I’ve featured hundreds of artists and bands on this blog over the past three-plus years, and it seems half of them have released new music since the first of the year! Today I’m writing about LOUD HOUND, the music project of Tommy Florio, a talented young singer/songwriter from Ventnor City, New Jersey. The self-described “beachy boi extraordinaire” fuses elements of garage, surf and psych rock to create wonderful songs filled with catchy melodies, honest lyrics and irresistible guitar grooves.
In early 2018, he released his debut single “Fine By Me” – a lo-fi, high-energy, surf rock gem, then followed that May with the outstanding introspective single “Runnin’,” which I reviewed. Now he’s back with a great new single “Youthful Stranger“, delivering a somewhat moodier dream pop vibe than his two previous singles. It really showcases his skill at writing songs with diverse melodies and instrumentation, and keeping his music sounding fresh.
Starting with a mix of strummed acoustic and jangly electric guitars as the primary drivers, LOUD HOUND adds some distortion, fuzzy bass and low-key percussion to create an intriguing backdrop for his slightly seductive echoed vocals. The music and vocals build as the song progresses, with some nice riffage in the chorus, then slows back down toward the end, with an interesting watery reverb effect on the guitars.
The lyrics seem somewhat ambiguous, but my take is that they speak to depression in a young adult who takes drugs to make it through life, feeling invincible once they take effect:
Youthful stranger watch as your dreams fall apart Little blue pills keeps your friend up at night The lonely dreamer survives the night The lonely dreamer survives the night
Youthful stranger watch as your dreams come to life Let’s pretend and play God My life ready to stand tall The lonely dreamer survives the night The lonely dreamer survives the night
1. WANDER – Vox Eagle with Pierre Fontaine (3)
2. HIGH HOPES – Panic! At the Disco (1)
3. IN THE WATER – The Underground Vault (5)
4. HURT PEOPLE – Two Feet featuring Madison Love (2)
5. BACK DOWN – Bob Moses (6)
6. DELTA BLUES – Jetstream (7)
7. GUIDING LIGHT – Mumford & Sons (4)
8. FAST TALK – Houses (8)
9. SUNFLOWER – Post Malone & Swae Lee (10)
10. APOCALIPSTICK – Lazy Queen (11)
11. PRESSURE – Muse (12)
12. SUPERPOSITION – Young the Giant (13)
13. LOVE IT IF WE MADE IT – The 1975 (15)
14. NORTHERN LIGHTS – Death Cab for Cutie (16)
15. MY BLOOD – twenty one pilots (9)
16. WORST NIGHTS – Foster the People (20)
17. LIGHT ON – Maggie Rogers (21)
18. CHANGE – The Revivalists (22)
19. SIGUE CON EL AMOR – John Defeo (23)
20. POWER OVER ME – Dermot Kennedy (24)
21. THANK U, NEXT – Ariana Grande (14)
22. VOLCANO – Feather Weight (28)
23. YOU’RE SOMEBODY ELSE – flora cash (18)
24. HOME – morgxn featuring WALK THE MOON (29)
25. THESE ARE MY FRIENDS – lovelytheband (17)
26. NEW BIRTH IN NEW ENGLAND – Phosphorescent (19)
27. MOVEMENT – Hozier (N)
28. YOU’RE THE ONE – Greta Van Fleet (N)
29. LONGSHOT – Catfish and the Bottlemen (N)
30. DISAPPEAR – Western Jaguar (N)
Last year, I wrote about Chicago-based surf/garage rock artist Boogie Board and his album Ferric Tape Noir, along with two extra singles (which you can read here). Boogie Board is the music project of guitarist and composer Stephen Denning, who describes his music as “fuzzy midwestern garage/ psych/ surf rock.” He writes, performs, records and masters all his music directly onto a 4-track tape machine in order to achieve a gritty lo-fi sound. I’m a big fan of surf guitar and all it’s permutations, so am pleased to feature him once again, with his latest release Rippers Only.
He’s produced quite a lot of music the past couple of years, starting with his debut 12-track album Surf N Turf in May 2017, followed by a five-track EP Dream Telepathy that September, then Ferric Tape Noir in late January 2018, and a double single Portal Window & Infinity Stairs two months later. On January 19, he dropped a new EP Rippers Only, delivering four new pieces of grungy surf rock candy for our listening enjoyment.
