I heard something on the radio today about how the defiant – and now iconic – anthem of female empowerment “You Don’t Own Me“, which was a big hit for young pop singer Lesley Gore, was actually written by two men, John Madara and David White. It reminded me of how much I’ve always loved this song.
Gore possessed a remarkable voice with a maturity beyond her young age, and had a string of hits while still in high school. She recorded her first breakout single “It’s My Party” when she was only 16 (the song went on to become a #1 hit), and followed in quick succession with “Judy’s Turn to Cry”, “She’s a Fool” and “You Don’t Own Me”, which she recorded at the age of 17. For a brief time period, she was one of the most popular female singers in the U.S.
As good as Gore’s vocals were, the song’s greatness must partly be attributed to the flawless production by a young Quincy Jones, who also produced her other hits. He used lush, sweeping orchestration to great effect, enhancing the drama of the mesmerizing melody. “You Don’t Own Me” peaked at #2 on the Billboard Hot 100 in February-March 1964, where it spent three weeks, held down by the Beatles’ “I Want to Hold Your Hand”, which spent seven weeks at #1.
Despite her youth, Gore’s commanding vocals make her sound totally credible when she sings the lyrics telling a lover that they do not own her, that they can’t tell her what to do or say, and that they are not to put her on display.
You don’t own me, I’m not just one of your many toys You don’t own me, don’t say I can’t go with other boys
And don’t tell me what to do And don’t tell me what to say And please when I go out with you Don’t put me on display, ’cause You don’t own me, don’t try to change me in any way You don’t own me, don’t tie me down ’cause I’d never stay
Oh, I don’t tell you what to say I don’t tell you what to do So just let me be myself That’s all I ask of you I’m young and I love to be young I’m free and I love to be free To live my life the way I want To say and do whatever I please
And don’t tell me what to do Oh… don’t tell me what to say And please, when I go out with you Don’t put me on display
I don’t tell you what to say Oh-h-h-h don’t tell you what to do So just let me be myself That’s all I ask of you I’m young and I love to be young I’m free and I love to be free To live my life the way I want To say and do whatever I please
The song has been covered many times, most notably by Dusty Springfield, Joan Jett, the Blow Monkeys and, more recently, in a darker and interesting version by Australian singer/songwriter Grace, featuring American rapper G-Eazy. The song was also a highlight of the 1996 film The First Wives Club, where in a delightfully gratifying scene at the end of the film, Bette Midler, Diane Keaton and Goldie Hawn perform the song as they leave the building.
I first featured British alternative indie-rock band Harroland this past February upon the release of their single “Home” (read my review here), the first in a series of releases planned for 2019. The single received airplay on BBC Radio’s Introducing program, and the band is quickly gaining a large following, already being dubbed the ‘Best New Band’ in the Reading area. They’re now back with a wonderful new single “Brothers“, which officially dropped on June 21st.
Based in Reading, England, Harroland is comprised of siblings Michael (vocals, rhythm guitar) and Kate Kennedy (synths, keyboards, backing vocals), Steve Tabor (lead guitar), and drummer Stu Roberts, who joined the band in March. “Brothers” is the band’s first release under the current lineup. They express their social and political consciousness through compelling, relevant lyrics, and package them with gorgeous soundscapes that make for a pleasing listening experience.
Whereas “Home” addressed those intent on holding onto their own power while disregarding the hopes and dreams of others, “Brothers” explores the concept of people choosing to live their lives under invisible power structures that offer a false sense of freedom. Michael Kennedy explains: “It’s this idea that maybe we forgo our own desires for the safety of working within a corporate environment – that we are unlikely to take risks or take command of our own lives. What would happen if we did the opposite? Is such a life, for the average person, sustainable, or even possible?”
“Brothers” is a stunning track, with an irresistibly catchy tempo and glorious instrumentals. The band plays as a tight unit, each member performing their part with perfection to create a song of exceptional quality. Steve’s guitar work is fantastic, and Stu does a stellar job pounding out the captivating beat. Kate’s dreamy keyboards are a thing of beauty, and I love how they interplay with Steve’s chiming guitar. Michael deftly keeps the rhythm with his strummed guitar, but a highlight for me are his distinctive vocals, which I find utterly enchanting. I love this song, and have listened to it at least 20 times already!
