There’s so much great music out now that it pains me to have to limit this week’s chart to only 30 songs. The gorgeous duet “Northern Attitude” by Noah Kahan and Hozier holds onto the top spot for a second week, while The Black Keys‘ “Beautiful People (Stay High)” moves up two spots to #2. The biggest upward mover again this week is “Neon Pill” by Cage the Elephant, leaping 10 spots to #4, and entering the top 10 are “The Tower” by Future Islands and “Mother Nature” by MGMT. Another big upward mover this week is the delightful “My Golden Years” by The Lemon Twigs, jumping six spots to #16.
Three stupendous songs make their debut this week. The first, entering at #28, is “I’m in Love” by Jelani Aryeh, a remarkably talented young Filipino/African-American singer and songwriter from San Diego I recently learned about from fellow blogger K.F. Hartless (who has a wonderful blog Yard Sale of Thoughts, in which she pairs her outstanding poetry with specially selected songs). Aryeh’s music is a glorious blend of indie rock, R&B, hip-hop, pop and experimental sounds, and I fell in love with his infectious song the moment I heard it. The second debut, coming in at #29, is the heartwarming “Find My Way” by L.A.-based duo ShipsHave Sailed (which I reviewed last month). It’s their sixth song to appear in my Top 30. Finally, we have “Everything We Need” by Southern California duo Mojave Grey, entering at #30. Based in Joshua Tree and consisting of Zander Bleck and Michael Pozzi, they play a captivating and sophisticated style of electronic music they call Desert Minimal Rock, drawing inspiration from such electronic dance acts as RÜFÜS DU SOL and Bob Moses.
Today I’m pleased to present an act that’s new to me – Dublin, Ireland-based indie rock band Fruitz. Originally formed as a four-piece in late 2017, they quickly established themselves as one of Ireland’s most exciting live bands, and in 2018, released their marvelous grungy debut single “Knotz”. They followed a year later with “U&I” and “Girl Around the Corner”, then “Daydream” in January 2020. We all know what happened next, but the band used their down time to record new music, dropping more singles and their excellent EP The Pits and the Glamour, in 2021. During that time, they also reduced down to a trio consisting of James Keegan on guitar and lead vocals, Adam Whelehan on bass and backing vocals, and Jacqueline Campion on drums. From what I’ve been able to determine from their various social media accounts, Campion eventually left the band, and by early 2023, they became a duo consisting of Keegan and Whelehan.
James Keegan and Adam Whelehan
In May 2023, they came roaring back with their beguiling single “Visions of You”, and now return with a terrific new single “Man On Fire“, which dropped yesterday, February 16th. For the recording of the single, the guys rejoined forces with engineer Cian Synnott, who they’d previously worked with on their debut EP The Pits and the Glamour and the single “Visions of You”.
About “Man On Fire”, Keegan explains “This is a statement release from us; it is the start of a new chapter for Fruitz. ‘Man On Fire’ is a perfect example of our sound and our vision. It’s a fairly old tune now; I wrote this in 2020 the day after we supported Louis Berry. ‘The tune actually came from the name of the tour he announced that day, ‘The Man On Fire Tour’, and it kind of just stuck. Musically as well you may hear his influence. The timing to release this song just felt right, it’s a proper indie banger.” Whelehan adds: “This new song encapsulates lively rock guitar sounds, Punchy bass lines and a driving drum progression.“
The guys get right down to business, as the song charges through the gate with a barrage of roiling guitars, humming bass and smashing drumbeats. Keegan’s layered guitar work is outstanding as he delivers an exhilarating mix of beautiful twangy notes and soaring reverb-soaked riffs that give the song a strong Kings of Leon vibe. Throughout, Whelehan keeps the driving rhythm moving forward with an intricate but powerful bass line, accompanied by thunderous percussion that never lets up. Keegan has an arresting singing voice that’s perfectly suited to the dynamic instrumentation, as he fervently sings of struggling to figure out where he stands with a woman he’s strongly attracted to. It’s a proper banger indeed!