Most of Boogie Board’s tracks are on the short side, generally running approximately two minutes, give or take. At a total of only seven minutes, the EP comes and goes in a flash, but it’s a fun ride! The first track “Slow Roller” is catchy as hell, with a peppy drumbeat and a deep, gravelly riff that feels like bass, except it’s not. Denning likes to occasionally run his guitar through a bass amp to achieve a heavier sound. His vocals are as heavily distorted as the guitars as he chants “Slow roller. Go slow gonna take a drive. Slow roller. Gonna take my time.” Next up is “Keep It In Line“, with dense, grungy riffs set to a driving beat. Once again, Denning chants lyrics in heavily distorted vocals, however these I can’t make out. The track closes with lots of reverb.
“Play It Cool” features very gnarly guitars over a repetitive frantic beat. Denning adds tasty little guitar flourishes to the mix as he shouts “I’m feeling good! Got to slow it down. I’m playing it cool!” The track leaves us feeling pretty good too. He closes things out with the title track “Rippers Only“. It’s very brief, running only 45 seconds, but it’s a gritty little banger overflowing with pulsating distortion. I really like it, but wish he’d made it into a more substantial track, as there’s a lot going on for him to work with.
Liverpool is one of the most legendary centers for music on the planet, and I’ve featured a number of artists and bands from that historic city on the Mersey. My latest is the immensely talented young alternative rock band The Gear. Comprised of Callum Thompson (vocals, guitar), Ben Harper (lead guitar), Jack Crone (bass) and Ben Wall (drums), since forming in 2017 the band has been amassing a passionate fan base with their exciting, guitar-driven sound built upon the their love of blues, psychedelic, grunge and progressive rock.
They released a stunning debut single “There’s a Place” in Summer 2018, and it’s already garnered over 66,000 streams on Spotify. Today they drop their new single “Secret That Lies Behind“, and it’s fantastic! The song opens strong with a barrage of raging guitars and Ben’s thunderous drumbeats, then settles down a bit as Callum’s plaintive vocals implore to a loved one about why they’re unable to communicate with him, instead running off to find consolation in another: “Why didn’t you tell me the secret that lies behind? / Where did you run to? Or did you go to a friend? I was trying to find my faith in you.”
As the track progresses, the guys employ several tempo change-ups, keeping our attention firmly in their grasp and thrilling our senses. Things reach a climax with a blistering guitar solo starting at 2:35, before calming back down to a gorgeous soundscape of chiming guitars, pulsating bass and razor-sharp percussion that continue to the end. The guys’ skilled songwriting and musicianship is impressive, and they’ve got another hit on their hands with “Secret That Lies Behind”. With two superb singles to their credit, I’m confident we’ll be hearing more great music from The Gear – soon I hope!
An interesting side note about the photo used for the single: it’s a double-image of a scene at one of my favorite places on earth, Sedona, Arizona. The photo and artwork were done by Anton Eager and Paddy Clegg.
As EclecticMusicLover, I’m always thrilled when given the opportunity to write about artists from around the world. Today I’m featuring a second artist from Malaysia – the lovely and talented young singer-songwriter Aishia, who just released her beautiful debut single “Aura of Gold (The First Meeting)“. Born and raised in Mumbai, India, she now lives in Kuala Lumpur (like the Malaysian artist Lyia Meta who I featured earlier this month). Only 17 years old, Aishia has a golden voice, with maturity and vocal ability that seems far beyond her tender age.
She began writing songs at the age of 12 and started proper vocal training at 15, though she had performed in small events and gatherings in Kuala Lumpur, which helped her gain experience performing. Like most artists, Aishia loves music, and had this to say: “Music is a part of me; no matter where I go, I need to be able to create music. It’s who I am and something I love doing. I’m also always listening to as many different kinds of music I can get my hands on. It keeps me inspired and motivated to create new things.” Some of her musical inspirations include such varied artists as Frank Sinatra, Dean Martin, Ed Sheeran, Lana Del Rey, Taylor Swift, Estrella Morente, Stromae, Sofia Ellar, Henry Mancini and Michel Legrand.
