MORGENDUST – EP Review: “Storm Will Come”

Morgendust

So music for old people? No fucking way!” So say Dutch indie rock band Morgendust, who with an average age of 46 are “the perfect age to start a band. Musically skilled, no more stagefright and enough experience in life to tell a story.” Formed just a year ago and based in Zwolle, Netherlands, Morgendust consists of Marco de Haan (lead vocals, guitars), Ron van Kruistum (guitars, backing vocals), Iwan Blokzijl (keyboards, backing vocals), Dario Pozderski (bass, backing vocals) and Job Noordmans (drums & percussion). Their sound is influenced by 80s acts they grew up with like Talk Talk, Duran Duran, Pink Floyd, Tears for Fears and Peter Gabriel, as well as more current acts like Radiohead, Editors and Elbow.

All are seasoned musicians, having previously played in bands like Soulstar, City Jam & Band of Glory, and professionally as hired guns in the commercial music industry. Their music has a maturity and worldliness that comes from having lived on this earth for a while and experiencing the joys and pains of life, love and relationships. Through their intelligent, thoughtful lyrics, they tell stories that everyone can relate to, whether you’re 20 or 60, and bring them to life with exquisite rock melodies and lush, stunning instrumentation. They’ve just released their debut EP Storm Will Come, and it’s a beauty.

The EP opens with the title track “Storm Will Come“, a gorgeous and powerful anthem inspired by the “butterfly effect” – that small causes may have larger effects. And right away it’s clear that these guys are phenomenal musicians, as all the instruments are played to absolute perfection. The vibrant guitars, deep bass line, resounding percussion, and sweeping keyboard synths are all magnificent, and de Haan’s soaring vocals bring goosebumps as he passionately sings We’re waiting for the truth to land in everyone. And when it’s said and done, a butterfly relocates…and a storm will come.”

Anything” is even more beautiful, with sparkling synths, lovely piano and sublime guitars. de Haan’s vocals are deeply moving as he plaintively sings of the selfishness and cruelty of some people who enter our lives, fuck us over, then leave: “My head spins round from all these circular themes. Ones who come, disappear, leave you anything but stone cold and longing for more.” The backing vocal harmonies are especially nice, and I love how the music builds to a powerful crescendo in the chorus, making for a dramatic finish to a fantastic song.

Kind of Blues” really channels the 80s with its fast-paced, driving rhythms and swirling, new wave-flavored synths. The lyrics speak to coming to the sobering realization that perhaps your life hasn’t turned out they way you’d dreamed: “So, we never had a plan. Never thought we‘d lose to this kind of blues. So, when we were young we had a life or two to choose.  Just romantic fools.”

Keeping with that general theme, “Nameless” seems to address how we dream and have expectations and desires, then with the passage of time and how our lives unfold, look back with regret on our mistakes and misfortune: “My truth is what’s behind me. All the rest we cannot know./ You need a name to function. To live you need a dream./ I have hurt myself far too long.” I’m beginning to sound like a broken record, but once again I’m blown away by the incredible beauty and power of this poignant song.

Love Lost (Again)” is a bittersweet song that touches on the pain of longing for the return of a lost love: “You’re my heart’s desire. You’re my sun and rain. You’re the ocean waves, please come back again. Love lost again. I can’t win.” The lovely piano keys and haunting guitar chords are highlights here, as are de Haan’s emotion-filled vocals. And speaking of bittersweet, the final track “Allright” really hits us in the feels. It has a darker vibe, thanks to deep, pulsating bass, reverb-heavy guitars and throbbing industrial synths, but there’s also beauty present in the form of delicate keyboard and jangly guitar notes. de Haan’s plaintively laments about the futility of trying to project a happy demeanor when their relationship is falling apart: “I dream all day and cry all night, ’cause we pretend – no we demand – it’s allright.”

Folks, this is a truly stunning EP. Every single track on Storm Will Come is spectacularly beautiful, so much so that it’s impossible for me to pick a standout or favorite. Morgendust are an amazing group of super-talented musicians who collectively create musical magic.