We can fantasize about everything we do Take it back, take it back right now Don’t tell me it ain’t true And hold it straight Line it up and let it loose Lap it up, lap it up right now There’s nothing else to choose
We can compromise Change our jobs and trade our lives No matter what I think, someone’s in charge of mine I can calculate That even if I was to leave I’d have a freedom That lacks security
Maybe we’re like brothers rolling across this land or Maybe we’re like someone else in somebody else’s hands
The video for the song is a live performance by Harroland at Pyramid Studios in Reading, which they won in a competition run by the studio. It was filmed by local photographer Victoria Holt and edited by Kate Kennedy. The track was mixed and mastered by sound engineer Jack Twiner, who’s a co-owner of Pyramid Studios.
Saboteurs is a rock band from Lincoln, England who (in their own words) “play trans-genre songs about badgers, constellations and other things which creep into our lives during the night.” Fusing elements of alt-rock, grunge, post-punk, metal and folk, they create hard-hitting music that thrills and surprises our ears and minds. Like many a band, they’ve experienced some personnel changes since forming, and now consist of Ben Ellis (lead vocals/guitar), Rick Whitehead (lead guitar/vocals), Kirsty Marlog (backing vocals), Geoff Standeven (bass), and Pete Botterill (drums), although for the album Dance With the Hunted, drums and percussion were performed by Hamish Dickinson, who also handled production, mixing and mastering.
The band released their self-titled debut EP Saboteurs in 2018, immediately attracting a growing base of fans and recognition by BBC Introducing, as well as being named Richer Sound’s Artist of the Week and finalists in Radio Wigwam’s Rock Act of the Year. But shoulder surgery for lead guitarist Whitehead led to unrest in the band and, ultimately, a violent split with the rhythm section. This caused the band’s songwriters Ellis and Whitehead to sink into a dark place, which actually provided them with needed impetus for an explosion of new material that would become their first full album Dance With the Hunted, which dropped on May 4th.
The opening track “Splintered” reveals the intensity of their feelings while writing the songs for the album. The biting lyrics speak to a bitter breakup of a relationship, delivered by Ellis’ fiery vocals: “The pain – I dedicate our loss to you. The shame will never end but I’m coping on my own. The ones I left behind – they just fade out. If I fall down, I won’t stay down. If you fall down, you will stay down.” The roiling riffs of grungy guitars, pulsating bass and thunderous drums are fantastic.
Next up is “Over and Doubt“, a moody but gorgeous track that leaves no doubt that these guys know a thing or two about crafting superb songs with the power to inspire and move the listener. And I’ll state right here how much I love Ellis’ vocals, which in addition to his and Whitehead’s spectacular guitar work, are one of the strong points of Saboteurs’ overall sound. He’s one of the best rock vocalists around today, in my opinion, with an incredible tone and range that give him the ability to comfort us one moment, then chill us to the bone the next. When he plaintively wails “Please stay with me, over and over again!“, we really believe him. On this track he sounds a lot like Steve Kilbey of The Church. Musically, the song features a complex, ever-changing melody that keeps us enthralled from start to finish, and the guitar work is outstanding. It’s one of my favorite tracks on the album.
The dark and moody vibe continues with “Believe Nothing Hurts“, but presented here with an exhilarating fast-paced rhythm and chugging riffs of gnarly guitars. Ellis angrily snarls the searing lyrics condemning someone for their duplicity: “This time, believe nothing hurts. Oh, your lies. As they come in they’re drowning now in your own sweet precious melody of lies.” “Break Down” is a lovely, incredibly melodic song with a 1990s vibe that, to my ears, calls to mind songs by the Goo Goo Dolls, Gin Blossoms and Deep Blue Something. The strummed guitar is a great addition, providing a wonderful added texture of sound. The backing vocal choruses by Miles Kent and Kirsty Marlog are especially nice.
