On the heels of touring for their superb 2015 album Vitals, and as second opening act for twenty one pilots’ epic Emotional Roadshow World Tour (see my concert review), New Orleans band MUTEMATH has dropped a positively stunning new single “Changes.” It’s the opening track on their new album of the same name – set for release on September 23.
Upon first hearing the opening vibrating synth chords, it’s clear that “Changes” is a thing of sonic greatness. Our ears are dazed by a gorgeous waterfall of alternating lush and distorted synths, tinkling keyboard and multi-layered percussion. Lead singer Paul Meany’s heartfelt vocals are sublime, perfectly conveying the slightly melancholy vibe of the track. The ending piano movement is breathtaking in it’s simplicity.
“Changes” is both a metaphor for the album itself, which is a re-imagining of Vitals, featuring reworks and remixes by band members and other producers, and an ode to feeling misunderstood amid life’s ever-changing landscape. The lyrics are poetic: “I’m just suffering from changes, locked outside for good. Paper cut by turning pages, sitting under dust ’cause I’m not understood.”
It’s interesting that MUTEMATH alludes to cemetery imagery in the song, given New Orleans’ iconic burial grounds: “Monuments blush, while rising in the ashes and dust horizon. I can hear pallid choirs sing, from their headstone hymnals now.”
Take a listen to this masterpiece:
MUTEMATH formed in 2002 and, as with many bands, has undergone personnel changes since then. The band now consists of band frontman Paul Meany (lead vocals, keyboards), Darren King (drums), Roy Mitchell-Cardenes (bass) and Todd Gummerman (lead guitar).
If you aren’t already, follow MUTEMATH on Twitter and Facebook, and subscribe to their YouTube channel. “Changes” – both the single and new album – are available for purchase on itunes and all other online music purchase sites.
It’s back to the UK for a spotlight on The Condriacs, a singer/songwriting duo from Essex who make some really fine folk-pop music. The Condriacs are close friends Peter Spicer and Tony Slaven, who began writing songs together a couple of years ago, but decided to take their music more seriously in late 2015, when they began recording tracks. Spicer, who’s been making music since he was 14, plays guitar, while Slaven vocalizes their beautiful, compelling lyrics. As the guys explained in an interview with Michelle Ward on Brentwood, Essex radio station Phoenix 98FM in April 2016, they love great lyrics, especially by some of their favorite songwriters Chris Stapleton, Billy Joel and James Taylor, from whom they draw inspiration in penning their own exceptional lyrics. As for their interesting name, their wives came up with that moniker.
The Condriacs have recorded a number of songs, and are working toward producing a full -length album as time and funds permit. Spicer told me it’s a painfully slow process, but so far, they have five songs that will be on their debut album, and they’re working on two more they hope to record in the coming month. Their well-crafted songs are soothing, yet maintain enough of an edgy quality to keep from sounding too pop.
“When You’re Gone” is a lovely but sad ballad that speaks to the heartache and loneliness resulting from a lost love. With strong vulnerability in his vocals, Slaven laments “All I want is just another moment, a minute when I can feel your love. I wanna spend a whole day with you, really. How can I love you baby when you’re gone?” Spicer’s smooth guitar and the accompanying piano, violin and gentle drums beautifully complement Slaven’s heartfelt vocals, which at times remind me of fellow Brit Rod Stewart.
The gorgeous “Devil’s Mist” is a standout track and my personal favorite. The first few opening musical notes can make or break a song for me, and in “Devil’s Mist” they’re positively captivating. The song’s arrangement and rich instrumentation are perfect from start to finish. Lyrically, the song is about hurt and betrayal over a failed relationship, and such powerful words they are:
“Raging nights, rumbling skies, lighting strikes me, I’m paralyzed. War with words that really hurt. We’ve just dragged up the past and dirt. When that red mist covers me, have to set that devil free. The open road where the air is free, brings me back to you. Why do you leave me in the pouring rain? Always running, never take the blame? I assume you’re OK, ’cause I’ve lost my rage.”
“I’ll Take it All” is a beguiling, upbeat song about life, love and hope. The track was just released as a single in Asia in August.
Another standout is “Run Run Run.” This remix has bit more synth-heavy vibe than the other tracks.
