Infinite Eights is an incredibly charismatic and astonishingly talented indie alternative pop/rock band based in Tampa, Florida. They were one of the first bands to follow me on Twitter back in the fall of 2015, when I was just starting out as a music blogger and still a complete unknown. At the time, two of the band members, Parker Wilkson (guitar, keyboards & vocals) and Tyler Hanks (drums & percussion) were still in high school, and Davin Norman (bass) was in college. I was immediately impressed by the high quality of their songs, as well as their kindness and gracious humility, and wrote a feature about them for this blog in April 2016, which you can read here.
They originally formed in 2012 while still young teens, and have released numerous singles over the years, as well as a six-track EP Unfound in 2015. Their music is characterized by gorgeous melodies, sparkling synths, lush keyboards, intricate guitar riffs, and nimble bass and percussion. Infinite Eights has performed in several music festivals alongside some of the biggest names in music, including The 1975, Phantogram, AWOLNATION and Sir Sly, among others, and has opened for Kaleo, AJR, In the Valley Below, and The Relationship. It’s given me great pleasure to follow them on their musical journey, witnessing their growth and maturity as a band on an upward trajectory.
One of their recent singles is “Off the Rails“, an achingly beautiful, bittersweet song about how one partner is giving up on the relationship. The song is magnificent, and a perfect example of their superb songwriting and musicianship. It opens with a stunning guitar riff, backed by shimmery synths, Davin’s pulsating bass and Tyler’s gently pummeling drumbeats. Parker’s guitar work is impressive, and he lays down a breathtaking guitar solo in the bridge that literally brings tears to my eyes. His heartfelt vocals are lovely, ranging from breathy to impassioned as he fervently sings “Cause you’re going off the rails. Know just what that entails. Gonna let our love go stale. You’re going off the rails now.”
The cast of the “Off the Rails” video
Infinite Eights has just released a wonderful new video for the song, their first ‘official’ video. The action tells the story laid out in the lyrics, about a young woman giving up on the relationship and saying goodbye to her partner, played by Parker, as she boards a train that will carry her away. The outstanding video was skillfully directed by band friend Ashley Acevedo, and is dedicated to Parker’s beautiful mother Natalie, who tragically passed away in January.
1. DELTA BLUES – Jetstream (1)
2. SUPERPOSITION – Young the Giant (3)
3. SUNFLOWER – Post Malone & Swae Lee (4)
4. IN THE WATER – The Underground Vault (2)
5. LOVE IT IF WE MADE IT – The 1975 (7)
6. NORTHERN LIGHTS – Death Cab for Cutie (8)
7. CHANGE – The Revivalists (9)
8. POWER OVER ME – Dermot Kennedy (10)
9. S.O.S. (Sawed Off Shotgun) – The Glorious Sons (13)
10. SIGUE CON EL AMOR – John Defeo (12)
11. WANDER – Vox Eagle with Pierre Fontaine (5)
12. VOLCANO – Feather Weight (14)
13. TRAMPOLINE – SHAED (15)
14. READY TO LET GO – Cage the Elephant (19)
15. HOME – morgxn featuring WALK THE MOON (16)
16. PRESSURE – Muse (6)
17. MOVEMENT – Hozier (20)
18. LONGSHOT – Catfish and the Bottlemen (21)
19. DISAPPEAR – Western Jaguar (22)
20. ASSUME FORM – James Blake (25)
21. EXITS – Foals (23)
22. APOCALIPSTICK – Lazy Queen (11)
23. YOU’RE THE ONE – Greta Van Fleet (24)
24. SALVATION – The Strumbellas (26)
25. SECRET THAT LIES BEHIND – The Gear (29)
26. CHLORINE – twenty one pilots (30)
27. HIGH HOPES – Panic! At the Disco (17)
28. HARMONY HALL – Vampire Weekend (N)
29. FEAR THE FUTURE – IAMWARFACE (N)
30. DARK PLACES – The Frontier (N)
One of the most enchanting songs of all-time has to be “Nature Boy”, especially the original version recorded by the legendary Nat “King” Cole. I distinctly remember the first time I heard it as a young teenager, and being absolutely enthralled by its haunting beauty. I recognized the singer as Nat “King” Cole – arguably one of the greatest vocalists of the 20th Century – but was not familiar with the song. I asked my father “What is that song?!“, and he told me it was called “Nature Boy”. My father was himself still a teen when the song came out in March 1948. It was a massive hit, spending eight weeks at #1 on the Billboard number-one singles chart from May to July 1948.
