Two Feet’s gorgeous and sultry “I Feel Like I’m Drowning” is #1 for a second week, and Leon Bridges holds at #2 with his jazzy “Bad Bad News” (after spending three weeks at #1). The sexy and soulful little sleeper “Unwind” by indie artist John Defeo continues to climb, landing at #7 this week.
Two songs make giant leaps up the chart this week: “Sit Next to Me” by one of my favorite bands Foster the People, which jumps 20 spots to #6, and the beautiful “Such a Simple Thing” by Ray LaMontagne, also jumping 20 spots to #9. “Sit Next to Me” reached #1 on my chart in late December, but has had amazing staying power, spending the past seven months in the top 10 on the Billboard Alternative Chart. This is the song’s 39th non-consecutive week on my Top 30.
1. I FEEL LIKE I’M DROWNING – Two Feet (1)
2. BAD BAD NEWS – Leon Bridges (2)
3. HUNGER – Florence + the Machine (4)
4. ZOMBIE – Bad Wolves (3)
5. SAY AMEN (SATURDAY NIGHT) – Panic! At the Disco (8)
6. SIT NEXT TO ME – Foster the People (26) 39th week on list
7. UNWIND – John Defeo (10)
8. PINK LEMONADE – James Bay (5)
9. SUCH A SIMPLE THING – Ray LaMontagne (29)
10. FOUR OUT OF FIVE – Arctic Monkeys (12)
11. THOUGHT CONTAGION – Muse (6)
12. CELEBRATE – Dirty Heads, The Unlikely Candidates (7)
13. BROKEN – lovelytheband (11) 21st week on list
14. COLORS – Beck (16)
15. LIFE TO FIX – The Record Company (17)
16. I HOPE YOU’RE HAPPY – Blue October (15)
17. RED MOON SKY – Face of Stone (19)
18. 44 – Oli Barton & the Movement (20)
19. HANDYMAN – AWOLNATION (13)
20. &RUN – Sir Sly (14) 21st week on list
21. HI HELLO – Johnny Marr (24)
22. QUARTER PAST MIDNIGHT – Bastille (21)
23. THIS IS AMERICA – Childish Gambino (9)
24. KAMIKAZE – WALK THE MOON (25)
25. WHATEVER IT TAKES – Imagine Dragons (18)
26. BLOOM – Troye Sivan (28)
27. GIVE YOURSELF A TRY – The 1975 (30)
28. FRACTURED NATION – Future Theory (22)
29. DEVIL – Shinedown (23)
30. GOLD RUSH – Death Cab for Cutie (N)
Lancaster, Pennsylvania-based artist Manipulant (aka David Speakman) is an imaginative and intensely creative multi-instrumentalist/composer of electronic music that he refers to as “scientific sound spaces.” He’s also prolific. In 2016, he released his debut album Méthode de Narration, and followed up a year later with the superb Eclectro, which I reviewed and you can read here. He released a five-track EP Perspective earlier this year, and on July 4th, he dropped his latest work, an EP of sorts with the single “What Good Are the Stars?” as the main track, plus three remixes.
“What Good Are the Stars?” is mysterious and sublime, with a glittery soundscape of swirling synths that seem to float above the subtle bassline. A gentle hypnotic drumbeat keeps the languid pace, and a delicate but haunting repeating piano riff adds a sense of unease to the mesmerizing track. Manipulant’s smooth, echoed vocals have an otherworldly feel as he sings the lyrics that question his inability to be with a loved one:
What good are the stars? What good is the sky? What good is the moon? What use are these eyes if they can’t see you?
What good are the clouds? What good is the rain? If it’s not allowed to wash away pain What good are the stars? When they don’t know where you are?
What good are the clouds? What good is the rain? If it’s not allowed to wash away pain What good are the stars?
Next up is the “Beltism Burnt Umber Mix,” which opens with an echoed and grainy background beat overlying the same hypnotic drumbeat and piano riff as in the main track. The synths are not as pronounced on this mix, though they’re a bit more psychedelic, and the bass is somewhat deeper. Nevertheless, this remix is still haunting and mesmerizing.