“Aura of Gold” is the first single from her forthcoming debut album of the same name, scheduled for release in March. The album is an experimental concept album, co-written and produced by Malaysian composer and music producer Zameer. Her main aim in putting the concept album Aura of Gold together was to create an almost cinematic environment through which its music could successfully tell the story of two people who fall in love, but eventually have to part ways due to events beyond their control. Zameer told me they used mostly orchestral instruments to create the organic sounds, with no modern synths or FX.
The enchanting song has a lush, sweeping soundscape of Indian and Middle Eastern influences, delivered by a rich array of instruments, including sitar, tabla, flute, violin and other Indian and Middle Eastern string and percussion instruments. The music evokes the mystery and romance of the legendary stories of Scheherazade and the Arabian Nights. Aishia’s clear, strong vocals are beautiful and captivating as she sings to a new lover: “You came with the fire of life in your eyes. Walking towards me like some heavenly sight. I recalled your face from those ancient times. Aura of gold, silvery lights.”
“Aura of Gold (The First Meeting)” is a gorgeous song, and a promising debut from this very talented young woman. She and Zameer have created something quite wonderful, and I cannot wait to hear the whole album.
I continue to be amazed and a little amused that I’ve gained a reputation as a music blogger who artists and bands reach out to in hopes I’ll listen to and write about their music, especially given the fact I play no instruments, cannot read music, have never written a song, and know zero about computer music programs or synthesizers. Hell, I only learned a few years ago that a bass guitar has only four strings as opposed to a standard six-string guitar! That said, I’m immensely impressed by people who can do all those things. I also try to keep an open mind about all kinds of music, and (almost always) know a good song when I hear it.
With that in mind, I’m pleased to feature a young, promising musician from Canada who goes by the artistic name PHYSIA. It’s the basement project of 19-year-old college student James Bings, who just released his self-titled debut EP Physia on the 25th of January. Now based in Victoria, James grew up in the small city of Williams Lake, deep in the Cariboo region of British Columbia, and learned to play guitar and bass at a young age. He developed his skills performing live with his late grandfather, mostly jig and waltz songs. Drawing inspiration from bands like Mac Demarco, HOMESHAKE and Mild High Club, he wrote the songs for Physia during his freshman year of university, and recorded, produced and mixed them by himself. He played guitar and bass, and used synthesizers for the percussion.
His songs are all instrumentals, characterized by his lush-sounding reverb-drenched guitars, subtle bass and gentle percussion. The first track “Cool Cat” is an aptly-named, pleasing song with jazz-infused jangly guitars and just a hint of percussion. The title track “Physia” is sublime, with a lovely melody and terrific jangly and chiming guitars. I especially like the watery guitars that appear later in the song that add a bit of funkiness to the track. “Beach Interlude” is a short track, only 1:16 minutes long, but it’s a beauty, with some fine guitar work that conveys images of a romantic night on the beach.
“Nice Dog” is a mellow, happy tune with jazzy, reverb-heavy riffs, accompanied by a pleasant little percussive beat. The song seems to end at the 3-minute mark, then suddenly starts back up with a sped-up version of the same melody and guitar riff, ending on an exuberant note. “Floral” is another brief track, but James’ intricate guitar work is really beautiful.
My favorite is “Drag Queen” which has the most complex and fully-developed melody of all the tracks. The sweeping jangly and chiming guitars are gorgeous, and I love the effect of James’ soaring vocals that meld so beautifully with the guitars, creating a wonderful glittery soundscape. I asked James why he gave the track that title, and he said he was inspired by RuPaul’s Drag Race, which he and his girlfriend enjoy watching. The laughter of who I’m guessing is James and his girlfriend at the end is a fun touch.
Physia is a great little EP, and a very respectable debut effort that James should be proud of. He’s a fine guitarist and composer, and I really like his sound. I’m confident his skills will continue to grow and improve as he matures, and I’d like to see him use more complex melodies, guitar riffs and synths, and perhaps even try writing lyrics and adding more vocals to his songs.