The song has a rather interesting back story. It was written in 1947 by a man named eden ahbez. Originally born George Alexander Aberle in Brooklyn, NY in 1908, one of 13 children in a poor family, he spent his early childhood in an orphanage. He was eventually adopted at the age of nine by a family in Kansas and raised under the name George McGrew. During the 1930s, McGrew lived in Kansas City, Missouri, where he was a pianist and dance band leader. He moved to Los Angeles in 1941 and began playing piano at a small health food store/raw food restaurant on Laurel Canyon Boulevard owned by John and Vera Richter, who followed the German Naturmensch and Lebensreform philosophies of veganism and living with nature. Their followers, who came to be known as “nature boys”, wore long hair and beards and ate only raw fruits and vegetables, and were precursors to what would later be called hippies. McGrew changed his name to “eden ahbez”, spelling his name with lower-case letters because he believed only the words “God” and “Infinity” were worthy of capitalization.
Some years later, while living in a cave near Palm Springs, ahbez wrote “Nature Boy”. The song was semi-autobiographical, but also partly a tribute to his mentor Bill Pestor, another Naturmensch advocate who was known locally as “the Hermit of Palm Springs”. ahbez wanted Nat “King” Cole to record the song, and went to see him one night while Cole was performing at the Lincoln Theater in Los Angeles. Cole’s manager refused to talk with him, however, ahbez managed to leave his sheet music for “Nature Boy” with Cole’s valet, but neglected to include his contact information. Cole loved the song, and began performing it at shows, but couldn’t record it as a single without ahbez’s permission. ahbez was finally tracked down living in a shack under the Hollywood sign, and soon found himself at the center of a media frenzy after “Nature Boy” became a #1 hit. His curious story was covered simultaneously in Life, Time and Newsweek magazines during the summer of 1948, and he finally got the chance to meet Cole during the television show We The People. (Bryan Thomas, Night Flight)
ahbez and Cole in 1948 (source unknown)
The song was recorded by Cole in August 1947, backed by an orchestra conducted by Frank De Vol, the in-house arranger of Capitol Records. Also a legend in his own right, De Vol went on to write and conduct soundtracks for numerous films (Pillow Talk, What Ever Happened to Baby Jane?, Hush…Hush…Sweet Charlotte, Cat Ballou, The Dirty Dozen) and TV shows (Family Affair, Gidget, The Brady Bunch, My Three Sons). For “Nature Boy”, De Vol used lush strings and flute to create the beautiful enchanting soundscape that makes the song so indelible. The gorgeous fluttering notes of the flute evoke sounds of birds singing in a Shangri-La setting. The track’s arrangement is absolute perfection, and the piano keys are stunning as well. And of course, Cole’s famed velvety-smooth vocals are captivating as he croons the poetic lyrics that are simple but profound:
There was a boy A very strange, enchanted boy They say he wandered very far Very far, over land and sea A little shy and sad of eye But very wise was he
And then one day A magic day he passed my way And while we spoke of many things Fools and kings This he said to me The greatest thing you’ll ever learn Is just to love and be loved in return
Cole eventually considered “Nature Boy” one of his favorite recordings, and the song helped give him crossover appeal to white audiences. In his book, The Jazz Standards: A Guide to the Repertoire, author Ted Gioia noted that all the musicians “who had created the golden age of American popular song had their quirks and idiosyncrasies, but eden ahbez demands pride and place as the most eccentric of them all“. He added that, in addition to promoting the hippie culture, with “Nature Boy”, ahbez enabled Cole to be instrumental in introducing a new era of black artists in an industry dominated by white popular music. (Wikipedia)
The song was awarded the Grammy Hall of Fame in 1999, a special Grammy Award honoring recordings that are at least 25 years old and have “qualitative or historical significance”. I think it’s a masterpiece, and one of the greatest songs ever written.