Though Chicago-based power pop trio The Heads Up officially formed in the summer of 2022, its roots go back nearly two decades earlier, when Jack Ruggiero and James O’Connor began playing music together at the age of 13 while still in middle school. Now in their early 30s and wanting to become a serious band, they enlisted the help of their friend Colin Dill and The Heads Up was born, with Ruggiero on guitars, lead vocals and backing instruments, O’Connor on bass and Dill on drums. Dill also plays drums for rock band The Million Reasons (who I’ve previously written about on this blog), as well as cover band Dad’s Night Out.
Jack, Colin & James
Influenced by acts ranging from Vampire Weekend to the Police to R.E.M., Ruggiero says their aim is to play energetic live songs that are both catchy enough so people at a bar could sing along and enjoy, even if they were hearing them for the first time, yet still interesting enough that they wouldn’t be bored by the simplicity. “The idea is to let loose, have fun and make it memorable” – all worthy goals in my book!
They released their debut EP Eponymous! on December 29th, featuring three delightfully catchy tracks that most assuredly achieved their mission. Now, only seven weeks later, they return with a second EP So Obvious, once again featuring three great tracks dealing with relationships that have run their course.
Things kick off with the title track “So Obvious”, and the Vampire Weekend influences are quickly apparent as our ears are treated to a colorful flourish of Ruggiero’s plucked, twangy and shredded guitars, accompanied by O’Connor’s funky bassline and Dill’s rapid, thumping drumbeats. The song has an enthusiastic, high-energy vibe, in sharp contrast with the more serious lyrics about an unpleasant person who’s highly judgmental of others yet cannot handle criticism of her many shortcomings, and always playing the victim to get her way: “Never understated. Constantly degrading. You’re always gonna get your way /Well you weaponized your pride it’s so insidious. The Hermès on your wrists a bit oblivious. And you know you’re gonna play that part again, yes you know you’re gonna play that part again. Oh you’re gonna play that part again, it’s so obvious.“
“Sour Grapes” opens with Dill’s emphatic drumbeats, which are soon joined by Ruggiero’s stabbing guitar before things settle into an upbeat and pleasing cadence in the verses, punctuated with sweet twangy guitar notes. Though it runs only 3:12 minutes, the song is a musical tour de force, with multiple tempo changeups, highlighted by some brilliant little guitar solos and drum flourishes. Ruggiero’s animated vocals are terrific, rising and falling with the music as he tells a romantic partner he’s done with her: “Shove me out the way. I will not complain. Lying lonely sad and sober. Me at the buffet, eating sour grapes. Really I’m so glad it’s over.”
And on “Alright”, Ruggiero confronts someone in denial about a negative situation: “Never understood when you said it’ll be alright. So I never trust a word when you say it’ll be alright. Just a bit disturbed that you said it’ll be alright. When you knew it never would but you said it’ll be alright.” I love the song’s lively, almost frantic groove, punctuated by swirling guitars, thumping bass and smashing drums.
So Obvious is a terrific little EP, and despite its rather bleak subject matter, it’s a fun, light-hearted romp from start to finish. I’m really enjoying the two EPs released thus far by The Heads Up, and can’t wait to hear what they have up their collective sleeves.
And here’s the EP on YouTube:
The Heads Up will be performing their new songs at Snüzfest this Saturday night, February 17th at the Beat Kitchen Bar in Chicago. Get your tickets here.
Based in South London, England, Oli Barton is a wildly creative and exceptionally talented singer-songwriter, not to mention a dangerously charismatic charmer. Though I’m sorry to say I’ve never had the pleasure of seeing him perform live (him being in the UK and me 5,500 miles away in Southern California), he’s gained a reputation for his wild, uninhibited live shows that Reyt Good Magazine describes as “straight from indie heaven”. Barton has supported such acts as Kid Kapichi, Baxter Dury and Starsailor.
I’ve been following him for seven years, both as front man of his backing band the Movement, and now as a solo artist, and have featured him many times on this blog. (You can read some of those reviews by clicking on the ‘Related’ links at the end of this post.) His eccentric yet sophisticated style of alternative rock is a colorful mix of post-punk and psychedelia, fortified with touches of funk, grunge and pop, and I can state without exaggeration that I’ve loved every single one of his songs. Five of them have appeared on my Weekly Top 30 charts – the provocative 2017 single “Kinky”, which went all the way to #1, as well as “44”, “Martyr”, “Just Like Always” and, most recently, “Paid Off”, all of which reached the top 5.