The cool artwork for the EP was created by graphic and digital artist, editor/motion designer and composer Harrison Ames Barrett https://www.ames.digital/
I always enjoy learning about talented artists who’ve been making really great, innovative music for years that somehow slipped under my radar, then making up for lost time by listening to their back catalog of songs. One of the more interesting artists I’ve discovered recently is Warmer, the solo project of singer, songwriter, composer and multi-instrumentalist Jesse Gunn. Based in the bucolic Western Oregon city of Eugene, Warmer fuses elements of Alternative, Metal, Industrial, Electronic and Art Rock to create singularly unique music that pushes boundaries, stirs our emotions and gives us a lot to think about. He cites as some of his influences the likes of Radiohead, Nine Inch Nails, Sigur Ros, The Black Heart’s Procession, David Bowie, Godspeed You Black Emperor, Interpol, Spanking Dynamite, Faith No More, Beck, Diffuse, 16 volt, Depeche Mode, The Cure, “and a bunch of bad pop I don’t want to admit to.” Hey, we all have our guilty pleasures!
Since releasing his debut self-titled EP in 2005, Warmer has been quite prolific, dropping seven albums – some containing between 15 and 22 tracks! – as well as writing several soundtrack scores for films and video games. His latest effort is Anthropocene, a brilliant and scathing diatribe on the current fucked-up climate situation on several fronts – political, social and environmental. His songs are filled with powerful and biting lyrics, set to often dense and complex soundscapes.
Before getting to the music, I thought I’d provide a little geology lesson to explain the album’s title. Though not yet an officially recognized geologic time period, the term “Anthropocene” has been proposed by earth scientists to define the current period during which human activity has been the dominant influence on climate and the environment as a new epoch in the Geologic Time Scale. The word combines the root “anthropo”, meaning “human” with the root “-cene”, the standard suffix for “epoch” in geologic time. Debate has raged for years as to when this epoch began, with some placing it as early as 12,000 years ago with the rise of agriculture (which would generally coincide with the current Holocene epoch), the late 1700s with the beginning of the Industrial Revolution, or even as recent as 1945, with the detonation of the first nuclear bomb (though most dismiss this later date). But what is agreed upon is that the Anthropocene identifies Earth’s most recent geologic time period as being human-influenced, or anthropogenic, based on overwhelming global evidence that atmospheric, geologic, hydrologic, biospheric and other earth system processes are now being significantly altered by humans.
The album opens with “Anthropocene Theme“, a somber and haunting piano instrumental that sets the tone for what’s to come. Then Warmer launches into an epic take down of humankind and the abuse we heap upon our planet with “Our Mother“. Starting off with a simple piano riff, moody synths and harsh percussion gradually enter the mix, creating a strong sense of foreboding. Warmer’s raw vocals are filled with anger as he lists the ways we are hurting our mother earth: “The earth our mother, she’s really sick, and its no wonder she’s got a hit on us. We drain her blood right from out of the ground. We drop our bombs and we leave our shit around.” He then shifts to a falsetto as he sings about how so many people are more concerned with their own personal appearance and well-being than the earth they live on: “I want to live forever. I want a real good health plan. I wanna stay looking so young with botox and collagen.” His vocals are backed by his own whispers, adding a menacing feel to the dirge-like track.
The brilliant and provocative video opens with American currency floating down, then scenes of nature, both beautiful and brutal, are shown until the song is abruptly interrupted by jarring images and a dire announcement of a possible attack from space – a nuclear attack perhaps? This is followed by the sound of a man screaming, then footage of President Trump calling global warming a hoax. As the song resumes, we’re shown images of man’s destruction and pollution, followed by scenes of space and a volcanic eruption. Once the song ends, we see a static-covered scene of an American flag, with the camera closing onto an expanding hole within it, accompanied by an increasingly distorted and harsh refrain of the song’s somber melody.
On “Pretty Bait Click Machine” Warmer addresses our manipulation by social media to the point of obsession (I’m sadly guilty as charged), and being perfectly complacent about staying in our own information bubbles “It’s so safe on the inside of this echo chamber that I hide. Cuz I will never see a different point of view other than me. It’s engineered algorithmically feeding the pretty click bait machine./We are just meat machines eating the programming. Notify me with dopamine. I’ll keep on posting endlessly.” This track is more guitar-driven, with light industrial synths and a rather upbeat melody that belies the serious lyrics. And by this point, I’m already hooked on Warmer’s rich and varied vocal style, which at times reminds me of Rufus Wainwright and Matt Berninger (of The National and EL VY).