Each track seamlessly transitions into the next, and the third one is “Alternative Vocal Mix featuring Jennifer Doll.” It’s essentially the synth-heavy main track with added vocals by guest artist Jennifer Doll. Her soft, ethereal vocals take a starring role, harmonizing beautifully with Manipulant’s faintly audible background vocals. The final track is “Anisotropic Mix,” a trippier, bass-heavy remix with eerie-sounding synths that impart an almost sci-fi vibe. All four tracks are pretty terrific.
Darren Campbell is a talented and hard-working 24-year-old singer/songwriter from Scotland who’s now based in London, UK. He’s been making music since his teens, releasing his first single “Find My Way” in January 2012. He followed with the EP Days to Come later that year, and has released a great number of fine singles in the years since. His latest is a beautiful song “Wherever You Are,” which dropped in May.
The track opens with a delicate jangly guitar riff and ambient synths, immediately enchanting our eardrums. Fifteen seconds in, the guitars and synths expand into an exuberant and gorgeous wall of sound, accompanied by a joyous toe-tapping beat. Darren’s strong, earnest vocals convey the optimism, hope and love expressed in his lyrics:
Wherever you are, wherever you go Always watch the stars unfold The love you wanted you could know The lives we live are wonderful When you think about me when you think about us I don’t want you to fear babe I want you to trust
In an interview with music blog Music Musings & Such, Darren explained his inspiration for writing the song: “‘Wherever You Are’ is inspired by the need to travel and see what’s out there in the world. I have older brothers in the States, great friends living in different countries and my parents back home in Scotland. With this song, I captured the feelings I had regarding the need to get out of your comfort zone and experiencing life whilst still feeling close and connected with the ones you love, even if they may be half the world away!”
The gorgeous music video for “Wherever You Are” was filmed and edited by Patrick Zangl, and follows Patrick and friend Christina Canek, accompanied by their beautiful husky, in their exploration of South Tyrol in northeastern Italy.
PandaRama is a creative young alternative pop/rock band from Miami, epicenter for the thriving South Florida music scene. (I’ve featured quite a number of South Florida artists & bands on this blog, including Above the Skyline, Sunghosts, Dyslexic Postcards, Xotic Yeyo, Raker and John Defeo.) I also happen to have an adorable cat named Panda, so it’s only natural I’d like a band called PandaRama.
The band was formed 2014 by Christian “Panda” Benabe (vocals) and Steven Quintanilla (guitar) while they were students at Miami-Dade College, and they were joined two years later by drummer William Snyder. In September 2016 they released their first EP 37.5%, a solid effort with five very good tracks, and in May of this year, they dropped a new EP Mixed Messages. They’re currently working on recording a full-length album, but wanted to showcase their softer side. So, they recorded acoustic versions of a few songs, which resulted in the more ambient and experimental approach used on Mixed Messages, and I think they turned out quite nicely. The songs all address troubled relationships with honest, biting lyrics set to sublime melodies.
For the first track “Toxic,” PandaRama skillfully melds elements of acoustic folk/rock with synthpop to create a great-sounding and powerfully moving song. Despite the dark subject matter, the instrumentals are beautiful, with Steven’s intricate, rapidly strummed guitar work, accompanied by swirling synths and a gentle drumbeat. Panda’s commanding vocals are filled with emotion as he sings the bitter lyrics about a relationship damaged beyond repair: “This could be toxic. The grievances we hold. This is toxic. The story left untold. Those beautiful lies we left behind. We slowly killed ourselves inside.”
“Someone Save Me” is a poignant ballad about someone in a precarious emotional state pleading with a loved one to help him keep it together: “Give me a reason to stay. Why shouldn’t I throw it all away? Instead of you standing there, show me that you really care. Prove yourself to me. / Recovery is a couple of words away. Giving up is an action I won’t take. All I need is to hear you go ‘Someone save me’.”
My favorite track is “Sweet Daughter of Blood,” a lovely song about a not so lovely woman. The gorgeous music, consisting mostly of delicate keyboard synths and Steven’s exquisite acoustic guitar work, sharply contrasts with the scathing lyrics, sung by Panda with an icy bitterness:
Disguising your lies with those pretty eyes Oh boy what a joy just to have you around Dear pretty girl you reeked of disaster Make your plans, have them run a little faster As you separate all in the family
Fooled just a little Harbored a meany devil Sick twisted individual Monster, monster, monster We had a monster, monster, monster She was a monster, monster, monster There goes the monster, monster, a monster Good riddance to the monster
Hey sweet daughter of blood I’m kicking you from my life to throw you in the mud Guilty, with treason in the family You don’t really care, watch us suffer everywhere But no, not today. In hell you will stay So burn away
As the song draws to a close, the hauntingly beautiful guitar riff is gradually replaced with sounds of crackling flames. I love it!