“Marooned” is a big, arena-worthy track, with lush, layered guitars and a torrent of bombastic percussion. But it’s the deep, pulsating bass that plays a starring role here, giving the song a massive U2 vibe. In fact, Ellis’ vocals sound a bit like Bono on this and a few other tracks. He passionately sings of emotional hurt that can never be undone: “Broken red skies are endless. The reason I guess why you left me here. They look like the old wounds you can’t suture. They are the scars of time.” On the poignant, hard-rocking “I Think My Face Hates Me“, Ellis sings of his feelings of hopelessness: “I’ve been lying on the floor just eating time. Pretending there’s no light behind my eyes. I’m going home or I’m going down. Every day I am reborn in the skin I’ve had before.”
The guys keep delivering compelling lyrics and killer riffs with “One Track Mind“. The protagonist acknowledges his need to change his ways: “What would it take to be the better man? To say, ‘Yes, I can – I’ll never let you down’. Constant mistakes – pathetic apologies. Want to effect a change and make it alright.” But then he bitterly resigns himself to the fact that while he’s the one who must change “I kill the doubt inside and learn to play your game.“, others will not: “You all stay the same.”
The title track “Dance With the Hunted” is about a rock star whose fame has not brought the happiness and contentment he’d hoped for. Instead, he lives a miserable, self-destructive life: “The spotlight I always craved keeps pulling me back but there’s no light behind these eyes./ Is art ever worth the pain? To watch you die on centre stage for fifteen minutes of shame.The disappointment never ends.”
“Traces” is one the darkest tracks on the album, with trace elements (no pun intended) of metal, giving it a heavier vibe. The song opens with a mesmerizing guitar riff, then expands with a powerful melange of intricate guitars, throbbing bass and hammering drums. The lyrics speak of someone tortured by their past and possible mental illness, desperate to escape their surroundings in the hope of starting over fresh: “There are traces of the old times. Like battle scars in my mind. Only the world to me. Turn the lights out – leave this home. Wherever the white lines take us.” Backing metalcore growls by guest vocalist Jamie Armstrong add an extra layer of gritty texture to Ellis’ raw vocals, to great effect.
The final track “Willows” closes out the album on a gloomy note, speaking of a couple whose relationship is so damaged by hurt and pain, it may be beyond salvation. In vocals that really seem to channel Bono, Ellis passionately wails “Skin so thin, so thin it bleeds right through you. And we blame ourselves, don’t you blame yourself too? Walking wounded – in a black wind. Take me to the place where the willows grow. Write down everything that hurt us so. Everything we never said.” As always, the instrumentals are hard-hitting, with furious riffs, crushing bass and tumultuous drums.
Dance With the Hunted is a heavy, emotionally-wrought album to be sure – there are no upbeat love songs here! But it’s a beautifully-crafted work, with deeply compelling, heartfelt lyrics, gorgeous rock melodies, and magnificent instrumentals. Every track is superb, with no filler or throwaways. If you like some of the aforementioned bands I discussed, you will enjoy the music of Saboteurs.
The beautiful original album artwork was designed by Anita Inverarity.