Connect with Morgendust:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music
Purchase:  Google Play 

New Song of the Week: MARS MOTEL – “My House is About to Fall Apart”

Brooklyn, New York-based Mars Motel make some of the best alternative dream rock of any band around today, and are having quite a busy and successful year. In May, they released the stunning “Coming Up For Air”, the first single from their forthcoming album Passenger X, due out later this year. I reviewed that song, which has spent the past three months and counting on my Weekly Top 30. Two months later they released a second single “D’Ya Wanna Get Lost With Me?”, and recently played a triumphant show at the Bowery Ballroom in Lower Manhattan. They now return with their third single “My House is About to Fall Apart“, which I’ve selected as my New Song of the Week.

Formed in 2017 by singer/songwriter and guitarist Sarik Kumar, Mars Motel also includes Wes Wynne (Guitar), Justin Lieberthal (Bass) and Craig Stauber (Drums). Their beautiful music melds a dreamy 90s Brit-pop vibe with an immersive, guitar-driven wall of sound influenced by the likes of Pink Floyd, Radiohead and The War on Drugs, and I love it!

Kumar explains that “My House is About to Fall Apart” is about a relationship on the brink of failure, but could also apply to the world as well – “that strange moment when you know it’s going to collapse, but you are still on the ride down.” Musically, the song has a languorous tempo, highlighted by shimmering synths and gorgeous layers of jangly and chiming guitars that create a lush, dreamy soundscape. The subtle bass and thumping drumbeats, accentuated with lots of crashing cymbals in the dramatic chorus, keep the perfect rhythm moving forward. Kumar’s lovely and powerful vocals beautifully convey a sense of sad resignation as he plaintively sings “I need to find a peace of mind I’ve lost. It’s deep inside, buried inside I know. My house is about to fall apart.”

Connect with them on Facebook / Twitter / Instagram
Stream their music on Spotify / Soundcloud / YouTube
Purchase on Bandcamp / iTunes

EML’s Favorite Songs – THE BROTHERS JOHNSON: “Strawberry Letter 23”

Strawberry Letter 23

One of my favorite songs from the 1970s, or of all time for that matter, is “Strawberry Letter 23” from R&B/funk band The Brothers Johnson. It was one of the defining songs of my summer of 1977, when I spent two glorious months in Portland, Oregon before starting college. The track was written by the brilliant singer-songwriter and multi-instrumentalist Shuggie Otis in 1971, whose own original version was featured on his album Freedom Flight.

It’s a romantic song with a dreamy, almost mystical vibe, thanks to the whimsical lyrics and his use of chiming guitars, xylophone, calliope and other sparkling synth instrumental sounds. For their recording of the song, which was masterfully produced by the legendary Quincy Jones, The Brothers Johnson embellished on all those lovely instruments and added their own funky guitar, bass, beats and smooth vocal harmonies, along with a dreamy backing vocal chorus. The result was a gorgeous and captivating track that took the song to the next level.

The song was included on their 1977 album Right On Time, and reached #1 on the Billboard R&B Chart and #5 on the Hot 100. It’s been featured in several films and TV shows, including Pulp Fiction, Jackie Brown, Six Feet Under and Nip/Tuck. Otis’ version was featured in the film Munich.

I’d originally wondered why the song was titled “Strawberry Letter 23” when the lyrics speak of “Strawberry Letter 22” instead. The reason is that Otis intended for the song to be about a couple exchanging love letters in the form of songs. The singer is creating “Strawberry Letter 23” as a reply to the “Strawberry Letter 22” song he received from his lover and refers to in the song.

Hello my love, I heard a kiss from you
Red magic satin playing near, too
All through the morning rain I gaze, the sun doesn’t shine
Rainbows and waterfalls run through my mind
In the garden, I see
West purple shower bells and tea
Orange birds and river cousins dressed in green

Pretty music, I hear
So happy and loud
Blue flowers echo from a cherry cloud
Feel sunshine sparkle pink and blue
Playgrounds will laugh
If you try to ask “Is it cool? Is it cool?”
If you arrive and don’t see me
I’m going to be with my baby
I am free, flying in her arms
Over the sea

Stained window, yellow candy screen
See speakers of kite
With velvet roses diggin’ freedom flight
A present from you
Strawberry letter 22
The music plays I sit in for a few

Ooh, ooh, ooh, ooh, ooh
Ooh, ooh, ooh, ooh, ooh
Ooh, ooh, ooh, ooh, ooh
Ooh, ooh, ooh, ooh, ooh

For comparison, here’s the original version by Shuggie Otis:

GENRE-DEFYING AFICIONADOS, GET READY FOR SIFTING!

Check out this great article and interview of L.A.-based progressive metal/rock band Sifting by Michelle of The Symphony of Rock music blog.