It’s always a good day when Barton releases new music, and I’m thrilled to present his latest single “It’s Over Now“, released today via Coke & Dagger Records. For the song’s recording, Barton was joined by Jamal Aggoun on guitar, Marco Fuzz Paone on bass and Josh Needham on drums. Produced by Alex O’ Donovan (Sea Girls) and mixed by Cenzo Townshend (Inhaler), the song is an exuberant piece of indie-pop ear candy, with a lively blend of crunchy and shimmery guitars, fortified by deep thumping bass and propulsive drumbeats layered over a rousing, infectious groove. Or, to put it more simply, this song fucking rocks!
I always love Barton’s distinctive, resonant singing voice and rich accent, which he uses to full effect here as he plaintively implores to a romantic partner, asking if what they once shared is truly over, or if there’s still any chance of reconciliation: “Would you say that it’s over now, or should I wait? Would you say that it’s over now, is it too late?Should I stay?”
About the song, Barton says, “it’s in the whole world of teenage heartbreak and social media; the way that jealousy gets inside us and really makes us into a whole different person and perhaps distorts the decisions we make“, which he nicely articulates in the lyrics “So now I’m spending night times tracking down precise times. I’m addicted to my screen. I see you follow him and you follow her, and it all just seems so clean. But then you drop a like, and well it don’t seem right, and I’ll just sit there green.”
This morning, I read a post about Aretha Franklin’s cover of “Spanish Harlem” by my fellow blogger Randy (who writes a terrific blog Mostly Music Covers), and it made me realize that I’ve never written about the legendary Queen of Soul on this blog. I’ve decided to remedy that sorry situation by featuring my all-time favorite Aretha Franklin song, “Until You Come Back to Me (That’s What I’m Gonna Do)“.
The song was written by Morris Broadnax, Clarence Paul, and Stevie Wonder and originally recorded by Wonder in 1967, however, his version was never released as a single and did not appear on an album until his 1977 anthology Looking Back. Franklin recorded the song in 1973, backed by Atlantic Records session musicians known as the Arif Mardin Orchestra (Mardin was a VP and producer at Atlantic from 1963-2001), one of whom was the late, great Donny Hathaway, on electric piano.
“Until You Come Back to Me (That’s What I’m Gonna Do)” was released in November 1973, and later included on her 20th studio album Let Me in Your Life. It became a big hit for Franklin, reaching #1 on the Billboard R&B chart and #3 on Hot 100 chart in early 1974. It ultimately ranked #11 on Billboard’s year-end list for 1974, and #4 on mine.
I was a nerdy 19-year-old when the song came out, and it was love at first listen. I adore that opening piano riff, the wonderful lilting flute and exuberant, breezy melody. Franklin’s vocals are marvelous, going from a pensive croon to passionate wail as she sings of missing her man and desperately wanting him to come back to her. I bought a lot of 45 singles back then, so of course had to have this in my collection. I still have my copy 50 years later:
Though you don’t call anymore I sit and wait in vain I guess I’ll rap on your door (Your door) Tap on your window pane (Tap on your window pane) I wanna tell you, baby Changes I’ve been going through Missing you, listen you
‘Til you come back to me that’s what I’m gonna do
Why did you have to decide You had to set me free? I’m gonna swallow my pride (My pride) I’m gonna beg you to please, baby please see me (Baby, won’t you see me?) I’m gonna walk by myself Just to prove that my love is true, all for you baby
‘Til you come back to me that’s what I’m gonna do
Living for you, my dear Is like living in a world of constant fear Hear my plea (Hear my plea) I’ve gotta make you see (Make you see) That our love is dying (Our love is dying)
Although your phone you ignore Somehow I must, somehow I must, somehow I must explain I’m gonna rap on your door (Your door) Tap on your window pane (Tap on your window pane) I’m gonna camp by your steps Until I get through to you I’ve got to change your view, baby
‘Til you come back to me that’s what I’m gonna do
‘Til you come back to me that’s what I’m gonna do
‘Til you come back to me that’s what I’m gonna do
I’m gonna rap on your door (Tap on) Tap on your window pane (Tap on) Open out baby, I’m gonna rap on your door (Tap on) Tap on your, tap on your (Tap on) Tap on your, tap on your window pane (Tap on your window pane)
Over the past year, Vermont-based singer-songwriter Noah Kahan exploded onto the music scene after seven years in the business on the strength of his third album Stick Season. Thus far, the album has generated three hits, including the title track, “Dial Drunk” and “Northern Attitude”. Written during the COVID-19 pandemic, Kahan describes the album as a “love letter to New England.” “Northern Attitude”, which he co-wrote with producer Gabe Simon, addresses what he calls his “northern attitude”, the stereotypical perception that folks from Northern New England can be reserved or even a bit cold, thanks to the “harsh winters that toughen up the locals, with the added challenge of enduring long dark New England nights”.