1. DARK PLACES – The Frontier (2)
2. FEAR THE FUTURE – IAMWARFACE (1)
3. ESCAPE – Ships Have Sailed (3)
4. HURT – Oliver Tree (5)
5. BAD GUY – Billie Eilish (6)
6. MISSED CONNECTION – The Head and the Heart (7)
7. I SEE YOU – MISSIO (14)
8. STILL FEEL. – half alive (8)
9. BURY A FRIEND – Billie Eilish (4)
10. BELOVED – Mumford & Sons (11)
11. PATIENCE – Tame Impala (12)
12. ALLIGATOR – Of Monsters and Men (20)
13. I’LL BE AROUND – Morning Fuzz (15)
14. OLD MAN’S WAR – Roadkeeper (16)
15. SAW LIGHTNING – Beck (19)
16. DISAPPEAR – Western Jaguar (9) 21st week on chart
17. CHLORINE – twenty one pilots (10)
18. LONGSHOT – Catfish and the Bottlemen (13) 21st week on chart
19. MAYBE, I’M AFRAID – lovelytheband (22)
20. ROOM TO BREATHE – Made of Eyes (23)
21. LOVE CRAZY – Karolina Rose (17)
22. TIME – Morosity (18)
23. FALLING WITH STYLE – Heist At Five (27)
24. COMING UP FOR AIR – Mars Motel (28)
25. ECHOES – Ignite the Fire (29)
26. RUBBING SHOULDERS WITH THE DEVIL – Revolvers (30)
27. NOT WORTH IT – The Only Route (21)
28. STRANGE KIND – Blair Dollery (N)
29. UNDER THE COLD LIGHT OF THE MOON – Crystal Cities (N)
30. HERE WE GO – Ben Priory & Charlie Pereira (N)
New York alternative rock band COUNCIL are an act I’ve been following for over three years, and it’s been gratifying to watch their star rise (I hope they’ll still remember me when they get huge). With their sweeping melodies, bold instrumentation and anthemic choruses, COUNCIL’s dynamic sound has been compared to Imagine Dragons. I first featured them back in September 2016 when I reviewed their debut EP Rust to Gold, and they’ve been on an upward trajectory ever since. Their magnificent life-affirming lead single “Rust to Gold” received worldwide acclaim, including being played at the opening ceremonies of the 2018 Winter Olympics and the FIFA World Cup, as well as on American Idol, So You Think You Can Dance, World Of Dance and Premier League. It’s been streamed more than 4 million times on Spotify, and ended up on my list of 100 Best Songs of 2017.
COUNCIL is comprised of three strikingly handsome brothers – Patrick, Doug and Andy Reeves. Patrick (bass and lead vocals) and Doug (drums) are twins, and Andy (guitar) is a year younger. Originally raised on a farm in rural upstate New York, they now split their time between tending the family farm and working on their music in New York City. The guys followed “Rust to Gold” with another great single “The World is on Fire” in July 2017, which I also reviewed, and now return with their first new single in nearly two years, “Born Ready“, which drops June 21st.
Like many of their songs, “Born Ready” is a powerful, uplifting anthem. Musically, however, it’s a bit of a departure for them, with a darker, more synth-heavy sound. It opens with an ominous bass-heavy horn synth as the guys chant “Born ready, born ready…oh oh oh, oh oh oh!“, which is then followed by a high-pitched electronically-altered vocal chorus repeatedly wailing “Born ready, born ready“, giving the track an otherworldly feel. As the moody synths swirl, somber piano keys, wobbly bass and thunderous drums enter the mix. Patrick fervently sings “I was born with a storm inside me. Hurricane full of rage set me free. Try to pray but the devil he finds me. Someone lift me up, someone lift me up./ On the run, here it comes.” Then all three brothers sing the soaring chorus “I was born ready, born ready. Oh oh oh, oh oh oh!”
Doug told me the lyrics were written from the perspective of a person who comes to terms with who they are, realizing that instead of allowing themself to be beaten up by the world, they have to acknowledge they were always “born ready” to empower themself to rise up and face all the shit the world throws at them. Although I don’t think “Born Ready” is quite as strong a single as “Rust to Gold”, I really like its dark, anthemic melody and edgier, synth-heavy vibe. And, as with all their songs, the production values, instrumentation and vocals are first-rate. I also like that COUNCIL is experimenting with their music and trying new sounds and styles, and can’t wait to hear what they come up with next.
COUNCIL will be appearing with The Strumbellas on Saturday, June 29 at Sharkey’s in Liverpool, New York. Order tickets by clicking here.