Two weeks ago, one of my favorite British bands IAMWARFACE released their latest single “Fear the Future“, an outstanding song that speaks to the general dumbing down of society by media and our politicians, and the mind-controlling enslavement we allow them to foist upon us. The hard-hitting track delivers the signature bombastic instrumentals and electrifying vocals of front man Matt Warneford we’ve come to love from this amazing band. In addition Warneford, the band includes Lou Matthews (guitars), Tom Howe (DJ synth), Mike Smith (bass) and Adam Stanley (drums). You can read my review here.
Now they release a very dark and provocative video for the song that’s one of the more chilling I’ve seen in a long while, playing out like a scene from a horror film. The graphic and disturbing imagery is brilliantly filmed and executed, with some great computer-generated effects, and the creepy make-up of the demon figure is perfect. The video was written and produced by Warneford, and filmed by Yohan Forbes of Kumo Films, who co-directed it with Warneford. Editing was done by Forbes and Tom Howe, and the two actors are Dean Rose and Nick Foster.
The action takes place in a TV show played on an old portable television set, and portrays a man (Nick) coming home to his apartment from work, then creating yet another in a series of drawings he’s made of geometric shapes with colored felt pens. After he pins it to the wall, he goes to the bathroom to wash his face and hands, at which point a ghoulish demon appears behind him, though Nick cannot see him. Warneford explained the intended meaning he attempts to capture in the video:
“So, you have Deanmon and Nick. They are both the same person, but Deanmon is the frustrated artistic part of Nick’s psyche, almost like he’s trying to warn Nick about all the shit he’s watching on the TV, the lifestyle he’s living, the general British yob* culture type stuff, beer drinking oik, etc. It’s also about mental health as well, as you could say that Deanmon is the sane part of Nick’s mind, and Nick has basically lost the plot. It’s kind of left up to the viewer to decide so it’s kind of ambiguous. Deanmon is getting more and more frustrated until he purges and gives up. Then the door knocks and it’s me standing there with an axe coming to finish the job. Also, that could be a metaphor for me coming along to take an axe to the banal music industry as it currently stands, but that’s a bit pretentious lol.”
Watch this incredible video and heed the warning at the beginning!
* ‘Yob culture’ is a slang term used in the UK, Australia and New Zealand to refer to a loutish, uncultured person, while ‘oik’ is a derogatory term for an uncouth person.
British alternative indie rock band The Only Route (also known as TOR) play some of the most exciting guitar-driven rock around, slicing through the airwaves with razor-sharp riffs, thunderous percussion and addictive melodies. Hailing from Lowestoft, England, TOR consists of Ryan Redwood (vocals, guitar), Robby Hodgey (lead guitar), Andy Kirk (bass) and Matty Larkman (drums). Since early 2017, they’ve released a series of terrific singles, the most recent of which was the scorching-hot “Made”, which I reviewed upon it’s release in January 2018. Now they return with a powerhouse new single “Not Worth It“, which drops today.
The song is a giant kiss-off to someone who’s exhausted everyone’s patience. To drive home their point, the guys lay down aggressive riffs of gnarly guitars, anchored by a pulsating bass line and pummeling drumbeats. They’re all excellent musicians who are quite skilled with their respective instruments. The interplay between Robby and Ryan’s guitars and Andy’s bass in the bridge is fantastic, and to my ears channels a bit of a Jack White vibe from both a melodic and technical standpoint. I love Ryan’s distinctive rapid-fire vocals and strong accent as he chastises the trouble-making jerk: “We all know you by now. You’re just causing shit. You’re not worth it! You’re definitely not worth it, mate!”
“Not Worth It” is a great song, and another in a series of strong singles from this talented young band.
The band has a busy tour schedule in the coming week, and those of you in the UK can catch them at one of these shows:
Sometimes you just want to hear music that makes you feel good, am I right? Well, that’s exactly what you get with the aptly titled Warmth & Shelter, an absolutely delightful album from the band Secret American. The album came out in May 2018, but I only recently learned about it from fellow music blogger Tina Romano, who wrote a wonderful review for the blog Niche-Appeal.com, and recommended that I give this band a listen. Well, I have to say that it’s one of the most enjoyable albums I’ve heard in a long time. I’m sorry I never heard this album in 2018, because I’d easily rank it among the best of that year.