Mysterious. Captivating. Sensuous. Moody. Gorgeous. All words that describe my impressions when listening to the brilliant debut album Velvet Season by the experimental band Still Optimist. Formed in Paris, France in 2017 by Ukrainian artist Bina Timurova (vocals, songwriting, composing, guitar), and Hungarian Mihaly Sipos (keyboards, synthesisers, electronics, programming), Still Optimist creates an arresting blend of electronic/ trip-hop/ ambient/ cinematic music. In their bio, they colorfully describe their major influences: “alternative and electronic music bands such as The Cure with its contradictory ambivalent of joy and sorrow; Massive Attack with their dark bass lines and atmospheric synth pads; Bjork and her multi-layered meaningful lyrics and the way she moves with her voice on an extreme scale; Tesla Boy with the whole 80’s synth pop vibe and tunes; The Chemical Brothers for their outstanding soundscape and constant motion in sounds, and many more, such as Phantogram, Atoms for Peace, Him, Depeche Mode, Underworld, FSOL, and Archive.”
Another strong influence for the duo in the creation of Velvet Season was the 2013 Jim Jarmusch vampire film Only Lovers Left Alive. They state: “The slow, dark melancholy, the constant whispering presence of passion and crunchy guitar tunes somehow beautifully lifted, transformed into a fully coherent album.” But whatever their influences, what’s clear is that their songwriting is exceptional, with intriguing lyrics, complex and unusual melodic structures, and innovative musical techniques.
This is immediately apparent on the opening track “Another Space,” which starts off with mysterious industrial sounding synths, a sharp drumbeat and buzzing reverb. Bina’s unusual vocals are baby-like, yet sultry as she sings “I am raising my eyes to the sky. But I’ll never see all the stars in the space. That one day are destined to meet. And their beautiful light, like a beacon for lost ships, will be mixed in a fatal dance. And those stars are destined to meet.” The tempo then shifts to a strong hypnotic EDM beat, as the industrial synths and heavy buzzing reverb continue. Bina croons “And they will be absorbed in their final farewell ball. They could even collapse, giving birth to a Black Hole.” It’s a mesmerizing track.
The creative visuals and design are also an important aspect of their production, as evidenced in their videos like this one:
Next up is the trippy “Dark Places,” with it’s spooky soundscape of grinding psychedelic synths and sensuous keyboards. Bina’s vocal gymnastics are impressive, reminding me at times of Phantogram’s Sarah Barthel. “Voices” has a Depeche Mode vibe, with lush synths that are mysterious and fuzzy. Bina’s vocals are enthralling as she sings about her fantasies and desires becoming a reality: “And these voices around my head they are getting louder. Voices around my head they remind me I like it.”
“Here Comes the Sun” is a beautiful triphop song about how natural forces always triumph over humans’ attempt to subjugate them: “Plants overgrown on blocks, drain the strength of concrete, take them into possession. People are full of absurd in their paltry attempts to transcend over Nature.” This becomes a metaphor for a loved one’s irrepressible nature: “Green sprouts grow through cracks in grey stone. As did your lust for life through all my years.” Bina’s soaring vocals are sublime.
“Chance” opens with a bit of surf guitar riff and strong drumbeat, then glittery synths and what sounds like skittering snare drum are layered over the repetitive drumbeat. With breathy vocals, Bina sings “If I only had a chance to feel your presence next to me. It’s more than I could give or take, that’s something that I can’t admit.” Heavy, distorted reverb and psychedelic synths are dominant features of the mysterious “Free Fall.” Bina passionately implores: “Don’t ask me why I’m afraid ’cause I won’t give you the right answer. When you jump out of a plane in free fall there’s no button to cancel.”