M. Perez-Vega's avatarTHE SYMPHONY OF ROCK

SIFTING

BY: MICHELLE PEREZ-VEGA

Sifting is cocked and loaded to release its next opus, The Infinite Loop, and it is a guaranteed metal and rock barrage of all the eclectic and best musical elements the band has put forth.

Now based in the Los Angeles area, Sifting was originally
formed in Caracas, Venezuela in 2010 by vocalist/guitarist Eduardo Osuna Gil. According
to the band’s biography, Osuna Gil began writing original material as a coping
mechanism when his mother and grandmother were tragically killed in a plane
crash. Osuna Gil eventually gathered local friends to form a band and began
performing live. Gaining popularity, Sifting opened for Bullet For My Valentine
for the band’s Latin American Tour in 2011 and released its debut album, All the Hated in late 2013.

After moving to the United States in 2014, Sifting released a three-song EP, Blurry Paintings. Another album, Not From…

View original post 1,374 more words

DUNES – Album Review: “Take Me to the Nasties”

Dunes Take Me to the Nasties

I’m back in Newcastle Upon Tyne, England (having recently written about folk singer-songwriter Holly Rees), this time to feature another act from that city, a stoner rock band called Dunes. Formed in late 2016, the trio consists of John Davies (guitar, vocals), Ade Huggins (bass, vocals) and Nikky Watson (drums). In their own words, they play “desert-riff-blues-tinted-disco-tinged-rock, which draws on influences such as Queens of the Stone Age, Torche, Death From Above 1979 and Clutch.” During their first 18 months as a band, they recorded and released two 5-track EPs, then began releasing singles in advance of their wonderfully-titled debut album Take Me to the Nasties, which dropped September 6th.  The album was recorded at the Sandcastle in Newcastle under the guidance of Graham Thompson, who also worked on the band’s previous EPs, and mastered by Dave Draper. It was released via Sapien Records (We Are Knuckle Dragger, Big Lad, Tank Engine, Scott Michael Cavagan).

The album blasts open with the rousing title track “Take Me to the Nasties“, and from this point forward, Dunes never let up on their relentless onslaught of head-banging stoner-punk rock’n’roll grooves. Here, their barrage of jagged riffs, crushing bass and pummeling drums leave us little choice but to pogo about like crazed banshees. I can’t quite make out all the lyrics, but as the title implies, Davies sings about sexual frustration, telling someone they can keep their tinder and grinder, and he’s going to the nasties.

Without skipping a beat, they launch headlong into “SOS“, a bombastic tune with a chugging guitar riff that reminds me a bit of Depeche Mode’s “Personal Jesus”, though overall, the song sounds very different. Besides the great guitar work, I also really like Davies and Huggins’ vocal harmonies as they implore “I’ll tell you what we all need. This shit to stop happening!” “Been Expecting You“, “Release the Clowns” and “Danger Mouth” keep the heavy, guitar-driven vibes coming on strong with thunderous riffs and speaker-blowing rhythms. I’m a sucker for hard-driving rock grooves, and gotta say I’m loving every track on this beast of an album!

And one of my favorites is “Phantom Head“, a moody, near-epic grunge song that ventures into progressive/hard rock territory with its melodic change-ups, tortured gnarly riffs, intense, reverb-heavy bassline and explosive percussion. The fierce guitar solo in the bridge is fucking spectacular, covering me head to toe with chills. On “Shakamoto’s Revenge“, “Lantern” and “Denim Casket“, Dunes seem to channel the early Foo Fighters with frantic, grungy riffs and powerful, driving rhythms. In fact, Davies’ vocals even sound a bit like Dave Grohl’s at times, including his scream at the end of “Shakamoto’s Revenge.”

Everything is Blue” closes the album on a high note with some mighty tasty psychedelic reverb-soaked guitar work that’s freakin’ fantastic! The song also has a somewhat progressive rock vibe, with interesting time and melodic changes and intense instrumentation, giving the track a complex, fuller sound that makes for a riveting listen.

Take Me to the Nasties is a solid album filled to the brim with hard-hitting rock tunes, all of them superb. There’s not a single throwaway or filler track to be found here, as every track could be a hit single. Davies, Huggins and Watson are three incredible musicians at the top of their game who should be very proud of their latest creation. I love it!