Secret American’s refreshing sound is at once retro yet contemporary, unique yet familiar. While listening to the songs I kept wondering ‘who do they remind me of?’ Then it finally dawned on me that the carefree California pop-rock vibe of The Lovin’ Spoonful was the retro part, while the contemporary side evokes the laid-back grooves of Cage the Elephant. While their song lyrics often address serious subjects that require a bit of thinking, they’re presented with sunny melodies, breezy instrumentation and pleasing vocals that make for happy listening experience. The songs are infectiously catchy without hitting you over the head, slowly boring themselves into your brain, but in a very good way. When I first listened to Warmth & Shelter, I thought ‘these songs are nice’. On the second listen, I thought ‘this is a really good album’. By the third spin, it was ‘I fucking love this!’ and have been hooked ever since.
Born from the collaboration of singer/songwriter and guitarist Derek Krzywicki, who lives in the small town of Carpenteria on the California coast east of Santa Barbara, and his long-time friend Todd Mecaughey, a producer/engineer who lives in Philadelphia, Secret American is a bi-coastal band of sorts. Derek had written several songs after leaving the band Cheers Elephant, and reached out to Todd about helping bring them to life. Despite their distance, they began working together on music fairly regularly for over a year in Philadelphia, as well as collaborating through the internet from their home studios, and eventually formed Secret American. Todd has stated that the name comes from them being simultaneously proud and ashamed to be American (a sentiment I currently share). Using Derek’s songs, the two created their debut album Warmth & Shelter. For the recording of the tracks, Derek played guitar, bass and sang vocals, Todd played drums, Kevin Killen played pedal steel, and Katie Frank played keyboards. Todd also engineered and produced the album. Along with those four, three additional musicians – Tony Unander, Alex Baranowski and Rory Geoghegan – were enlisted to complete the lineup for live performances.
The album kicks off with the title track “Warmth & Shelter“, a sweet tune about making a life in the country with your beloved, knowing there will be rough spots, but that everything will be alright: “Oh my dear, I wish to lead a Countried life. Hard work low wages. But these days, they lie ahead of us just out of reach. We’re making changes. I’ll hold the book you’ll turn the pages. Take what we want, take what we need, this little home, this dog we feed. This land of ours it’s all we need. Give me warmth and shelter, heart as well to count, count, count, on me.” The twangy guitars, cheerful synths and bouncy drumbeats are sublime, and Derek’s falsetto vocals, backed by his and Katie’s smooth harmonies, are sheer delight.
I don’t usually include so many videos in my reviews, but the band has produced highly entertaining ones for several of the album’s songs that are worth sharing. Feel free to watch them (or not). This one for “Warmth & Shelter” beautifully showcases Derek’s strong charisma and playful spirit.
Speaking of charisma and playfulness, Derek has it in spades on the charming and droll video for “Bang Bang“. He states in the video notes that it was made “to explain some of the choreography for their first band practice. It is now our default music video.” Honestly, how can you not love this guy? The song has a soulful Americana vibe, and is catchy as hell, with a delightful mix of jangly electric and twangy slide guitars, accompanied by a gently galloping beat. Derek’s vocals are quirky as he croons the humorous lyrics that speak to sexual desire: “I’m a standing tall and ready, not a man in disguise. I want you to blow my head out, right between the eyes. Sooner or later, like it or not. Tie yourself together and I’ll undue your knot. Send me your love on that ball and chain.”
“Why Believe?” speaks to the current state of political, economic and environmental upheaval. The song’s bubbly instrumentals and vocals sharply contrast with the darker lyrics about trying to avoid becoming totally cynical or hopeless in the face of challenges on multiple fronts: “The hotter the hotter the deeper the water. I think it’s time for a swim. Shame to the shameful, blame to the blameful for frying their lies in a pan. Why Believe? I can’t believe myself. Too poor to retire, too young die.”