Kahan teamed up with Irish singer-songwriter Hozier to release a new version of “Northern Attitude” on November 10, 2023, and it’s a match made in heaven! According to Songfacts, the two got to know each other when they both performed at the Iron Blossom Festival at Monroe Park in Richmond, Virginia, in late August 2023, and first performed this song together during a show in Nashville in October. Kahan was thrilled with the harmony Hozier brought to the chorus. “That song was recorded so quickly that we didn’t really have a ton of time or the ability, really, to go back and change a lot of it,” he explained to American Songwriter. “So having the harmony there kind of filled it out a lot. In some ways I feel like his voice lends itself to a specific feeling that maybe mine didn’t. Like, it’s more tender and forgiving in some parts but also more powerful and angry.“
It’s an exuberant Americana song in the style of early Mumford and Sons, and I just love that vibrant banjo and the guys’ gorgeous soaring harmonies. The song has spent several weeks at #1 on the Billboard Adult Alternative Airplay chart and is now #1 on mine.
In other chart developments, “Beautiful People (Stay High)” by The Black Keys climbs four spots to #4, the defiantly boisterous “Blame Brett” by Toronto-based indie rock band The Beaches (which is based on the breakup of lead singer Jordan Miller and Brett Emmons from The Glorious Sons) and the hauntingly beautiful “Winter Cowboy” by English singer-songwriter Frank Joshua enter the top 10. The biggest upward mover this week is “Neon Pill” by Cage the Elephant, leaping 15 spots to #14. Making their debut are two songs I recently reviewed: “Bicycle Away” by Brooklyn, New York-based singer-songwriter Sam Rappaport, his third song to appear on my Weekly Top 30, and “Kool Aid Blue” by wonderfully-named Vancouver, Canada-based jangle pop band The Sylvia Platters.
Today I have a terrific new dance single to share with my esteemed readers – “Dream Tonight“, a collaboration by British artists The Ocean Beneath and Liz Mann that dropped yesterday, February 9th.
The Ocean Beneath is the music project of Leeds-based electronic musician, composer and producer Matt Burnside. Influenced by bands such as Gunship, HVOB and Talk Talk, he combines 80’s synthpop elements with modern recording techniques, analogue synthesizers and huge melodic grooves to create music that sounds retro, yet fresh. Like many electronic artists, he often collaborates with other musicians and vocalists, and has released a substantial amount of outstanding music, some of which I’ve reviewed previously.
Liz Mann is a silky-voiced synthpop artist from Manchester who, in her own words, “mixes 60s pop melancholy with a synth-based vintage style”. Thus far, she’s released two wonderfully sultry singles, “Chocolate” in 2022 and “COOL” in 2023.
As is typical with The Ocean Beneath’s collaborations, he composed the music and beats and produced the track, while Mann wrote the lyrics and sang vocals. The track was mastered by Tony Dixon, with additional vocal production by Grant Henderson. The beautiful single artwork was conceptualised by Jack Loxham.
About the song, Liz explains “I’ve been such a big fan of The Ocean Beneath’s work since he remixed Purple Thread’s track ‘Something Good’ a few years ago. So this was a special collaboration in the making. It’s a bit of a departure from my usual sound, but we hope you’ll join us on a dark disco pop journey through the realms of dreams and desires, exploring the yearning to connect with a special someone in the ethereal landscapes of the subconscious mind.”
