” long after hearing it. As Mojo Magazine so eloquently put it: “each song superglues to the memory“.
Cormac has released a substantial amount of music over the past 15 years or so, including four studio albums, the most recent of which was his marvelous 2017 release Shiny Silvery Things. (I strongly encourage my readers to check out his music, which you can find on most music platforms, some of which I’ve listed at the end of this post.) Now he’s putting the finishing touches on his forthcoming fifth album Swim Crawl Walk Run, due for release on May 15. “I’m in Need” is the album’s lead single, which Cormac released on February 21st. The single and album were produced by his friend and fellow musician Martin Leahy, a talented multi-instrumentalist who’s collaborated with Cormac on previous records, and also played drums, bass, keyboards and more on the new album. The lovely backing vocals on “I’m in Need” and other tracks on the album are by Aoife Regan.
Cormac gave me the opportunity to have an advance listen to Swim Crawl Walk Run, and it’s a stunning work. It’s obvious he poured his heart and soul into it, as he explained in his message to me: “It is the first album I actually enjoyed making. I have been playing live with Martin Leahy for over 8 years but this is my first time making an album with him. It was a joy. I loved the whole process. It was relaxed, exciting, calm, manic. Everything. And the end product is something I could not be prouder of. The songs morphed and moved and grew during the process and the end result is an album I’m not sure I can top. It is full of singles. I want to release them all and I can’t wait for the first one to get out there.”
About the song, Cormac states: “During the writing of ‘I’m in need’ I did have the simplicity and directness of The Beatles ‘Help!’ as an influence. ‘Help me’ as a lyric is so fragile and honest and sad…but the song isn’t. The song is catchy and poppy. It works on two levels. I wanted the same for ‘I’m in need’. I wanted it to have meaning but more so a groove and be catchy. The feeling of the song also evolves. What starts as vulnerable ends up as a celebration of our humanity. We are all in need at times. Our feelings can be shaped by our thoughts. Musically the chorus gets more emphatic and joyful as the song progresses musically demonstrating the power of positivity.”
“I’m in Need” has a mellow and catchy acoustic-guitar driven melody, but a deeper listen also reveals a slight jazzy quality to Cormac’s guitar work that’s quite marvelous. His guitar notes beautifully meld together with the gentle percussion and keyboards, resulting in a harmonious and captivating soundscape. His calm, smooth vocals are exquisite, and like the music, blend in perfect harmony with Aoife Regan’s backing vocals. I like the spacey little sound effects inserted into the middle of the song that perk up our ears. It’s a lovely and wonderful song.
Catch Cormac at one of these upcoming shows, all in Ireland:
Apr 27 – Mick Murphy’s, Ballymore Eustace May 02 – The Glens Centre, Manorhamilton May 15 – Album launch @ The Kino, Cork May 29 – The Dc Music Club, Dublin Jun 12 – The Weir Folk Club, Midleton
One of my favorite indie rock bands is Chicago-based The Million Reasons. I became a fan of theirs the instant I heard their magnificent song “Dizzy” in the summer of 2018 (I love it so much it ended up at #69 on my 100 Best Songs of the 2010slist). I’ve closely followed this talented group of guys ever since, and have featured them a number of times on this blog. (You can read my previous reviews by clicking on the links under “Related” at the bottom of this page.) Having five members, including two guitarists, their sound is dynamic, heavy and melodic, and consistently delivered with killer riffs, tight rhythms and powerful vocals.
I was sad to learn their vocalist Scott Nadeau left the band last August but, fortunately, they quickly found a phenomenal replacement in Taylor Brennan, a close friend of band drummer Colin Dill. Brennan is also vocalist for Chicago alt-rock band Polarizer (they’re pretty terrific too, so do check out their music). In addition to Brennan and Dill, the other band members include guitarists Mike Nichols and Ken Ugel, and bassist Jason Cillo. Brennan brought not only his vocal talents, but also his great songwriting skills and years of experience, which have expanded The Million Reasons’ musical horizons quite nicely. Whereas their music has primarily been classic rock/rock’n’roll oriented, some of their new songs venture more into progressive rock territory. They’ve also employed additional instrumentation, including keyboards and cello, into some tracks, giving them a fuller and richer sound.