Here’s a lovely acoustic performance of the tender ballad “Can’t You See.” It really showcases the guys’ warmth and authenticity, not to mention Slaven’s wonderful a capella vocals.
I look forward to hearing what these fellows come up with next. Show them support by following on Twitter, liking on Facebook and subscribing to their YouTube channel. They do not yet have music available for purchase, but it can be streamed on Soundcloud.
1. ALL WE EVER KNEW – The Head and the Heart (3)
2. HEATHENS – twenty øne piløts (2)
3. BANG BANG – Green Day (5)
4. TROUBLE – Cage the Elephant (1)
5. LIFE ITSELF – Glass Animals (6)
6. CHEAP THRILLS – Sia & Sean Paul (4)
7. GOOD GRIEF – Bastille (8)
8. YOU DON’T GET ME HIGH ANYMORE – Phantogram (9)
9. HYMN FOR THE WEEKEND – Coldplay featuring Beyoncé (10)
10. WAKE UP CALL – Nothing But Thieves (12)
11. SAY MY NAME – (IAM)WARFACE (14)
12. RIVER – Bishop Briggs (15)
13. BURN THE WITCH – Radiohead (7)
14. HARDWIRED – Metallica (16)
15. SEND MY LOVE (To Your New Lover) – Adele (11)
16. SOMETHING TO BELIEVE IN – Young the Giant (13)
17. FEEL INVINCIBLE – Skillet (N)
18. DARK NECESSITIES – Red Hot Chili Peppers (20)
19. WELCOME TO YOUR LIFE – Grouplove (N)
20. TONIGHT – Matto Rules (N)
I recently discovered the amazingly talented, quirky-named artist Wons Phreely (his real name is Justin Wonsly). He has one of the most interesting, unique voices I’ve heard in a long while. The kind of voice that sounds like no one else – a valuable commodity in today’s overcrowded music industry. Phreely draws his musical influences from such disparate artists as Morrissey, Joe Strummer and Buddy Holly, which is why his style is difficult to categorize. He seems to move effortlessly from dance-pop to folk-rock to alt-rock.
The young singer/songwriter started his music career in Sydney, Australia, where he recorded several great upbeat singles, including “The World Has a Bank Account” and “Tonight,” followed by a fairly decent eight-track EP To Begin With… in 2011. Phreely, along with his new back-up band The Horses, has now dropped a fantastic new single “Stars.”
The song has an interesting backstory. Phreely originally wrote it one night while living in a tiny studio above a bar in the red-light district of Sydney’s Kings Cross. He penned the lyrics to describe his subconscious longing to make a big life change, but fearful of doing anything about it. As luck would have it, just a few days after writing the song, he saw an ad for an open call for singers to submit themselves to play the role of young Roy Orbison in a planned biopic feature film. According to his bio information sent to me, Phreely submitted his best song rendition and was soon meeting with the estate of the Orbison family, who were producing the film and would have final say over the casting of the role of their father. Unfortunately, after months of meetings, discussions and auditions, the fate of the proposed film is stuck in limbo. But there’s a silver lining: inspired and invigorated by his new Los Angeles surroundings, Phreely seized the opportunity and decided to further his music career there. In 2015, he assembled a band of accomplished musicians (the lineup of which has changed over time), thereby creating Wons Phreely + The Horses, who together brought his song “Stars” to fruition.
It’s an incredibly catchy number, with a great hook that immediately grabs hold, forcing you to move with the infectious, 80s retro dance beat. Plucky guitars and sharp percussion add to the fresh synth arrangement, keeping the energy flowing, and Phreely’s smoldering, halting vocals are absolutely captivating. I had this song on repeat while writing this piece and am now addicted! It just gets better with each listen. As I noted above, the lyrics speak to his ambivalence about making a life change:
“I went to my neighbor he said why wait another moment later. You wanna find some explanation then you really oughta make your own decision. And if something clouds your vision it’s time to move move move. Cause there’s too many lights in the city tonight. So I can’t see the stars till the moment has passed.”
I really like the song’s video, in which Phreely sings the song while standing in front of a black background. When he sings the chorus, he wildly gyrates back and forth, this time with varying types of facial hair, and his short hair now long and flowing, perhaps to show the changes he speaks of in the song lyrics.