I’m a sucker for dance music of all kinds, so “Dream Tonight” fills the bill quite nicely. I love the hypnotic, thumping dance groove and enigmatic synths, punctuated by spacey and funky flourishes that call to mind some of the great 70s euro-disco music by artists like Cerrone and Alec Costandinos. Mann’s sensuous vocals perfectly complement the track’s dark and sultry soundscape as she croons, “Come close to me, come close to me, want you in my dreams tonight.”
Today I’m pleased to present Canadian singer-songwriter Danté Ravenhearst and her enchanting debut single “Asphalt“. Born and raised in Kawartha Lakes, Ontario and currently based in Toronto, Danté is also a scientist and conservationist. Her pleasing style of alternative folk draws from classic country, traditional folk, Americana, soft rock and jazz elements, which she delivers with thoughtful, compelling lyrics and warm, comforting vocals.
Photo by Sam Keravica
Recorded in November 2023, “Asphalt” was a labour of love and friendship between Ravenhearst and a group of close Toronto and Hamilton-based session musicians who helped bring her beautiful song to life. For the recording of the song, Ravenhurst played acoustic guitar and sang vocals, Ben McWebb played organ, Kurt Van Bendegem played lead guitar, bass and sang backing vocals, and Jonathan Horvath played drums. The track was produced by Matt Fasullo, who also sang backing vocals, and engineered by David Worthen.
The song is a stunning feast for the senses, with vibrant twangy guitar notes, throbbing bass and shimmery percussion layered over a somber organ riff, all coming together in glorious alchemy to create a mesmerizing backdrop for Ravenhearst’s captivating vocals. As the song progresses, the music builds to a soaring cinematic crescendo while her vocals overflow with passion, leaving me covered in goosebumps.
Ravenhearst shared her thoughts about her inspiration for writing the song: “I am really entranced by the correlation of loss between our emotional and physical spaces and the mourning that comes with that. ‘Asphalt’ is about searching for a connection that existed in a world that physically no longer exists. Its question “Where are you? Where are you?” hauntingly chanted to the listener, is only asked and never answered.“
On February 3rd, I saw alt-rock band Portugal. The Man at the wonderful art deco Fox Theater in downtown Pomona, California. A mid-sized city located 30 miles east of downtown Los Angeles, Pomona has a thriving art scene, with numerous venues for live music. (I’ve seen local bands play at a couple of smaller clubs, and in 2022, saw Two Feet play at the Glass House.)
I’ve never seen Portugal. The Man in concert before, and when I learned they were playing a show in Pomona, a shorter drive and infinitely more convenient location than L.A., it was a no-brainer for me to buy tickets to see them. They’re one of the few major bands who follow me on Twitter (now X), so I have a special fondness for them. The show I attended was the second night of their nationwide Winter of Summer Luv Tour, which began the previous night in Del Mar, and will end in Washington, D.C. on February 24th. Supporting them on this tour is Philadelphia-based dance funk collective SNACKTIME. (Portugal. The Man are playing two shows in Mexico in mid-March, then on May 1st, embarking on what they’ve dubbed The Knik Country Tour, which will run through July 17.)
For those unaware, Portugal. The Man was formed in 2004 in Wasilla, Alaska by John Gourley, Zach Carothers and three others. They eventually relocated to Portland, Oregon, where the band is still based. Over the years, they’ve experienced several changes in lineup, and now consist of founding members Gourley and Carothers, along with Kyle O’Quin, Eric Howk and Zoe Manville. Additional touring members include Kirk Ohnstad, Redray Frazier and Vincent LiRocchi.
Photo by Maclay Heriot
They’ve released nine studio albums, their latest of which, Chris Black Changed My Life, was released in July 2023. (Inspired by and dedicated to the band’s longtime friend Chris Black, who died in May 2019, the album chronicles the band’s turbulent few years following the runaway success of their monster hit “Feel It Still”, during which time there was a global pandemic, Gourley suffered from a broken jaw, his and Zoe’s daughter Frances was diagnosed with a rare neurodegenerative genetic disease, and Howk, Carothers and O’Quin all battled different addictions.)
They’ve won numerous awards, including a Grammy in 2018 for Best Pop Duo/Group Performance for their single “Feel It Still”. That song is their biggest hit, reaching #4 on the Billboard Hot 100 and #1 on the Alternative Songs chart, where it spent a record-breaking 20 weeks on top. It’s also my favorite song of 2017, and ranks #6 on my Top 100 Songs of the 2010s list.