“Nomad” appropriately has a Middle Eastern feel with a beguiling melody and richly exotic synths that evoke the mystery of the fabled Arabian Nights. Bina’s sensuously breathy vocals are alluring as she sings to one about not being afraid to embrace their final moments of life: “Tell me all if you can about sorrows in your heart, things that you regret. Spell things out if you can. That you had in life, that you won’t forget. Don’t be afraid of nomad, I won’t hurt you bad. In your place some people would be glad. Don’t be afraid, my virtue, I won’t steal from you. I’m here for one thing that I owed you. Cause I’m your death.”
One of my favorites is the dark and haunting title track “Velvet Season.” The song opens with a foreboding piano riff and Bina softly singing. The music and her vocals gradually become more dramatic, conveying a sense of impending danger as the song grows more ominous. The keyboards and other synths are really fantastic. The song lyrics seem to be spoken to the vampire who’s kiss – i.e. bite – has forever changed her existence: “I know that you won’t feel the swelling that sucks the life out of me. / I already miss you, your kiss on my neck. We both know it clearly, there is no way back. / You ask me if I’m scared, yes I’m scared to close my eyes when I’m in bed. I’ll tell you, honey; there’s always a little reason to extend a bit my Velvet Season.” “With You” is a fine triphop song with grainy, otherworldly synths that impart a decidedly psychedelic vibe.
The album closes on a bittersweet note with the hauntingly beautiful “My Shoes.” The complex, layered synths on this track are exquisite, and accompanied by some wonderful guitar work. Bina’s heartfelt vocals are gorgeous, fervently expressing deep sorrow and regret over past sins and transgressions: “There is a time that I want to forget. For the peace of my mind. And if I just could I would erase it all, those horrible things. / Guess, my shoes didn’t fit you. My shoes didn’t fit you as they’re full of broken glass inside. Cause my traumas are full of crime.”
Velvet Season is a truly impressive debut for Still Optimist. Their captivating melodies, outstanding songwriting, and Mihaly’s creative and skillful use of synthesizers, makes for incredible and deeply compelling music. Toss in Bina’s amazing vocal abilities, and the result is a brilliant work of musical art. This is an album that can, and should, be listened to repeatedly, as the complexity of the compositions always offer up new discoveries.
1. I FEEL LIKE I’M DROWNING – Two Feet (2)
2. BAD BAD NEWS – Leon Bridges (1)
3. ZOMBIE – Bad Wolves (4)
4. HUNGER – Florence + the Machine (8)
5. PINK LEMONADE – James Bay (3)
6. THOUGHT CONTAGION – Muse (5)
7. CELEBRATE – Dirty Heads, The Unlikely Candidates (7)
8. SAY AMEN (SATURDAY NIGHT) – Panic! At the Disco (12)
9. THIS IS AMERICA – Childish Gambino (6)
10. UNWIND – John Defeo (14)
11. BROKEN – lovelytheband (11)
12. FOUR OUT OF FIVE – Arctic Monkeys (15)
13. HANDYMAN – AWOLNATION (9)
14. &RUN – Sir Sly (10)
15. I HOPE YOU’RE HAPPY – Blue October (13)
16. COLORS – Beck (16)
17. LIFE TO FIX – The Record Company (19)
18. WHATEVER IT TAKES – Imagine Dragons (17)
19. RED MOON SKY – Face of Stone (21)
20. 44 – Oli Barton & the Movement (23)
21. QUARTER PAST MIDNIGHT – Bastille (22)
22. FRACTURED NATION – Future Theory (24)
23. DEVIL – Shinedown (18)
24. HI HELLO – Johnny Marr (27)
25. KAMIKAZE – WALK THE MOON (28)
26. SIT NEXT TO ME – Foster the People (25) 38th week on list
27. SILVER LINING – Mt. Joy (20)
28. BLOOM – Troye Sivan (29)
29. SUCH A SIMPLE THING – Ray LaMontagne (N)
30. GIVE YOURSELF A TRY – The 1975 (N)
Teisan is an exceptionally talented and prolific young singer/songwriter from Mannheim, Germany who I learned about when he followed me on Instagram. He started playing guitar at the age of 14, and quickly began writing songs in a predominantly ambient acoustic style. His songs tend toward a more introspective side, with heartfelt, personal lyrics. In his bio, he states “I like to make music about things I experienced in my life. What I write down in the lyrics helps me in dealing with past events.” In early 2016, when he was only 17, he released an excellent debut album Different Point of View. He followed up with an equally impressive second album Impatience in October 2017, and I strongly encourage my readers to check them both out.