Connect with Dunes:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple MusicSoundcloud
Purchase:  Bandcamp / Google Play

STEREOHAZE – Single Review: “Drifting Away”

Stereohaze

Stereohaze is an alternative rock band from Manchester, England who I first featured on this blog this past May when I reviewed their excellent debut EP Fight For Your Future. Now they’re back with a terrific new single “Drifting Away“, which dropped on September 7th. Formed in 2017, the band consists of Charlie Whittaker (guitar/vocals), Ryan Webb (guitar), Harry Wilcock (bass) and Diesel Evans (drums). Despite their relatively young ages, they play some wicked guitar-driven rock laden with hooks, intelligent lyrics and electrifying instrumentals.

The song opens with Diesel’s pounding drumbeats and Harry’s throbbing bass, then we’re suddenly hit with an explosion of grimy riffs and the song is off and running. Charlie’s commanding vocals enter the mix as he fervently sings of a troubled relationship that’s driving him crazy, but he hopes can still be salvaged: “I just can’t shake the infection of your poisonous affection. Indecisions, contradictions are part of my condition. We’re drifting away, so come a little closer. And we’re falling apart, so let’s come together.” Charlie and Ryan’s dual guitars are fantastic as they blast through the airwaves with intricate layers of gnarly fuzz and blistering distortion, making for an exhilarating rock tune.

It bears repeating that I really love Charlie’s vocal style. I’ve found that weak vocals are often one of the biggest liabilities for an artist or band, but his vocals are wonderful, and an integral part of Stereohaze’s great overall sound.  The guys are all skilled musicians, and I’m so happy they’ve delivered another outstanding song. “Drifting Away” is further proof that Stereohaze is most definitely a band on the rise.

Connect with Stereohaze:  Facebook / Twitter / Instagram
Purchase their music on iTunesAmazon / Google Play

Top 30 Songs for September 8-14, 2019

1. FALLING WITH STYLE – Heist At Five (2)
2. COMING UP FOR AIR – Mars Motel (3)
3. RUBBING SHOULDERS WITH THE DEVIL – Revolvers (4)
4. DOIN’ TIME – Lana Del Rey (1)
5. WHEN AM I GONNA LOSE YOU – Local Natives (5)
6. UNDER THE COLD LIGHT OF THE MOON – Crystal Cities (6)
7. 3 NIGHTS – Dominic Fike (7)
8. GO – The Black Keys (8)
9. CRINGE – Matt Maeson (9)
10. SOCIAL CUES – Cage the Elephant (10)
11. THE HYPE – twenty one pilots (13)
12. FOUR WINDS – Unquiet Nights (14)
13. RAGGED TOWN – Second Player Score (15)
14. THIS LIFE – Vampire Weekend (16)
15. BAD GUY – Billie Eilish (11)
16. ALLIGATOR – Of Monsters and Men (12)
17. HEAT OF THE SUMMER – Young the Giant (18)
18. GOOD THINGS FALL APART – ILLENIUM with Jon Bellion (20)
19. GOODBYES – Post Malone featuring Young Thug (21)
20. BROTHERS – Harroland (19)
21. THE MIDDLE – Agency Panic (23)
22. SECRETS – The Million Reasons (24)
23. WHY DID YOU RUN? – Judah & the Lion (25)
24. I SEE YOU – MISSIO (17)
25. DISSOLVE – Absofacto (28)
26. COMPLAINER – Cold War Kids (29)
27. WANNACRY – Darksoft (30)
28. UNDER THESE SCARS – Falling Into Red featuring Dev (N)
29. LOVER – Taylor Swift (N)
30. DESERVING OF LOVE – Lyia Meta (N)

HOLLOW INTENT – EP Review: “Monster”

Hollow Intent Monster

Hailing from Wilmington, North Carolina, hard rock band Hollow Intent has been making quite a name for themselves on the local music scene with their aggressive style of melodic metal rock. In May, the band was nominated for the 2019 Carolina Music Award’s Best Rock Group, with front man Will Baker also nominated for Best Rock Male. On August 1st, they released their appropriately-titled debut EP Monster, which I’m pleased to feature on this blog.

Hollow Intent was born when guitarist and vocalist Will Baker and drummer Mark Davis started jamming together and discovered an immediate chemistry between them. Soon, they brought on bassist Shane Noren and guitarist Wesley Seven to complete the band’s lineup, and quickly began perfecting their intense sound and crafting songs to take advantage of their explosive, guitar-driven music style. The band explains that Monsterdepicts all feelings with a negative connotation such as depression, anxiety, stress, rage, etc,, and they’re put together to create this “Monster”.