Portugal. The Man have engaged in political activism and philanthropy in a variety of forms over the years, supporting environmental, animal rights, social justice and progressive political causes, voting rights, and the needs of Native American and indigenous peoples, among other things. In 2020, they founded the PTM Foundation, a non-profit charitable organization primarily focused on funding causes related to Indigenous peoples’ communities. The organization also aims to work toward the improvement of mental health issues, environmental issues, disability rights, and human rights through advocacy, philanthropy, community involvement, and increased awareness. With that in mind, they had Xochimilca artist and activist Xiuhtezcatl Tonatiuh open the show, performing a few of his songs accompanied by a guitarist.
Philadelphia-based band SNACKTIME took to the stage at around 8:15, whereupon they treated us to their high-energy style of music that’s a happy blend of soul, funk, punk, jazz, hip-hop, and R&B. With their exuberant brass-heavy sound, which includes a trumpet, trombone, two saxophones and a Sousaphone, they’re sort of like Earth, Wind & Fire with a bit of James Brown and Parliament thrown in for good measure. They performed for approximately 40 minutes, and with their engaging, playful delivery, were a lot of fun to watch and hear.
According to their bio, the seven-piece act formed “during the height of the pandemic, and began performing free shows that combined their love of music, food, and togetherness in Philadelphia’s Rittenhouse Square. They quickly amassed huge crowds and became a symbol of positivity and lockdown release, while showcasing the richness of their city’s musical history and community. This progressed to sold-out headlining shows, curation of neighborhood festivals, multiple appearances at Philadelphia 76ers halftime shows, and slots at major music festivals.” Following their tour with Portugal. The Man, SNACKTIME is set to appear at SXSW in Austin, TX, and plans to tour extensively for the remainder of the year.
Portugal. The Man member Eric Howk appeared on stage shortly after 9:00 pm and spoke briefly of his love of playing in the band and recalled some fun times spent performing at other venues in Pomona. He was then joined by the rest of the band, who quickly got down to business with a rousing medley of “Dopesmoker”, “Heart of the Sunrise”, “Heavy Games” and “Bellies Are Full”. Without missing a beat, they immediately launched into “Grim Generation”, from Chris Black Changed My Life. For the next two hours, they played nearly non-stop, without breaks between songs save for one moment when a group of Native Americans from a tribe near San Diego came on stage to perform a sacred song.
Throughout Portugal. The Man’s set, SNACKTIME joined them on a number of songs, adding their lively brass textures and infectious energy to create a truly exhilarating and enjoyable 90slive experience. My only criticism of the show is that the lighting was often dim during Portugal. The Man’s performance, making it difficult at times to see the painfully shy Gourley, who wore both a ball cap and hoodie, and his co-vocalist and wife Zoe Manville, who stood front and center throughout their set. Nevertheless, I was struck by how hard they rock in their live performances, exuding a palpable sense of love and joy. And the sound and production qualities were really outstanding.
After performing 23 songs, they stopped for a touching tribute video for Chris Black and John & Zoe’s twelve-year-old daughter Frances, who’s afflicted with an extremely rare genetic mutation of the DHDDS (Dehydrodolichyl diphosphate synthase) enzyme, which has only been diagnosed in six people worldwide. They then closed the show with spirited renditions of their two biggest hits “Live in the Moment” and “Feel it Still”, both from their 2017 album Woodstock. They quickly exited the stage afterwards, with no encore.
Portugal. The Man Setlist:
Dopesmoker / Heart of the Sunrise / Heavy Games / Bellies Are Full
Sivan Levy is a multi-faceted Queer Israeli artist currently based in Tel Aviv, who’s not only a talented singer-songwriter and musician, but also a successful actress and filmmaker. She’s starred in several highly acclaimed films and television series, earning multiple awards for her exceptional work. Her latest film, My Daughter My Love, written and directed by Eitan Green, premiered last summer at the prestigious Jerusalem Film Festival. Also last summer, in June, Levy released a beautiful EP side:s, her first music release since her self-titled three-song EP in 2015. The EP features six captivating tracks written and sung by her, one of which, “Jacaranda”, received a special live performance that was captured in a lovely video. Levy released that video last August, which I featured on this blog (you can read my article about it here).