From the moment I first heard “(They Long to Be) Close to You” in the early summer of 1970 until the mid-1970s, the Carpenters were one of my favorite acts. Their music was beautiful, with the kind of lush orchestration I’ve always loved, and Karen Carpenter had the voice of an angel. I loved them so much I actually wrote a paper about them for my 11th grade English class – perhaps an early presage to my much later calling as a music blogger? They had a successful run of huge hits from 1970-1975, and one of my favorites is the bittersweet “Superstar“.
The song was written by Bonnie Bramlett and Leon Russell, and originally titled “Groupie Song”. But when it was recorded by Delaney & Bonnie and released as a B-side on their single “Comin’ Home” in December 1969, it was re-titled “Groupie (Superstar)”. The song tells the story of a female groupie’s one-night stand with a rock star, whom she hopes will return to her. It was covered by a number of artists, including Joe Cocker (on his Mad Dogs & Englishmen Live Tour album, with vocals sung by Rita Coolidge), Bette Midler (on her debut album The Divine Miss M), Cher, and Australian rock group McPhee, among others. But it was the Carpenters version that stands head and shoulders above the rest, and became one of their biggest hits, peaking at #2 (Rod Stewart’s “Maggie May” had a 5-week run at #1 in the fall of 1971, preventing “Superstar” from reaching the top).
The story goes that Richard Carpenter first became aware of “Superstar” after hearing it sung by a relatively unknown Bette Midler on The Tonight Show in 1971. He loved the song and thought it would be perfect for Karen, and wrote a new arrangement to fit their style. Shockingly, when he played it for her, she wasn’t thrilled with the song. She later recalled “For some reason that tune didn’t hit me in the beginning. It’s the only one. Richard looked at me like I had three heads. He said: ‘Are you out of your mind!‘” But after they recorded the song, she grew to love it too.
“Superstar” was produced by Richard Carpenter with Jack Daugherty, and recorded with members of The Wrecking Crew, the famed collective of Los Angeles area session musicians. As the song’s storyline was originally more risqué than what was typical for the Carpenters, Richard changed a lyric in the second verse “And I can hardly wait to sleep with you again” to the somewhat less suggestive “And I can hardly wait to be with you again.”
The song is breathtakingly beautiful, with rich orchestral instrumentation highlighted by a soaring horn section, gorgeous oboe played by Earle Dumler, a somber, understated bassline by Joe Osborn, drums by the legendary Hal Blaine (even though Karen was herself an accomplished drummer), and lovely keyboards by Richard Carpenter. Karen’s distinctive contralto vocals never sounded better or more resonant, beautifully conveying the fervent longing for someone you love to return and ease your loneliness. “Superstar” is one of my favorite songs of the 1970s, and for all time.
Long ago and oh so far away I fell in love with you before the second show Your guitar it sounds so sweet and clear But you’re not really here It’s just the radio
Don’t you remember you told me you loved me baby You said you’d be coming back this way again baby Baby, baby, baby, baby oh baby I love you, I really do
Loneliness is such a sad affair And I can hardly wait to be with you again What to say to make you come again…ooh baby Come back to me again…baby And play your sad guitar
Don’t you remember you told me you loved me baby You said you’d be coming back this way again baby Baby, baby, baby, baby oh baby I love you, I really do
I still remember the exact moment in February 1983 when I heard that Karen Carpenter had died from heart failure at the age of only 32, as a result from years of suffering with the eating disorder anorexia nervosa. I was in my car on the way to a meeting, and nearly burst into tears. Like so many other great artists and musicians who passed away far too soon, Karen’s death was a tremendous loss to the music world.
Second Player Score is a terrific rock band based in Vancouver, Washington (located across the Columbia River from Portland, Oregon), and nice guys too. They play hard-driving, melodic music they humorously refer to as nerd punk, influenced by two of their favorite bands Green Day and Bad Religion. Making the music are Brian Tashima (guitar, lead vocals), Daniel Downs (bass, backing vocals) and Kyle Gilbert (drums/backing vocals). The guys released a fine debut album Fortress Storm Attack in late 2014, and followed up two years later with the monumental Nobody’s Hero (which I reviewed in July 2017). They’re now set to release their third album Glorifed on June 21st via No Pants Records.