The great tracks keep coming as the album continues, each flowing beautifully into the next. “Good Men Change” addresses the impermanence of life and not always taking things at face value: “Bad men dream, good men lie. / Clocks go round, things unwind.” One of my favorite tracks is “Amen, California” an enthralling ode to Derek’s (and my) home state. The song is beautiful, with a languid tempo and smooth instrumentals that evoke the blissful feels of a sunny day at the beach. Derek’s vocals are soothing and warm as he croons of the California state of mind: “Be free, like the fish in the sea. Let the waves crash on you, and be reborn in California.” The track sounds like a live recording, with street noise and children’s voices heard in the background.
Another favorite is the joyful love song “I Wanna Know“. If this song doesn’t make you feel good, then I don’t know what will! The simple lyrics ask the object of his desire if they share the feelings he has for them: “I wanna know who’s side you’re on. I wanna know you completely and turn on your TV and put your records on.” Much to the band’s surprise and delight, the song was featured in the premier episode of the YouTube original TV show Weird City, produced by Jordan Peele and Charlie Sanders (which you can watch by clicking on this link). The video for the track, which was filmed on location in Philadelphia and edited by band member Tony Unander, is also a pleasure to watch.
“Chelsea the Cat” is a wonderful slice of Americana confection, with some tasty guitar work, while the funky “Wish A Well” really channels Cage the Elephant. In fact, Derek’s vocals sound a lot like Matt Shultz on this track. Yet another favorite of mine is “Human“, one of the most interesting tracks on the album from a musical standpoint. The melody is mesmerizing and beautiful, with sort of a sped-up and modified ska beat, and the intricate, layered guitars and lush, exotic synths are gorgeous. Derek’s slightly echoed vocals are captivating as he sings of what it means to be a human, rather than a certain race, nationality or type: “I’m a human, I’m not labeled on the shelf. / So long being a stranger. Wearing the name that they gave ya.” The lyrics eventually recite the first few verses of the National Anthem, delivered in a completely different way that seems to lend the words new meaning.
Closing out the album is “Magnolia“, a pleasant lo-fi instrumental that opens with a sweet acoustic guitar riff and gentle synth beat that’s eventually joined by a simple organ riff that lends a bit of a carnival vibe. Halfway through, a lovely chiming guitar enters along with a string synth chord, and the result is pure bliss. The instrumentals fade as the song comes to an end, leaving us with just a few discordant notes of acoustic guitar.
I cannot gush enough about this marvelous album and band! Secret American is a group of incredibly creative and talented musicians, and they deserve to be big. I really love their sound and style, and hope they’ll soon make more of their incredible music for us to enjoy. Those of you fortunate to live in the Philadelphia area can catch them at their upcoming show on March 29th at Underground Arts in Philadelphia.
1. DELTA BLUES – Jetstream (2)
2. IN THE WATER – The Underground Vault (1)
3. SUPERPOSITION – Young the Giant (5)
4. SUNFLOWER – Post Malone & Swae Lee (4)
5. WANDER – Vox Eagle with Pierre Fontaine (3)
6. PRESSURE – Muse (7)
7. LOVE IT IF WE MADE IT – The 1975 (8)
8. NORTHERN LIGHTS – Death Cab for Cutie (9)
9. CHANGE – The Revivalists (10)
10. POWER OVER ME – Dermot Kennedy (13)
11. APOCALIPSTICK – Lazy Queen (6)
12. SIGUE CON EL AMOR – John Defeo (14)
13. S.O.S. (Sawed Off Shotgun) – The Glorious Sons (15)
14. VOLCANO – Feather Weight (16)
15. TRAMPOLINE – SHAED (20)
16. HOME – morgxn featuring WALK THE MOON (19)
17. HIGH HOPES – Panic! At the Disco (11)
18. FAST TALK – Houses (12)
19. READY TO LET GO – Cage the Elephant (27)
20. MOVEMENT – Hozier (21)
21. LONGSHOT – Catfish and the Bottlemen (23)
22. DISAPPEAR – Western Jaguar (24)
23. EXITS – Foals (25)
24. YOU’RE THE ONE – Greta Van Fleet (22)
25. ASSUME FORM – James Blake (29)
26. SALVATION – The Strumbellas (28)
27. WORST NIGHTS – Foster the People (17)
28. LIGHT ON – Maggie Rogers (18)
29. SECRET THAT LIES BEHIND – The Gear (30)
30. CHLORINE – twenty one pilots (N)
As I mentioned in a recent review, so many artists and bands that I’ve previously featured on this blog seem to be releasing new music in 2019, and another is Morning Fuzz, an outstanding rock band from Brooklyn, New York. Nearly two years ago, in April 2017, I reviewed their fantastic hard-hitting single “Silent Sun” (which you can read here). They subsequently dropped a great rock ballad “Fellow Creep” that December, and I’m thrilled they’re back with a new single “I’ll Be Around“, which drops today.