I like to include extra songs and videos to give a greater perspective of an artist or band’s talent and music style. Here are a couple of performances with session musicians from 2012 at the Skeet Music Studio in Sydney, Australia. In the first, Phreely shows his folk/rock side in the hauntingly beautiful ballad “Manny You’re My Sweetheart.” The song was inspired by Phreely’s former roommate who was transgender.
Here’s a great live performance of the delightful song “Tonight.”
There’s a special place in my heart for earnest, hard-working musicians who dedicate themselves so passionately to making great music that strongly connects with their fans. Such is the case with the young Kansas City band Lost In The City. They play an incredibly dynamic style of Alternative Rock that’s hard to categorize, as it can also be described as Post-Punk, Punk Rock or Punk/Pop. But no matter what label it’s given, the band’s guitar-heavy sound is influenced by some of their (and my) personal favorites, including Fall Out Boy, blink-182, Anberlin, Jimmy Eat World, Foo Fighters and Dance Gavin Dance. In fact, band front man and lead vocalist Shane Radford at times sounds disarmingly similar to Fall Out Boy’s Patrick Stump, yet their music is thoroughly unique.
In addition to Radford, who also plays rhythm guitar & synthesizers, the other band members include Danny Davis (bass/synthesizers), Dustin Proctor (guitar) and Kyle Constant (drums). All are musicians who’ve previously been active in the Kansas City music scene for the past decade. They joined forces to form Lost In The City, and their collective experience gave them a distinct advantage over other newly-formed bands. Once they quickly found their groove, they began playing local shows, writing and recording a full album, and embarking on a nationwide tour. Despite line-up changes, working full-time jobs, going to school, and competing for stage time in a crowded music scene, the band has persevered without skipping a beat.
Lost In The City dropped their debut album Genesis in June 2016, and what a spectacular debut it is! Ten songs that shower your ears with thunderous chords, blistering guitar riffs, power drums and mesmerizing, passion-filled vocals. Lyrically, the songs address the familiar subjects of love, relationships and break-ups, but also the travails of touring, anxiety and depression.
We’re introduced to the album by the first track “Too Young For a Comeback (Too Old to Start Over).” The shredded guitars in this hyperkinetic track are monumental, rising and falling with the throbbing bass line. Halfway through the second track – “The Midwest Isn’t Gold, But It’s Full of Color” – it’s clear these guys kill it with their guitars! The intense, high-energy arrangement of this song make it one of my favorites on the album. The lyrics speak to conflicted dreams of leaving the Midwest for a more exciting existence: “California is calling my name again/Maybe someday I’ll answer it/But for now I’ve got to make do and better myself/My heart is falling for the Midwest/I need some time/I’m looking for a reason to stay.”
The brilliant “It’s Okay To Not Be Okay”is about depression, a subject rarely sung about: “I’ve got a cloud full of sorrows leading me around/This head full of doubt is pulling me down/There’s a battlefield of red, a battlefield of gray/I’m making a stand, inside my head.” The ominous opening guitar riff portends a deeply emotional theme, and Radford’s fervent vocals, sung to furious guitars, make for a tremendously powerful song. The track was released as a single in 2015, nearly a year before the album was completed. The compelling video produced for the song shows the band performing in the graffiti-covered ruins of an abandoned building, interspersed with footage of a woman fleeing her mental demons. (The drummer in the video is Ryan Meador, who subsequently left the band and was replaced by Kyle Constant.)
Another standout track is “Our Time,” with hammering drums, guitars that alternate between chiming and scorching, and Radford’s heartfelt vocals. The powerful lyrics address the fleeting aspect of life – that each of us has our moment in the sun, but it won’t last forever. “Our souls are burning bright and we’re lighting up the sky/Homesick feelings, there’s no point to lie/Someday we’ll build a legacy, someday we’ll all die.”
“Too Far Gone” is a kick-ass hard-driving track with incredible soaring choruses and distorted guitars, while the smoldering rock ballad “Wildfire”features beguiling circular plucky guitars overlying heavy bass. Shredded guitars rule on the catchy, melodic “Bottles” and pulse-pounding “Novels For the New Moon.” The power-ballad “Eyes” is yet another standout track, with changing tempo and chord progressions that create tension. At 3:45, the song appears to end, then abruptly begins again with a reprise of the chorus “I’m building up a way to pay for my mistakes/Don’t forget the stars in your eyes.”