Like Nobody’s Hero, Glorified is another concept album. Band drummer Gilbert explains, “The heroine of the story is a woman named Gloria. She was raised to be the best soldier of her generation, and ends up fleeing her oppressive hometown and reluctantly helping people as she traverses a post-apocalyptic wasteland in search of answers about her past. The story is similar to other stories like the latest Mad Max and Alita Battle Angel.”
“Eye of the Needle” kicks off the album in a big way with an onslaught of chugging, gnarly riffs. crushing bass and tumultuous percussion. As Tashima shreds his guitar nearly to bits, he fervently sings the lyrics spoken from Gloria’s perspective, in which she comes to the realization that she can’t take any more of the oppressive bullshit she’s been living under: “I’m always such a good little soldier, following your every command./ But I don’t need this anymore./Cause now I see just how sweet it is to be living free of all your drama and your sorrow. I don’t know why it took so long to go. But I’m finally looking forward to tomorrow.” He then lays down a scorching-hot riff while Gilbert beats the crap out of his drum kit. These guys know how to rock!
Next up is the hard-driving “Ragged Town“, which sees Gloria bitterly decrying her town and the people who live in it: “One day you’ll see reality lies somewhere out beyond this ragged town./I hate you now, I always will. You’re like the ones I love to kill. But tonight you’ll be my clown. Something’s wrong, something’s amiss. I don’t know why I feel like this, but burning scars have worn me down.” The guys deliver more of their signature furious riffs and aggressive rhythms, providing a thunderous backdrop for Tashima’s impassioned tirade.
They slow things down a bit on “Broken Ecstasy“, though it’s still a great rock track. We now find Gloria addressing her broken spirit, not knowing exactly what’s next for her, nor where she’ll go: “Don’t ask where I’m going to go. I said that I do not know. Don’t analyze or fantasize. Just relax and enjoy the show./ Be sure that you comprehend there is no goal, I have no soul. On that you can depend. I don’t want to see your face. We’re all just a big disgrace.”
The guys dial it back up to full throttle on “Liberty’s End“, with chugging riffs of fuzzy guitars, heavy bass and speaker-blowing drums. Gloria laments about her shitty world and wanting to escape both it and herself: “Don’t you know the world cannot be saved. With good deeds the road to hell is paved. I just want to live my life for me, and wallow in my pit of apathy. Hello, I’m running from liberty’s end.” Brian makes great use of the talk box in the bridge, providing another texture of sound to the track. The amusing video shows the guys’ playful side, as they act zany in scenes of them running a race, interspersed with them performing the song in a garage.
Gilbert’s fantastic pummeling drums are a highlight on “The Last Trigger“. Wow, this man is a beast on his drum kit, giving new meaning to the term “power drummer”! Tashima’s scorching guitar and Downs’ powerful bass are pretty damn amazing too, as are their vocal harmonies. “Shiny Rebellion” sees Gloria confronting her oppressors and vowing to lead the fight to defeat them: “See I know that underneath your fancy crown, is a skull that’s full of nothing but decay. So I go, cause I can’t take this lying down. I’m a leader in the war against your way.”
The guys continue on their sonic rampage with the hard-driving “Into the Ruins“, in which Gloria assesses the wasteland before her: “Welcome to the ruins of a paradise gone wrong”, and the dark”Desolation“, with its tortured riffs, grinding bass and blasting drumbeats. Tashima snarls the bitter lyrics spoken from Gloria’s point of view: “And I don’t care how much you might stare now. It doesn’t matter anymore. No. Cause I don’t care now!” “More Than I Can Give” starts off like a heavy metal ballad, then explodes into a storm of frantic riffs and rapid-fire drumbeats, with a melody that reminds me a bit of Green Day’s “Bang Bang”.