The band has been around for 10 years now, and has released a fair number of excellent recordings, including two EPs, a 2013 album Chasing Ghosts, and several singles. Formed in 2009 by singer/songwriter & guitarist Frank Fussa and his childhood friend, bassist Chris Johanidesz after the breakup of their previous band Ultra High Frequency, Morning Fuzz was later joined by longtime friend and guitarist Michael Cullari, but has been hampered by several changes in drummers (something that’s plagued several other bands I’ve written about). In Spring, 2018, new drummer Dan Leo came on board, putting them back on track and in the studio recording new music. “I’ll Be Around” is their first single on what will be their forthcoming album that the band hopes to release later in the year. It was expertly produced and mixed by Lou Giordano, and engineered by Frank, Aaron Bastinelli, and Benny Grotto.
It’s an exuberant, upbeat song, filled with the dynamic riffs, tight rhythms and melodic grooves we’ve come to expect from Morning Fuzz. Frank and Michael’s intricate guitar work is impressive, and I love how they make them chime in the bridge. Chris drives the song forward with his deep, strutting bass line while Dan deftly keeps the beat on his drum kit. Frank possesses a beautiful and powerful singing voice with considerable range, and sounds fantastic whether he’s crooning or wailing. One of the most striking aspects of the track is the guys’ sublime four-part harmonies that call to mind the Beatles or Beach Boys. I really love their sound, and found myself loving this song more with each listen. “I’ll Be Around” is superb, and I’m excited about hearing more new songs from them.
The lyrics seem to speak of the struggles we face with regard to making choices about which paths to take in life, and both giving and getting love and support from others through good times and bad along the way.
I’ll be around Even in that crazy part of town And I’ll figure out Even when the rain is pouring down We’ll work it out When there’s not a drop of love to be found Don’t run away No hide and seek, no roads to stray
Which way to go Another fork splits up the road Futures untold Get on my side And we will float above the tide Might not make it through the night But it’s alright
Morning Fuzz has an upcoming show on Saturday, March 30 with Flak Jacket at The Rail in Smithtown, NY
Draft Evader is an earnest and talented young musician from Chicago who I’ve been following for a while, and it’s been gratifying to watch him grow and mature as an artist. An interesting name for the music project of singer/songwriter and guitarist Ryan Loree, Draft Evader aptly describes his independent and rebellious nature. I first featured him on this blog in December 2017 when I reviewed his single “The Devil’s Disguise”, and at the time he explained “the name ‘Draft Evader’ is kind of a middle finger to the whole system, like ‘you can’t tell me what to do.’ So in a sense it means freedom. Freedom to be who you are and do what you love, no matter what anyone says.”
Draft Evader plays a dynamic and accessible style of what he calls “pessimistic punk rock”, with rock’n’roll and grunge overtones. He writes all his songs, plays guitar and sings all vocals, and his good friend Joe Scaletta plays bass and drums, as well as mixes and masters the tracks. His deeply personal lyrics are brutally honest and always relatable; he openly addresses his struggles with depression and self-doubt, something a fair number of musicians and others involved in the arts also experience (as does yours truly).
He released a great little EP Hound Dog in the fall of 2018, featuring four stellar tracks – one of which, “In My Mind” was particularly outstanding. I loved the song so much it went all the way to #1 on my Weekly Top 30 last December. On February 12, he dropped a new two-song EP Cashed – a double-sided single of sorts. Interestingly, both tracks are 2:36 minutes long. Cashed was inspired by Ryan’s involvement in a car accident: “Ever get into a car accident during an existential crisis only to lose your job right after? Me too, and I wrote a couple songs about it.”