Teisan has been writing and recording new songs for his forthcoming third album From Ten Thousand Miles Under the Ocean, and recently dropped a new single “Anchor Pt. 2,” which will be featured on that album. The song is a second part to “Anchor,” one of the tracks on Different Point of View. “Anchor” is a bittersweet song with simple lyrics that speak to a loved one who’s letting her fears of the unknown drag her down, the anchor representing those fears. On “Anchor Pt. 2” he’s come to the realization that she’s now dragging him down too:
I write a song, rip out my heart You didn’t care and laughed That’s the reason we’re apart You think gossip makes you smarter Heavy on my shoulders, I couldn’t swim to the surface But time made me bolder Ain’t the one that I need You’re the anchor bound to my feet
Musically, the track is built around a wistful but pleasing acoustic guitar riff. Delicate, airy synths are layered over the riff, along with sounds of snapping fingers, gentle percussion and added subtle guitar chords to create a serene and beautiful soundscape. Teisan has a smooth, lovely voice, and sings with an earnest vulnerability that’s calm yet quite touching. It’s a wonderful song.
Infected Sun, aka Justin Stephens, is a prolific DJ/producer of electronic House music based in Ipswich, UK. He covers a wide range of styles, including Deep House, Chill House, Chill Step, Trap, Trip Hop and Lounge, though his preferred style is Deep House. He only started producing music in early 2016, but is already signed to two labels – Blue Coffee Records and GM Records. And during that little more than two-year time period, he’s produced an impressive output of music, both as a solo artist and in collaboration with other talented artists, including Samantha, Melissa Marks, CocoaRed, Justin Kayser, Rachel Leach, Justinas Stanislovaitis and Vizualye, among others. One of his latest releases is the Mini EP Summer Nights, featuring two stellar Deep House tracks “Warm Summer Nights” and “House Jacking.”
Now I’ll be the first to admit that I don’t fully understand the defining characteristics and nuances of the various types of House music. I know some of it has to do with the number of beats per minute (bpm), number and/or speed of breakdowns, and how different instrument sounds such as bass, keys or drums are utilized and emphasized. But I pretty much like them all, as long as the songs move me in some way. If the melodies are compelling, the beats interesting, and the music pleasing and/or exciting, I’m happy. And that feeling applies to virtually every Infected Sun track I’ve heard – and I’ve listened to more than 25 of them!
The two tracks on Summer Nights certainly meet all my criteria for what constitutes good House music. “Warm Summer Nights” lives up to its title, with sultry synths and a groovy bassline set to a sensual, hypnotic drum machine loop. The sparkling keys and airy synths that enter halfway through are sublime, making for a gorgeous soundscape that evokes a night filled with the promise of passion. It’s a stunning track.
“House Jacking” has a bit of a tech-house vibe, with a slightly faster bpm. Once again, Infected Sun employs a drum machine loop to create an immersive dance beat, accompanied by smooth synths that continue throughout the track. This time around, though, he uses a plucked bass sound to drive the song forward. Along with the delicate, rather psychedelic organ synths, they’re the dominant features of this superb track.
Infected Sun also hosts the Friday Night House Sessions, a two-hour Deep House show he runs every two weeks on Facebook Live at 7:30 pm GMT. He’s often joined by other special guest DJs like DJ JerryS and DJ Embrace. It’s an enjoyable show, so check it out if you’re into House music.