The epic final track, “Monsters Are(n’t) Real,” feels almost like a mini rock opera, clocking in at over seven minutes. The song opens with carnival-like sounds, possibly from a haunted house attraction, and distorted guitars keeping time, then erupts with pummeling bass and fast-paced swirling guitars. The poignant lyrics address the anxieties of growing up and regrets from adult realities and disappointments. The song closes with the chorus “I’m sorry I grew up/I’m sorry I failed.” Some pretty heavy stuff there.
“Genesis” is aptly named, as this album marks the beginnings of a band with great promise. Support Lost in the City by following them on Facebook and Twitter. Stream the album on Spotify or purchase on Amazon, itunes or Bandcamp.
1. TROUBLE – Cage the Elephant (1)
2. HEATHENS – twenty øne piløts (2)
3. ALL WE EVER KNEW – The Head and the Heart (4)
4. CHEAP THRILLS – Sia & Sean Paul (5)
5. BANG BANG – Green Day (8)
6. LIFE ITSELF – Glass Animals (13)
7. BURN THE WITCH – Radiohead (3)
8. GOOD GRIEF – Bastille (7)
9. YOU DON’T GET ME HIGH ANYMORE – Phantogram (10)
10. HYMN FOR THE WEEKEND – Coldplay featuring Beyoncé (11)
11. SEND MY LOVE (To Your New Lover) – Adele (6)
12. WAKE UP CALL – Nothing But Thieves (12)
13. SOMETHING TO BELIEVE IN – Young the Giant (9)
14. SAY MY NAME – (IAM)WARFACE (16)
15. RIVER – Bishop Briggs (17)
16. HARDWIRED – Metallica (N)
17. THE SOUND – The 1975 (20)
18. WAY DOWN WE GO – Kaleo (14)
19. BORED TO DEATH – blink-182 (15)
20. DARK NECESSITIES – Red Hot Chili Peppers (18)
The charismatic new band COUNCIL plays a dynamic style of alternative pop/rock that’s radio-friendly, yet still edgy. Hailing from rural upstate New York, the band consists of three handsome brothers – Patrick, Doug and Andy Reeves. Patrick (bass and lead vocals) and Doug (drums) are twins, and Andy (guitar) is a year younger. The guys are farmers by day, but spend their evenings working on their passion for making music. They’ve recently gained both local and national attention for their high-energy performances, including numerous successful shows in New York City, and opening for bands like The All American Rejects and The Kooks. The guys hope to someday be the headliner band.
They’ve just finished their debut EP, Rust To Gold, under the guidance and assistance of Grammy nominated producer Justin Gray (who’s worked with Mariah Carey & John Legend), 10-time Grammy nominated mixer Mark Needham (Imagine Dragons, The Killers) and mastering legend Howie Weinberg (U2, Nirvana). The result is a well-crafted EP with a polished sound, and Needham’s influence is strongly evident, as COUNCIL’s songs have a noticeable Imagine Dragons vibe.
Rust to Gold features three anthemic songs, characterized by strong percussion, sweeping orchestration and soaring harmonic choruses. While they all have catchy melodies, their lyrics are quite compelling – sometimes intensely so. The title track “Rust to Gold” is a gorgeous rock song about finding your own truth in the world and holding on to what’s important.
“There is something you should know, I’d die before I’d let you go. I work my fingers to the bone to follow the light of this. All the things that we’ve been told, we will never let them go. All the dreams from rust to gold, we will never let them beat us.“
The powerful “All For You” is an emotional expression of regret and sorrow over the pain caused to a loved one, while pledging undying love and devotion. The lyrics are poetic and deep:
“I was doomed from the start, and I held my regrets. I was covered in dark and I wore it like death. Still I got a heart that pounds in this chest. And my closet is full for days. But when your strength is gone, and the lights go grey, I’ll sing your favorite song. I’ll be your hit parade. With every breath I’ve blown I’ve failed a million ways. And everything I own I tore to pieces.“
The track calls to mind Imagine Dragon’s massive hit “Demons.” Here’s a short video of a live performance.
“Rise Above It All” is a beautiful, extremely moving declaration of strength and determination to overcome life’s hardships and challenges.