On “Long Road Home” Tashima really shows us what he can do with his guitar, delivering killer riffs that set the airwaves afire, while Downs aptly lays down a bass line so heavy we feel it in our cores. And it goes without saying that Gilbert nearly blows our speakers with his frenzied drumming. The lyrics speak to Gloria’s determination to stand up and fight in her lonely mission to defeat the evil forces: “When this all started I fled and I ran. Now I must finish what they all began. I understand your master plan. Nothing can stop me when I’m all alone. I’m going home to claim your throne.” “Death and Glory” is a continuation of Gloria’s plan to vanquish her oppressors once and for all: “Now this time you’ve gone too far. It doesn’t matter where you are. I’ll be coming after you. You won’t even have a clue./Cause I am here to end your story. Drown your fear in death and glory. Close your eyes, this might get gory tonight!”
They close the saga and album with “Some Of Us Were Meant To Be Alone“, an eight and a half minute long epic that ties things up without an actual resolution or happy ending. To a somber, gritty guitar riff, Tashima sadly wails: “There’s nothing left to say. I don’t know why it has to be this way. There’s nowhere left to go. I didn’t think that time would fly so slow. I hate to say the answer’s still unknown. Why some of us were meant to be alone. I’m giving up it’s true. Sometimes that’s all I ever want to do. I know it isn’t fair. I wish I could forget I even care.” At around 3:40, Tashima begins shredding his guitar and Gilbert pummels his drums at full blast to the same forlorn, start-stop melody as before. Then, at 5:39, the song erupts into a fury of shredded and distorted guitars, pulsating bass and hammering drums that continue to the end. It’s a breathtaking finale to another monumental album from this badass band!
Track listing:
Eye of the Needle
Ragged Town
Broken Ecstasy
Liberty’s End
The Last Trigger
Shiny Rebellion
Into The Ruins
Desolation
More Than I Can Give
Long Road Home
Death And Glory
Some Of Us Were Meant To Be Alone
Here is a link to the email list sign up that will provide a free download to the full Glorified album:
1. FEAR THE FUTURE – IAMWARFACE (1)
2. DARK PLACES – The Frontier (3)
3. ESCAPE – Ships Have Sailed (4)
4. BURY A FRIEND – Billie Eilish (2)
5. HURT – Oliver Tree (7)
6. BAD GUY – Billie Eilish (11)
7. MISSED CONNECTION – The Head and the Heart (9)
8. STILL FEEL. – half alive (10)
9. DISAPPEAR – Western Jaguar (5) 20th week on chart
10. CHLORINE – twenty one pilots (6)
11. BELOVED – Mumford & Sons (13)
12. PATIENCE – Tame Impala (15)
13. LONGSHOT – Catfish and the Bottlemen (8) 20th week on chart
14. I SEE YOU – MISSIO (24)
15. I’LL BE AROUND – Morning Fuzz (17)
16. OLD MAN’S WAR – Roadkeeper (19)
17. LOVE CRAZY – Karolina Rose (12)
18. TIME – Morosity (14)
19. SAW LIGHTNING – Beck (21)
20. ALLIGATOR – Of Monsters and Men (22)
21. NOT WORTH IT – The Only Route (18)
22. MAYBE, I’M AFRAID – lovelytheband (23)
23. ROOM TO BREATHE – Made of Eyes (25)
24. CHOKE – I Don’t Know How But They Found Me (20)
25. TRAMPOLINE – SHAED (16) 19th week on chart
26. I GET NO JOY – Jade Bird (27)
27. FALLING WITH STYLE – Heist at Five (28)
28. COMING UP FOR AIR – Mars Motel (29)
29. ECHOES – Ignite the Fire (30)
30. RUBBING SHOULDERS WITH THE DEVIL – Revolvers (N)
Fiona Grey is a colorful and charismatic singer-songwriter with a lot to say about the current state of affairs. With her sassy, sultry vocals and glamorous, yet playful style, she defines her dynamic sound as “dirty pop.” To my ears, her sound is a mash-up of Charli XCX, Gwen Stefani and early Madonna. Alternative newspaper LA Weekly recently named Grey the best pop singer in Los Angeles.