Hollow Intent

The EP kicks off with the title track “Monster“, a two-minute long instrumental that sets the tone for things to come. As its title implies, the song’s a rampaging beast of wailing distortion, grinding bass and crashing drums, plunging us headlong into the heavy metal zone.

Before we can catch our breath, “Burn” explodes onto the airwaves with a thunderous barrage of raging guitars, buzz-saw bass and speaker-blowing percussion. But the real highlight for me are Baker’s jaw-dropping vocals. He has a phenomenal voice that sounds beautiful when singing clean, and positively feral when he launches into his metalcore screams and growls. There aren’t many metalcore vocalists who also have great clean singing voices (Slipknot’s Corey Taylor and Ice Nine Kills’ Spencer Charnas are two who come to my mind). Baker definitely does, and it’s no wonder he was nominated for the Carolina Music Best Rock Male Award. When he screams “Let’s go!” with a terrifying ferocity, we have no choice but to comply. But then he draws us in as he plaintively sings the biting lyrics addressing someone who’s actions have brought out the worst in him: “You hate what I’ve become in you. The monster inside me. You’re inside my head, tearing me apart. Filling with red, straight through the heart. You’re starting to turn. There’s no controlling all these evil eyes. I’m here to watch you burn!

The face-melting “Bipolar” serves up chugging riffs of reverb-soaked grit and distortion enveloped in a punishing wall of sound. This song kicks some major ass, and is one of my favorite cuts on the EP.  Once again, Baker blows our minds and eardrums with his vocal gymnastics. The way he makes his voice bleed one moment as he screams “Liar!” or “Bipolar“, then transitions to a seductive croon the next is really impressive.

The guys slow down the pace with “Shadow of You“, a darkly beautiful metalcore ballad that speaks to duplicity and betrayal: “You didn’t believe in me. I trusted you, but I knew you were faking. /I am always in the shadow of you. It’s getting colder as I close my eyes. These dreams are made of all your lies.” The guitar work is fantastic, and I really like the recurring mournful little riff, as well as the moody piano keys at the end of the song.

Parasite” serves up more metalcore goodness with a torrent of shredded guitars and pummeling drums, accompanied by Baker’s death-rattling growls. But it’s on “Welcome to the Dead” that Hollow Intent show us what they’re really capable of. Wow, these guys blow the fucking roof off here, with some of most explosive instrumentals I’ve heard in a very long while. The raging guitars, crushing bass and pummeling drums are so hard-driving they leave me breathless! The guitar work here is nothing short of magnificent. Turn the volume all the way up for this monster of a tune!

The EP closes with “Normal“, a beautiful ballad that showcases the band’s softer side. The instrumentals are more stripped down, with strummed acoustic guitar, subtle bass, stirring strings and gentle percussion. Baker passionately implores someone to help him overcome his mental anguish and live a healthy existence: “If the pain could go away, would you save me? If the light stays gray, will you help me believe? If you could find a way to break this hold, could you help me be normal?

Though it contains only seven tracks, six of which include vocals, Monster feels monumental in scope. All of the songs are superb, both in terms of their high quality and in their power to move us, and it’s a very impressive debut work. Hollow Intent are an incredibly skilled group of musicians who know how to play metal rock as it was meant to be played – heavy, melodic and loud! Furthermore, Will Baker is one of the finest metalcore vocalists around, in my opinion. I cannot wait to hear more music from this fantastic band.

Connect with Hollow Intent:  Facebook / Twitter / Instagram
Stream “Monster” on Spotify / Apple Music
Purchase on Bandcamp / Google Play

HOLLY REES – Single Review: “Getting By”

Holly Rees single art

The music industry is as alive and well as it’s ever been, with so many artists and bands continuing to put out great music, and it seems many of them are releasing new music today, Friday the 6th of September! One such artist dropping a new single today is Holly Rees, a delightful indie folk singer-songwriter based in Newcastle Upon Tyne, England. Her thoughtful, relatable lyrics, infectious melodies, skillful guitar-playing and lovely, heartfelt vocals have earned her critical acclaim and a loyal following, with flattering comparisons to the likes of Laura Marling and Courtney Barnett.