“Gimmie” speaks to man’s bottomless greed and willingness to destroy anything and everything in order to get more material things: “We’re just a bunch of animals raping the world we love. Don’t kind yourself, we’re not cultured and civil. Killing for the gods above. Gimmie precious oil and nicotine. Killing in the name of greed./Whatcha gonna do with all that stuff? When is enough really ever enough?” “Sugar” is about the conflicting feelings of employing a hooker: needing the sexual pleasures they provide, yet condemning the life choices they’ve made. Warmer’s vocals are seductive as he croons: “Be my vacation in this sea side hotel room. A skin destination I’m gonna crawl all over you. Please be my sugar baby. I need you so bad honey. Evolution is dead. It’s all about the money. Oh my sugar baby this is no way to live.” The track features gritty industrial and psychedelic synths and a low-key surf guitar. On “Lip Service” he ruminates on life choices and paths taken, wondering about different outcomes: “In times like these we analyze. we pick apart our very lives. Oh what could i have become if my fears had not won.”
One of my favorite tracks is “Orange Maniac“, a bitter renunciation of the vile cretin currently occupying the American White House, whom I despise with every fiber of my being. The song is dark, with a beautiful but mournful piano riff and an alternating mix of glittery (beautiful) and harsh (ugly) synths. Warmer’s vocals also vary, going from plaintive when he sings “Orange maniac he’s ruling me” to sneering: “You had better fall in line. You had better know your place. My world has become Anthropocene because my tiny handed president is an illiterate.” On the bleak and discordant “adaywhennothinggoeswrong“, he sings of wishing for a problem-free day. The track has a bit of a Nine Inch Nails vibe.
Channeling both Nine Inch Nails and Depeche Mode, Warmer delivers gnarly guitars, gravelly bass and ominous industrial synths on the dark instrumental track “This is Your Warning“. “The Great Dying” opens with sounds of his labored breathing, then he forlornly laments of the coming end of humanity: “Life used to be much more simple. I knew of less tragedies and friends were real people. Oh honey I’m not a rich man. I won’t be able to save you in the end. When they come to your home for your genome, crispr’s gonna take a piece out of you. We will draw the line that defines who survives the Great dying.” The music alternates between a gloomy piano-driven melody and a barrage of thrashing industrial synths and fierce percussion. It’s a hard-hitting and monumental track.
The video combines both tracks, first showing only explosive flashes against a black backround for “This is Your Warning”, then psychedelically distorted scenes from old TV shows and commercials for “The Great Dying”. Credit for both this video and the one for “Our Mother” goes to Jon Curry.
Warmer gives us a much-needed interlude with the hauntingly beautiful piano instrumental “Waltz for Bonnie“, which showcases yet another aspect of his impressive musicianship. He closes out the album on a jolt back to cruel reality with “House of Slaughter“, a very depressing song about the horrors of working in a slaughterhouse that really speaks to the larger issue that animals must die to satisfy mankind’s appetite for meat. Musically, the track is simple, featuring only Warmer’s strummed acoustic guitar and mournful vocals that convey a sense of numbness and sad resignation as he sings: “Damn the clang of the bell. Jolts me back into hell, my dreams my only escape. I try to wash off the stink from my face into sink. It hangs in the air like a mist. Off to another day, deaf to cries of helpless. Their calls heard for miles around. Yes this is, a house of slaughter. Yes this is hell on earth. It sticks inside my clothes. It’s always in my nose, the evidence of my cruel day. And if it comes down to it you know that i’d do it. Just know that i’ll eat you first. Cuz you are the sweetest meat, the sweetest I’ve ever seen.”
OK, now I’m feeling pretty numb myself, yet also blown away by the sheer power of this dark and brilliant album. Warmer holds nothing back as he stirs our senses with incredible soundscapes, while punching us in the gut with his brutally honest and compelling lyrics. Anthropocene is an important album that needs to be heard by as many ears as possible.