“For every time I’ve fallen down. For every wall that keeps us bound. For everyone we’ve beaten to the ground, and watched them fade away. For every wrong I couldn’t right. For every sleepless night I hoped and dreamed. For every one, everywhere, every cross I couldn’t bear to watch you leave. But I will not break when all hope is lost. I will be brave and rise above it all.“
All in all, a great debut EP for three talented guys with a bright future in music.
1. TROUBLE – Cage the Elephant (1)
2. HEATHENS – twenty øne piløts (2)
3. BURN THE WITCH – Radiohead (3)
4. ALL WE EVER KNEW – The Head and the Heart (5)
5. CHEAP THRILLS – Sia featuring Sean Paul (6)
6. SEND MY LOVE (To Your New Lover) – Adele (4)
7. GOOD GRIEF – Bastille (7)
8. BANG BANG – Green Day (10)
9. SOMETHING TO BELIEVE IN – Young the Giant (11)
10. YOU DON’T GET ME HIGH ANYMORE – Phantogram (12)
11. HYMN FOR THE WEEKEND – Coldplay featuring Beyoncé (16)
12. WAKE UP CALL – Nothing But Thieves (15)
13. LIFE ITSELF – Glass Animals (17)
14. WAY DOWN WE GO – Kaleo (8)
15. BORED TO DEATH – blink-182 (9)
16. SAY MY NAME – (IAM)WARFACE (18)
17. RIVER – Bishop Briggs (20)
18. DARK NECESSITIES – Red Hot Chili Peppers (13)
19. WOW – Beck (14)
20. THE SOUND – The 1975 (N)
I’m head over heels in love with the astonishingly beautiful album What Comes Around by alternative electronic pop/rock band Matto Rules. The album, which dropped in May 2016, is a sonic masterpiece of lush electro-synth chords, sleek guitars and gorgeous vocals. I think it’s one of the best albums of 2016, with 11 superb tracks – any one of which could be a hit single!
Hailing from Bern, Switzerland, the band’s name was inspired by Matto, the insane ghost and fictional ruler of a psychiatric clinic portrayed in Swiss author Friedrich Glauser’s pulp crime novel In Matto’s Realm. But there’s certainly nothing insane about Matto Rules, except to say their music is insanely awesome! The band told me they thought Matto was a good metaphor for the atmospheric and psychedelic touch of their music.
Matto Rules consists of frontman and lead vocalist Lorenzo Bonati, bassist Fabian Baer, drummer Thomas Blanchat and lead guitarist Pascal Glauser (no relation to the author). The band recorded their first single “All Over” in 2012, then released a follow up double-sided single “Syd” in 2013, followed by a four-song EP “Lonely Cat” later that same year. Through that early music, the band gained a fan base and rave reviews as they toured around Switzerland and Europe.
Wanting a more polished sound for their new album, the band enlisted Chicago producer and sound engineer Ben Treimer (who’s worked with MUTEMATH and Emmylou Harris, among others), and the result is the stunning What Comes Around.
The first single, released prior to the album in November 2015, is the mesmerizing, psychedelic-tinged “Crystal Bay.” This gorgeous song seemingly floats on water. Shimmering guitars and smooth electronic synths, along with Bonati’s captivating vocals and airy backing vocals by Monica Gibbs, all serve to create an ethereal, atmospheric mood. The heartfelt lyrics address the wish to overcome a painful, addictive relationship:
“My flesh is strong, my will is weak. Insanity rushing in, swelling over me. I need to get away, clear my mind and let my world sink in to Crystal Bay, just want to fade away. I’m off to detox, off to detox for a day. I’m off to detox, off to detox once again.”
The rather dark video – which contains footage of images of various objects artistically tied together symbolizing trash, a man driving a motorboat that’s towing pool floats, Bonati dressed in a colorful patterned suit paddling a raft, and the trash burning on the shore – was filmed at beautiful Lake Lucerne.
The first track on the album and second to be released as a single, “Tonight” is a sweeping, joyously upbeat synth-pop tune that’s as exhilarating as it is beautiful.
“Let’s outrun all of our troubles, like we did when we were young. 808’s until the sun’s up, tomorrow it will be the same. But we’re here tonight.”
We’re introduced to the song by Bonati’s sublime vocals accompanied by gentle synth chords, then hammering drums and swirling guitars rain down in a cascade of rich synthesizers, all held together by a thumping bassline. It’s so gorgeous I don’t want it to end.