Holly launched her career with her debut EP Ilex in 2017, receiving airplay on BBC 6 Music and a feature on Tom Robinson’s BBC Introducing Mixtape. In 2018, she performed at the Hit The North and Evolution Emerging music festivals, and followed up with her excellent second EP Slow Down. She released “Text Me When You Get There”: The Live EP in May 2019, and is now back with a wonderful new single “Getting By“.

The song was written and performed by Holly, who played guitar on the track, with assistance from Rhys Melhuish on drums, Ryan Peebles on bass, and Olivia Ord on keyboards. It was recorded at Loft Music Studios, and mixed and mastered by Matt Dunbar. About “Getting By”, Holly explains  “This is a song about struggling with mental health – how things can be really good and really bad at once, and ultimately how sometimes just getting through it is all you can do, and that’s okay. Sometimes it’s okay to just survive. The tide will always come back in.”

The song has a bouncy, upbeat tempo that contrasts with, yet complements, the more serious lyrics. Holly’s pleasing strummed guitar takes center stage, and her supporting musicians do a fine job keeping the rhythm and adding texture and depth to the track. I really like her vibrant vocals that beautifully convey both resolute strength and a vulnerable world-weariness as she sings her honest, poetic lyrics:

Oh we’re just like everyone we know
Far too young to be this old

I’m doing great, I’m doing fine, I’m doing terribly
I’m confident, intelligent, I’m scared of what you think of me
Crossing oceans of emotion for the notion of some dopamine
There’s no lesson in depression, it’s just a question of getting by

Holly’s been touring Canada since mid-April, and has another six weeks left of her tour, so those of you in Eastern Canada still have an opportunity to catch one of her shows:

Holly Rees tour dates

The sweet cover art for the single was created by Dale Glenister, who has her own music blog Peanut Mixtape (which is currently on hiatus).

Connect with Holly:  Facebook / Twitter / Instagram
Stream her music: Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Google Play

New Song of the Week: ROADKEEPER – “Narcissistic Peoples”

Roadkeeper

This past April, I featured Texas band Roadkeeper on this blog when I reviewed their single “Old Man’s War”, a stunning song about anxiety and worry over things, both real and imagined. I loved the song so much it spent 18 weeks on my Weekly Top 30. Formed only a little more than a year ago, the Tyler, Texas- based four-piece consists of songwriter/producer John Hetherington (vocals, synths, rhythm guitar), Trevor Tull (lead guitar), Nick Cogdill (drums) and Daniel Griffith (bass), all long-time friends. Roadkeeper is completely independent and self-produced, doing their recording, producing and mixing in John’s studio – dubbed ‘Yacht Country’ – and releasing their songs on their own label Equal Temperament.

Blending dreamy shoegaze with dramatic psychedelic rock, Roadkeeper crafts exquisite songs that envelop us with complex melodies and lush soundscapes while delivering compelling and often socially relevant lyrics that give us a lot to think about. Since forming, they’ve released four outstanding singles, and now return to grace our eardrums with a beautiful new single “Narcissistic Peoples“, which officially drops September 6th. About the song, the band states: “This song was originally meant to be a satirical take on sci-fi future fascist recruitment propaganda but lyrically it ended up personal and political. It was inspired equally by the erasure of and actions against American indigenous cultures by the ruling class as well as the current refugee crisis at the southern US border.”

Musically, the song features exuberant layers of richly-textured guitars and shimmery synths, nicely driven by Griffith’s subtle bassline and Cogdill’s crisp, thumping drumbeats. It all provides a dreamy, melodic backdrop for Hetherington’s smooth falsetto vocals. The music feels light and breezy, belying the seriousness of the rather biting lyrics. Though brief, running scarcely more than two minutes, it’s an incredibly impactful song nonetheless.  “Narcissistic Peoples” is another in a string of perfect singles from this exceptionally talented band, and I’m delighted to make it my New Song of the Week.

If you could be someone else just for a day
Would you wash their cares away
Or does the thought that they have it worse
Make your feelings hurt because you like to feel
Like a warrior fighting to save the world

Do you feel it?

It eats you alive but you’re not alone
There are millions of people, bitter and selfish
Narcissistic people waiting on a future
Where everyone looks like them
Everyone has power
Everyone has religion
There’s no one left to conquer

Connect with Roadkeeper:  Facebook / Twitter  / Instagram
Stream their music on Spotify / Soundcloud
Purchase on Bandcamp / iTunes / Google Play