1. HIGH HOPES – Panic! At the Disco (2)
2. HURT PEOPLE – Two Feet featuring Madison Love (1)
3. WANDER – Vox Eagle featuring Pierre Fontaine (4)
4. GUIDING LIGHT – Mumford & Sons (3)
5. IN THE WATER – The Underground Vault (5)
6. BACK DOWN – Bob Moses (6)
7. DELTA BLUES – Jetstream (9)
8. FAST TALK – Houses (10)
9. MY BLOOD – twenty one pilots (7)
10. SUNFLOWER (Spider-Man: Into the Spider-Verse)- Post Malone & Swae Lee (19)
11. APOCALIPSTICK – Lazy Queen (13)
12. PRESSURE – Muse (14)
13. SUPERPOSITION – Young the Giant (15)
14. THANK U, NEXT – Ariana Grande (12)
15. LOVE IT IF WE MADE IT – The 1975 (17)
16. NORTHERN LIGHTS – Death Cab for Cutie (18)
17. THESE ARE MY FRIENDS – lovelytheband (8)
18. YOU’RE SOMEBODY ELSE – flora cash (11)
19. NEW BIRTH IN NEW ENGLAND – Phosphorescent (16)
20. WORST NIGHTS – Foster the People (22)
21. LIGHT ON – Maggie Rogers (24)
22. CHANGE – The Revivalists (25)
23. SIGUE CON EL AMOR – John Defeo (27)
24. POWER OVER ME – Dermot Kennedy (30)
25. “99” – Barns Courtney (19)
26. IN MY MIND – Draft Evader (21) 21st week on chart
27. UH HUH – Jade Bird (23)
28. VOLCANO – Feather Weight (N)
29. HOME – morgxn featuring WALK THE MOON (N)
30. MAKE IT UP AS I GO – Mike Shinoda featuring K.Flay (26)
Black Bear Kiss is an alternative indie rock band from the West Midlands/Shropshire region of England who’ve built quite a loyal following since forming in 2016. Comprised of Chris Leech on lead vocals, Colin Haden on lead guitar, Rob Jones on rhythm guitar, Rich Sach on bass, and Chris Bagnall on drums, they released a fantastic debut single “Hooks” in April, 2018, then followed three months later with another banger “Secret Side”. (I reviewed both songs, which you can read here and here). Now they’re back with their third single “Follow Me“, which sees the band going outside their usual rock’n’roll comfort zone, adding a hip hop element in a collaboration with acclaimed Birmingham rapper and motivational speaker Leo Golden Child. And they succeed quite nicely, delivering a lively multi-dimensional track that’s fresh and fun.
The song speaks to pressures of modern day life and how we cope with constantly changing expectations, delivered by an upbeat rock groove with hip hop elements. The band’s signature bass-driven, guitar-heavy sound is on full display here. Both Chris and Leo are great vocalists, and Leo’s rap verses meld beautifully with the rock melody. Leo asks “How we sounding?” to which I emphatically answer “Awesome!”
The wonderful video is filmed in a what appears to be a hallway of an industrial/commercial building, with alternating footage of each of the five band members and Leo shown performing the song. They all clearly appear to be having fun, and their strong natural charisma shines through, with band front man Chris Leech achieving heartthrob status. Leo’s big smile at the end perfectly expresses my feelings for both song and video. I love this band!
Catch Black Bear Kiss at one of these upcoming shows:
February 2 7:00 pm The Station, Cannuck, England
February 22 7:00 pm Bath Uni Student Union, Bath, England
March 2 7:00 pm Boars Head, Kidderminster, England
March 8 7:00 pm O2 Academy, Birmingham, England
July 27 10:00 am Shropfest 2019
Dunkie is the music project of Welsh singer/songwriter Anthony Price. Hailing from the town of Mountain Ash in the South Wales Valleys, Anthony has written and recorded songs for several years, and more recently, has been working on his forthcoming debut album Working to Design. It’s a concept album of sorts, with all the songs partially inspired by the books and works of Richard Matheson. It’s also an ambitious labor of love, as Anthony has toiled countless long hours getting each track perfect, as well as making imaginative videos for some of the songs. He’s released four tracks thus far, beginning with “Can a Song Save Your Life?” in May 2018, and subsequently dropping another single every two to three months. The songs were all written by Anthony and produced, engineered, mixed and mastered by Wayne Bassett at Robot Recordings in Aberdare, Wales. Besides Anthony and Wayne, an assortment of other musicians and vocalists performed on each track, as will be noted below. Also, an interesting aspect of the creation of this album is the use of dramatic artwork by Welsh artist Michael Gustavius Payne for each single.