1. BAD BAD NEWS – Leon Bridges (1)
2. I FEEL LIKE I’M DROWNING – Two Feet (2)
3. PINK LEMONADE – James Bay (3)
4. ZOMBIE – Bad Wolves (5)
5. THOUGHT CONTAGION – Muse (6)
6. THIS IS AMERICA – Childish Gambino (4)
7. CELEBRATE – Dirty Heads, Unlikely Candidates (9)
8. HUNGER – Florence + the Machine (11)
9. HANDYMAN – AWOLNATION (7)
10. &RUN – Sir Sly (8)
11. BROKEN – lovelytheband (10)
12. SAY AMEN (SATURDAY NIGHT) – Panic! At the Disco (12)
13. I HOPE YOU’RE HAPPY – Blue October (14)
14. UNWIND – John Defeo (15)
15. FOUR OUT OF FIVE – Arctic Monkeys (17)
16. COLORS – Beck (18)
17. WHATEVER IT TAKES – Imagine Dragons (13)
18. DEVIL – Shinedown (16)
19. LIFE TO FIX – The Record Company (20)
20. SILVER LINING – Mt. Joy (19)
21. RED MOON SKY – Face of Stone (23)
22. QUARTER PAST MIDNIGHT – Bastille (24)
23. 44 – Oli Barton & the Movement (25)
24. FRACTURED NATION – Future Theory (26)
25. SIT NEXT TO ME – Foster the People (22) 37th week on list
26. FAVORITE COLOR IS BLUE – Robert DeLong, K.Flay (21)
27. HI HELLO – Johnny Marr (N)
28. KAMIKAZE – WALK THE MOON (29)
29. BLOOM – Troye Sivan (30)
30. DANGEROUS NIGHT – 30 Seconds to Mars (28)
If you like soulful, blues-soaked rock accompanied by raw, passionate female vocals, then you should be listening to the music of UK band CuriousHour. Formed two years ago, the London-based four-piece consists of guitarist Andy Grazebrook, vocalist Emily Grazebrook, drummer Wal Srankiewicz and bassist Aaron McIntosh. In July, 2017 they released their superb debut EP Explore, which I have the pleasure of reviewing today.
The first track “Lailah” arrives on sound waves of fuzzy guitars, strutting drums and a humming bass line. Then, Emily’s rich, bluesy vocals enter the scene and within seconds I’m blown away. Wow, what a voice she has! The kind of voice that demands your attention. She seems to channel the raw soulfulness of Tina Turner, the bluesy feels of Amy Winehouse, and the unrestrained passion of Janis Joplin. On “Lailah,” a palpable sense of tension and uncertainty simmers beneath the seeming coolness of her voice, occasionally piercing the surface as she croons about not knowing which direction to take: “Solo, solo, solo. Walking, walking walking. Don’t know, don’t know which way to go.” As the track progresses, Andy lays down some nimble guitar work, while Aaron gently strums his bass. It’s a great song.
The next track “Yield” is positively sublime. The guys are in perfect sync on their respective instruments, and Emily raises goosebumps as she fervently wails the lyrics expressing the depths of her hunger for another’s love: “I would do anything if you only lay your hands on me. / I’d cause a tidal wave to charge, wipe out all of humanity. Send them streaming from the land. Swallow them up into the sea. So that I could be with you. Oh I would give you the world if you’d love me.”
One of the things that strikes me as I listen to the EP is how beautifully each track flows into the next, sustaining the spell that CuriousHour have cast upon our ears, minds and souls. At times their bluesy sound reminds me a bit of Jefferson Airplane and Big Brother & the Holding Company. “Geraldine” is mesmerizing, and once again, Emily’s vocals are breathtaking. And no more so than on “Wanted,” where her jaw-dropping vocal gymnastics are on full display. She alternately seduces, snarls and wails the lyrics that speak to a detestable scoundrel: “You’re so quick on the draw, even your horse hates ya. Price on my head. Don’t stop til I’m dead. / You’re above the law but even your momma hates ya. How much to walk away?” The guitars, bass and drums on this epic track are all pretty amazing too.
The band dials up the energy on “Dark Surf,” a rousing rock’n’roll song with awesome fuzzy guitar work and thunderous drumming that make for an exciting listen. Two thirds in, the tempo slows to a languid, bluesy lull in the bridge, before ramping back up to full speed for an exhilarating finish. Emily’s refrain of “rise and fall” is an apt description of the song.
Explore is a wonderful EP that gets better with every listen, and every track is fantastic. There’s a lot of nuance in Andy’s intricate guitar work, Aaron’s subtle bass and Wal’s expert drumming, and each time I was able to detect something new I’d missed previously. Then there’s Emily’s mind-blowing vocals, which I could never tire of hearing.
CuriousHour have been gigging regularly ever since their inception, spreading their noise around London, the south of England and around the UK with plans to play in Europe. In the meantime, those of you in the UK can catch them at one of these upcoming shows:
JULY 11 7:30 & 10:30 PM CURIOUSHOUR @ THE DUBLIN CASTLE