On the hard-rocking title track “Cashed“, he candidly speaks of depression and self-destructive behavior that often leads to additional problems, contributing to a cycle of ever deeper depression. Yet he also yearns for comfort and reassurance from a older and wiser voice. Ryan’s an impressive guitarist, and he delivers an onslaught of gnarly riffs from the get-go, driving home the seriousness of the subject matter. His scorching little guitar solo in the bridge was written by fellow musician Martijn Frazer, and I love his soaring vocals in the chorus. In fact, Ryan’s vocals have really improved with time and experience, and here he beautifully conveys the frustration and anger expressed in the biting lyrics:
Cashed my check to fill my tank up Slow down over one more speed bump Blowing stop signs with no license Crash my car then stepped in dog shit Covered in shitty ink What would my grandma think Kill for an old-school opinion Pickin’ up missing teeth until my knuckles bleed Falling deeper into a depression
On “Sunnyside“, he addresses the self-doubt about his music that sometimes plagues him. He released an EP Heel Turn in April 2018 (a very respectable effort that I also reviewed) but being a perfectionist, Ryan wasn’t satisfied with the songs or EP artwork. He incorporates the EP and song titles in the opening verse of “Sunnyside”, describing his struggle with self-confidence and feelings of not belonging:
Heel turn, I’m on a warpath If I stutter more, I’ll complain less All I have are some petty songs Trying to write out all my wrongs
And I think I died in the old world Because here I just don’t belong And I left my soul in the old world Behind yellow bars and heineken
Once again, he lays down chugging riffs of gritty guitar, while Joe handles the rhythm section with skilled precision. Both tracks are excellent, with catchy melodies that immediately hook us in, and driving riffs to keep us in thrall while we enjoy the ride. It’s a testament to Draft Evader’s continuing growth and ability to put out terrific rock music. I admire this young man and am happy to help promote him and his music however I can.
The Frontier is an unsigned indie-pop/alt rock band from Vienna, Virginia (the Washington D.C. area). The band was formed in 2016 by singer/songwriter and guitarist Jake Mimikos, who first released an EP Chaos to Clarity as a solo artist in 2015. He initially called the band The Internal Frontier, and released a wonderful self-titled EP The Internal Frontier, which I reviewed in July 2016.
Like many bands, they’ve undergone some changes in line-up over time, and now consist of Jake on vocals & guitar, Eric Boggess on lead guitar, Eric Dolinger on bass, Kate Stanley on synths & vocals, and Eduardo Santana on drums. They changed their name to simply ‘The Frontier’, and released the terrific and upbeat singles “Young Machine” in late 2017 and “Follow This Feeling” in May 2018. Now they return with a gorgeous new single “Dark Places“, the first single to be included on their forthcoming EP Luminescence, to be released later this year.
“Dark Places” is a stylistic departure for The Frontier, featuring a moodier, more synth-driven sound and I love it! As the title implies, the song is dark, but also quite beautiful, with a captivating vibe that immediately hooked me, compelling me to move to the sensual beat. The shimmering synths are exquisite, enveloping me in a dreamy soundscape I’m happy to remain trapped in. Subtle guitars, gentle bass and the perfect amount of crisp percussion complete the glorious instrumentals. Jake’s smooth, ardent vocals are enthralling, soaring into the higher octaves and sounding better than ever before. Kate’s backing harmonies are really wonderful too.
The lyrics speak to the internal struggles many of us experience with our darker side, and the attendant fears, anxieties, anger and even bad thoughts we must grapple with. Jake stated that they were inspired by a show he watched on Netflix about serial killers.
Maybe I’m just a little lost Sometimes I lose myself in my obsessions I’m just a victim of my thoughts I’m only human, with imperfections
I’ve been to dark places in my mind Seeing shadows in the night It get’s a little lonely when I’m in dark places in my mind Falling further from the light It gets a little lonely when I’m in dark places
“Dark Places” is absolutely marvelous, and I’ve had it on repeat all morning. The Frontier have struck sonic gold with their first single on what I’m certain will be a fabulous album.
ECLECTIC MUSIC LOVER 