“Can A Song Save Your Life?” is a lovely, optimistic song with a rich and eclectic mix of instruments that make for an interesting and enjoyable listen. For this track, dunkie consists of Anthony Price on vocals, acoustic guitar, electric guitar, bass and keys, Wayne Bassett on keyboards, synth, EBow, electric guitar and percussion, Charlotte Jayne on violins and trumpets, and Lucy Athey and Mark Purnell on backing vocals. Anthony’s tenor vocals are heartfelt and pleasing.
Anthony describes the song’s meaning: “The concept behind this song is trying to find a little hope; when all really seems a little lost. When the deepest, darkest moment seems to smother over you, when it suffocates you. ‘You don’t know how IT began…’, but then the littlest gesture lifts, the smallest moment lifts, a piece of music, a film or song you love just lifts you. You step back that one little moment and look around. I hope this makes a little sense and someone understands. I hope you’ll find it in yourself as I thankfully have.”
About the fascinating and charming video, he explains: “Over some two years ago I had written a few video concepts for my songs. I knew I wanted people to be wearing masks. I loved the metaphor of hiding behind many a mask. Oscar Wilde once said ‘Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth’. The ‘dunkie’ name and music is my mask. So I wanted to represent the mask in these videos. In particular I wanted to represent them by the use of Wintercroft Masks. Each mask is a downloadable PDF template, each mask has to be created individually, and each mask can take about 2-4 hours each to create (longer if you’re me!!). Added here was the decorative design I wanted to include by adding my own song lyrics, in multiple languages (and the entire pages of Crime and Punishment) upon each mask face.”
“Sugar” is a sweet (no pun intended) love song of thanks to a partner who has stood by you through good times and bad, with unconditional love. Anthony’s gentle vocals and guitar work are sublime, and he’s assisted on this track by Wayne Bassett on keyboards, synth, percussion and programming, Dave Healey with additional electric guitar, and Lucy Athey, who provides lovely and ethereal backing vocals.
Thank you for whispering ‘I love you’ Thank you smiling when you are down Thank you for sharing your life with me I’m thankful dreams like these have come Thank you for today I’m thankful that you stayed I’m thankful sugar melts away
“Rabbit Hole” is a poignant song that seems to be about coming to terms with loss. Anthony wistfully sings: “Tumble and fall, this rabbit-hole is funnel-webbed and soaring. I fear I’ll never reach this endless horror I fold upon myself… Another pill dissolves; I’m crawling faster to the edge. To the edge for you.” The track has a serene, rather bittersweet melody with gentle guitar, synths and percussion, and the vocal harmonies are really nice. For this track, Anthony sang vocals and played acoustic guitar, Rob Lear sang backing vocals and played Moog, electric guitar and percussion, Dorian Richard Holmes played bass, and Jennifer Drew played drums.
The video shows an extended family coming together for a picnic to remember a loved one, a child perhaps? Anthony leaves the interpretation up to the listener: “I’d love to hear your thoughts on the concept/theme and what it evokes in you. Both lyrically and visually, ‘Rabbit Hole’ covers the same subject, so we’re not too far from the same page. I’ll leave it at that.”
“(W.A.L.L.S.) Within a Little Love Song” is a beautiful love song with more of a rock feel than the other three tracks, thanks to a greater prominence of electric guitars. But it still has the pleasing qualities that all of dunkie’s songs possess, with rich instrumentation and gorgeous vocal harmonies. The lyrics are a reminder to a loved one that even though you may not say it as often as you used to, your love for them is as strong as ever:
(You know) yesterday I loved you (Don’t forget) I have and always will (But through) the years I spoke it lessened (Know this) my love’s never subdued
So I’ve found these words to sing And they’re all for you, they’re all for you My need to show within a love song – within a love song
For this track, Anthony sang vocals, played acoustic and electric guitar, bass, harmonica and percussion, Wayne played electric guitar and synths, Paul Maskell played additional electric guitar, Karl James played drums, and Matt Williams sang backing choral vocals.
All four tracks are wonderful, and if the rest of them are even half as good, then Working to Design is going to be an incredible album. I love dunkie’s calm, lovely sound and could listen to their songs over and over.