The fascinating, clever video shows the band playing the song in a series of traffic circles at night, with the camera panning around them. A woman driver circles them in her car, taking photographs she later uses to create artistic geometric images on her computer that are then superimposed on the traffic circles.
“Somewhere Else” keeps the energy flowing with a driving, synth-fueled beat and chiming guitars that shred at just the right moments. The song has a decidedly 80’s feel, which is why I love it. The pace slows a bit with the melodic, synth and bass-heavy “Alive,” with its beautiful harmonizing vocals. Synthesizers rule and guitars sing in the Depeche Mode-esque tracks “Let it Rain,” “In the Agency” and “Sleeper.” Bonati’s vocals in these tracks are so damn good! Well, truth be told, they’re damn good in every single song.
The lovely, melodic ballad “Caveman” is one of my favorite tracks on the album. Gentle percussion, beautiful piano and captivating guitar riffs make this song soar to the heavens. Another awesome track, “Monster,” has a bit of a Tears For Fears vibe, and really showcases Bonati’s impassioned vocals: “I feed a monster, in my unconscious. From time to time, it gets the best of me. Growing stronger everyday. I feel it’s time to let you hunt. I’ll drive you out, my little monster.”
The parade of gorgeous songs continues with the lush, synth-rock “Evil Eyes.”
“Let’s seal the contract. Engrave it with a promise. Denial will be useless. I’m always close behind. Show me your pain, and I will give you an escape. There is another path that you can take.”
The album closer “New Beginning” is a hopeful, psychedelic-infused anthem that’s the perfect ending to a perfect album.
I turn my Artist Spotlight back to New Zealand for a look at the outstanding alternative rock band DarkWater. They formed in 2009 as a four-person band, but are now three, with founding members Nathan Waipouri (lead guitar and vocals) and Merran Dixon (bass and backing vocals), and Ross Kilgour (drums) who joined the band in 2012.
DarkWater released their first EP in 2010, first full album in 2012, and another EP in 2014, all to critical acclaim. Their latest album – You’re only as addicted as you’re willing to be – dropped in May 2016, and it’s a stunning collection of kick-ass rock songs, many with a psychedelic vibe and featuring complex arrangements, multi-textured heavy guitar riffs, powerful drums and crashing cymbals. Waipouri’s raw vocals call to mind Ian Anderson of Jethro Tull and – to my ears, at least – DarkWater’s music seems influenced by Jefferson Airplane, Jethro Tull and Cream, albeit updated to today’s rock sensibilities.
The album opens strong with the superb “The Old Town of Visoki,” a sonic-boom of a track with furious guitars, accompanied by Waipouri’s raw, snarling vocals and Kilgour’s hammering drums. “A Little Time” and “Numbered” keep the energy flowing with dazzling guitar riffs, strong percussion, and more of Waipouri’s urgent vocals.
The standout track “Animal Mind” serves up more killer, multi-layered riffs, thumping bass, pulse-pounding drums, crashing cymbals, and Waipouri’s impassioned vocals – backed by Dixon’s own beguiling vocals – singing some pretty compelling lyrics:
“I sometimes sit here and wonder why I’m alive, those thoughts from a whisper, that voice from inside. No seas of confusion that set us aside, from words of the wounded sad lullaby. Hard times, no pride.”
The late-60’s psychedelic rock vibe is strongly evident in “Paradox,” “Melee,” “A Murder of Crows,” and “Caution in a Jar,” with slightly distorted but melodic guitars, and intertwining harmonic vocals. Here’s a video of a live performance of “Caution in a Jar” at the indie underground club Lovelands last May.
“Only You” is another awesome track. It starts out with a nimble guitar riff and gentle drumbeat, then gradually builds to a bombastic climax of pummeling guitar riffs, more of Kilgour’s formidable drums, and powerful soaring vocals. This is my favorite song on the album.
Another of my favorites is the highly melodic “Harmonic Tinker Toys,” featuring more of DarkWater’s amazing signature guitar riffs. Holy hell, Waipouri and Dixon sure do coax some magnificent sounds from their guitars!
The remaining tracks “Astray,” “Cleverywhere,” and “Right Here” are all very good, with more of those impressive guitars, so there’s not a single forgettable or throwaway song on the album.