With that in mind, the band set to writing and composing a huge array of songs, four of which they’ve selected for their new EP If Not for the Fire, which dropped February 21st. The songs are rather dark, with brutally honest lyrics that the band describes as “a study of separation and self-discovery.” The EP was beautifully produced by band guitarist Ken Ugel, along with Nick Stetina and Noam Wallenberg, and flawlessly mixed and mastered by Stetina. The other band guitarist Mike Nichols designed the artwork.
They kick things off with the title track “If Not for the Fire”, a bombastic, high-energy rocker that clearly shows the band hasn’t lost their stride. The song opens with a brief flurry of fuzzy guitars and Dill’s power drums, then Cillo lays down a funky little bass solo before everything erupts into a barrage of thunderous musical mayhem, and we’re off to the races. The guys unleash their inner beasts, setting the airwaves aflame with fiery riffs, throbbing bass and explosive drumbeats. Brennan quickly dispels any doubts I may have held regarding the issue of a new vocalist, blowing me away with his incredible vocals. He literally raises goosebumps as he fervently wails the lyrics that speak of his need for an intense, almost obsessive kind of love that thrills and excites: “I came for the curse of / I came for the kiss of / A love divine that paralyzes / What did you come for / If not for the fire to light you up this way.”
The fantastic video, filmed and directed by Philip Goode, shows Brennan seated at a table, struggling to write (something I can identify with as a music blogger), juxtaposed with scenes of the band performing the song and working their magic with their respective instruments. Their energy and charisma are strongly evident.
“Pretty Ones” is a brilliant track, with a complex melodic structure and intricate, yet powerful instrumentation that give it a monumental prog-rock feel. The dual guitars of Nichols and Ugel are really spectacular here. The lyrics explore the restlessness that exists in some of us – the internal struggle between putting down roots in one place or with one person vs. the desire for eternal freedom and believing the grass is greener somewhere else or with someone else, but also fearing that perhaps we’re just running away from ourselves: “Ever after chasing down the pretty ones / Right back to the place where I am running from / In motion, stuck in motion / I fear it’s just my nature.”
The guys slow things down on “No North Star”, a gorgeous but melancholy ballad about a man at the end of his rope, ready to give up all vestiges of hope. The song starts off with a mournful cello and beautiful acoustic guitar, as Brennan forlornly laments about mistakes he’s made: “Four on the floor / As the shower head pours heat on me / Praying to the god of sorry / I’m sure she has questions for me.” Gradually, a lovely piano enters along with more guitar, drums and bass, all of which grow more expansive as the song progresses until reaching a dramatic crescendo at the end, at which point Brennan passionately implores: “Stare in the sunken-in eyes of a ghost of a shell of a half of a half of a man / Saying what good can I be if I couldn’t be better for you / I couldn’t lie when you asked me to lie / But I’ll die if you ask me tonight / I’m going to die anyway / I might as well do it for you.” Though I love all four tracks, “No North Star” is my favorite.
“All You Can Afford” is a dark and heavy kiss-off to a lover who’s pushed the relationship beyond the breaking point: “I’m taking the keys to my heart and your car / I’ll leave you behind / Hoping you’ll find all that you can’t afford / My love, anymore.” The guys deliver blistering riffs and a torrent of hard-driving grooves during the first two-thirds of the track while Brennan sings the lyrics. The music then transitions to an almost cinematic instrumental for the outro, finally ending with a harsh, increasingly loud static-like sound in the final 30 seconds that seems to symbolize a rather violent end – of the relationship perhaps?
If Not for the Fire is a wonderful little fireball of an EP (sorry for the bad pun, but hey, it perfectly describes the work) that packs quite a major punch in it’s 16-minute run time. I love The Million Reasons, and am thrilled to see them continue to grow and evolve through time and personnel changes, something not all bands are able to successfully navigate. Drummer Colin Dill told me they’ve written about 20 new songs, and I cannot wait to hear them!
ECLECTIC MUSIC LOVER 