Now Levy returns with a new EP side:w (‘w’ is for winter, whereas the ‘s’ in her previous EP side:s represented summer). Continuing the journey that began with side:s, side:w takes us on an emotional rollercoaster through the human psyche with introspective songs exploring relationships, love and loss, and emotional well-being, served up with dreamy and often dramatic instrumentals and Levy’s arresting ethereal vocals. Like side:s, side:w was recorded and co-produced by Levy and Yoav Rosenthal, who also played guitar and bass, handled programming, and sang backing vocals. Levy played piano and keyboards, Giori Politi played drums, percussion, and programmed beats, Maya Belsitzman played cello, and Yael Enosh played additional synths. Mixing was done by Nicolas Vernhes.
The EP opens with “Forgot“, a haunting song mourning the dissipation of a once-torrid love affair. Starting off with rather unsettling scraping sounds accompanied by a gentle pounding drumbeat, the music gradually expands into a mysterious, darkly beautiful soundscape, whereupon Levy softly laments of her memories of what it felt like to be in love, feelings she no longer shares: “I got used to breathing on my neck. To the warmness that caresses all night long. To mornings full of joy or fight or silence. My love had faded through the years, and I forgot, oh, everything. I’m just a rock inside a sea, that’s waiting floods to be.” The piano and cello are particularly affecting and along with the airy synths, create a gorgeous backdrop for Levy’s enchanting breathy vocals. By song’s end, Levy asks whether life is worth living without love: “And there’s no one in my mind. And I’m in no one’s mind. Am I alive when I’m not loved? When I can’t love no more.“
On the equally haunting and cinematic “Kick Off“, Levy sings of not allowing fears and self-doubt to keep you from living your life to the fullest: “I will not run I won’t get scared. I will stay here and I’ll breathe / Kick-off that voice in your head that just judge and judge and judge and judge and suddenly, you’ll see how the green is greener. How the blue is bluer.” The lovely video utilizes AI-generated imagery to great effect.
The captivating “My Far Away Femme” seems to touch on a brief romantic encounter, and how the other person’s idealized image and adoration of you is not based in reality – a sentiment I’m afraid I’ve fallen victim of more than once: “My far-away femme. You see someone in your sleep, and you’re in love with her completely. She’s everything you’re dreaming. Your fantasy (does not exist). And this someone has my face and has my body. This someone has my eyes and has my voice. But this someone who’s so present in your head is so far away from being me. Your fantasy (does not exist).”
“When the Winter’s Coming In” is an achingly beautiful and emotionally powerful song, and I may be way off, but my take on its meaning is that it seems to be about coming to terms with one’s eventual passing from this earth, with winter a metaphor for the end of life. There is no despair, only acceptance and a hope of being reborn in another life. Levy’s vocals are appropriately chilling as she plaintively sings “When the winter’s coming in, no, I will not miss so much. Everything that’ll never be, I will be enough. Wild sky. Smoking velvet, brutal pink. Pure me up and bare me down. Rebirth me, please.“
On the melancholy “Steams“, she remorsefully sings of a love affair that now appears to be broken beyond repair, and my guess is that steam signifies feelings of suffocation in a toxic relationship: “The air got thicker in the room. The steams have nowhere to get clear / I didn’t think we’d dare to leave the maze we’ve built in so much pain. You were so brave to rip the chords and breathe me into air. Our eyes are empty. There’s nothing left of us. Everything is, Everything is over now.” And on the captivating closing track “Silent Legs“, Levy sings of searching for solace in the tempest of life, and our tendency to want to wall ourselves off in order to avoid being hurt and subjected to pain: “Now you’ve found how to build that wall around you, you can’t get hurt, you can’t get hurt anymore. Silent legs, silent eyes. Your heart made too much noise.” The mournful cello and atmospheric synths create a doleful but lovely backdrop for Levy’s haunting, emotive vocals.
side:w is an exquisite, brilliantly executed work of almost surreal beauty. With a run time of over 29 minutes, and such deeply impactful and breathtaking soundscapes and vocals that take us on an enthralling sonic journey, it feels more like a full album than an EP. Sivan Levy and company should be very proud of what they’ve created here.
ECLECTIC MUSIC LOVER 