Chicago-born and now based in Los Angeles, Grey draws inspiration for her songs from the world of Hollywood, namely, it’s unrealistic expectations and the vices that people use to escape their anxiety and pain. She hopes her music will help listeners aim to be the most pure and honest versions of themselves. “There is a lot about living in a pop culture centered world that we deem as normal behavior“, she explains. “I hope that the music can remind the listener that this follower-centric, alternate persona universe we live in is all temporary happiness.”
She released her wonderful debut EP Belladonna in 2014, then followed with a series of singles, culminating in the release of her second EP Cult Classic in September 2018. That EP addresses the cultural issues Grey feels strongly about, expressing her vulnerability and anger towards the world we’re living in, and her desire to make it a better place. She states, “Each song has its own identity and story it wants to tell.” She’s just released a brilliant video for “Saviour“, one of the tracks off the EP.
It’s a gorgeous, compelling anthem about female empowerment, that women don’t need a man to ‘save’ them. Musically, the song features sweeping cinematic instrumentation, including lush orchestral strings, piano and glittery synths, backed with soaring vocal choruses. Grey’s beautiful vocals are amazing, exhibiting a broad range that goes from soulful croon to impassioned cries. The track also includes lovely guest vocals from singer Emma Cole.
And you can’t be my saviour I don’t care what they say All the rules you’ll have to break You watch me fall apart And you can’t come and save us All the times you failed to try I won’t be a trophy wife And you can’t be god
The stunning video is an ode to Fellini, Marie Antoinette and the dark and dreamy black and white films of the 1960s. Says Grey, “This video is a stylized version of relationships I felt weak in, and this song was the inspiration to regain strength.” The story was written by Grey, Josh Allen and Sean Berger, filmed by Colin “Stinky” Trenbeath, choreographed by Kevin Stea, styled by Alexandra Mandelkorn, and directed by Sean Berger. Besides Grey, the other women dancers include Kelly Powers, Leslie Duner, Alexa Russo, Megan Campbell and Charlotte Smith. The Lover Boy was played by Conner Floyd.
The video depicts people at what appears to be a reception after the wedding of a couple portrayed by Grey and Floyd. Grey sings of her love, but also her refusal to bow down or be a trophy wife to him, as she and the other women dance and cavort about. There are some tense moments, but with a fresh understanding, they come together in peace and love at the end.
Unquiet Nights is an outstanding rock band based in both Northern Ireland and Italy. Begun as a solo project for singer-songwriter Luke Mathers, Unquiet Nights relocated from Belfast to Rome in 2010, where his debut album 21st Century Redemption Songs was finished and released a year later. Mathers eventually brought Italian musicians Matteo Bussotti and Francesco Piciucchi on board, and Unquiet Nights officially became a band. In 2015 they released a second album Postcards in Real Time, a beautiful work that I strongly recommend my readers make an effort to check out by using one of the links at the end of this review. One of the singles from that album, “George Best City”, recently passed a quarter million streams on Spotify. About that feat, Mathers stated “That’s really satisfying for us considering we’ve never worked with a PR company during the history of the band or had any budget to help promote our stuff.”
Mathers moved back to Northern Ireland in 2016, though he has continued recording and releasing new music with Bussotti and Piciucchi as Unquiet Nights. In February 2018 they released a fantastic single “Promise of You” (which I reviewed), then followed two months later with another banger “Young Believers.” Now they return with “Four Winds“, a superb single that keeps their perfect score of releasing excellent guitar-driven songs fully intact. The song was produced by Mathers, and mixed and mastered by Neal Calderwood, who also mixed and mastered all previous Unquiet Nights releases.
“Four Winds” opens with an ominous synth chord and pounding drum beat, then we’re suddenly plunged headlong into a gorgeous reverb-drenched soundscape of swirling guitars, dramatic sweeping synths, throbbing bass and muscular, thumping drumbeats. Mathers’ vocals are wonderful as he plaintively sings about betrayal and deceit: “Don’t leave me to the four winds. I only got myself to blame. Things like these don’t seem to change.”
ECLECTIC MUSIC LOVER 