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.
American genre-bending singer-songwriter Teddy Swims, whose sound has been described by Aaron Williams of UPROXX as “Post Malone singing Lenny Williams or Jelly Roll doing Teddy Pendergrass”, takes over the top spot this week with his blistering torch song “Lose Control”. With his impassioned vocals, the soaring orchestrals and that wailing guitar solo, I get chills every time I hear it. Born Jaten Collin Dimsdale in Conyers, Georgia, the gruff-voiced artist mixes R&B, soul, country, and pop to create his own unique sound that’s earned him over 26 million monthly listeners on Spotify alone. Released last June (of 2023), “Lose Control” has been a bit of a sleeper hit; now in its 24th week on the Billboard Hot 100, the song is currently at its peak position of #4, and also ranks #2 on the Adult Alternative Airplay chart. Thus far, it’s been streamed more than 221 million times on Spotify. The song is from his debut album I’ve Tried Everything but Therapy (Part 1), which dropped last September.
Mr. Swims isn’t the only “swim” act on this chart, as the enchanting dream pop gem “All I Die For”, by Canadian indie rock band SWiiMS, moves into the #2 spot. “Northern Attitude”, by Vermont singer-songwriter Noah Kahan and Irish singer-songwriter Hozier, jumps five spots to #4, and “Beautiful People (Stay High)” by The Black Keys leaps 14 spots to enter the top 10 at #8.
Two songs make their debut this week. Entering at #29 is “Neon Pill” by Nashville-based Cage the Elephant, their first new music in nearly three years. They’re one of my long-time favorite bands, so I’m thrilled to hear new music from them. Coming in at #30 is “Diamond and the Missing Son” by Northern Ireland alt-rock band Unquiet Nights, which I reviewed last month. The song is from their third album Seasons in Exile, which dropped January 19th.
LOSECONTROL – Teddy Swims (2)
ALL I DIE FOR – SWiiMS (5)
THE AMERICAN DREAM IS KILLING ME – Green Day (1)
NORTHERN ATTITUDE – Noah Kahan feat. Hozier (9)
WHAT NOW – Brittany Howard (3)
MODERN GIRL – Bleachers (6)
NOTHING MATTERS – The Last Dinner Party (8)
BEAUTIFUL PEOPLE (STAY HIGH) – The Black Keys (22)
Los Angeles-based alternative electro band MACHINEKIT play a dark and aggressive style of techno-punk music they aptly describe as “an agglomeration of chaos”. Kind of like Nine Inch Nails on steroids. Originally founded as Dharma in 2012 by John Rojas, Dave Cayetano and William Buege, as their sound evolved they changed their name to MACHINEKIT, and in 2017, released their self-produced debut album Dysappearencer. They followed up with two EPs and several singles, and in 2022, dropped their second album I AM JACK’S LONELY HEARTCLUB BAND, a brutally dark yet strangely beautiful and sexy collection of songs Rojas wrote to help articulate his feelings of boredom, loneliness and coming to terms with inner demons that surfaced in response to the Covid lockdown (you can read my review here). After the album’s release, the band experienced a bit of tumult that resulted in some changes in personnel, and their lineup now consists of founding members Rojas and Buege, along with Ryan Janke on drums, Alexander Gillen on guitar and Jeremey Trujeque on bass.
(Also in late 2022, Rojas, who in addition to being a singer-songwriter, is also a sound engineer, producer, multi-instrumentalist and writer, started recording music as a solo artist in order to further explore his love for electronics and composition. Thus far, he’s released instrumental-only music in the form of two EPs, IN THE THICK OF IT, followed by Amongst The Glass Trees, which I also reviewed, and a single “LUSTFUCKIN’BREEDERS”.)
Photo of band taken by Katy Viola at Cindy’s Diner in Eagle Rock, CA
Now MACHINEKIT returns with a new single “ANTIPATHY“, which actually consists of three different versions: an original raw demo written by Rojas and Ryan Janke, and engineered and produced by Rojas at his recording studio MachineHouse Audio, with bass played by Miko Miko; a remix by Matt Miller, which was mastered by Justin Weis at Trakwork Studio; and a final version co-written and mixed with producer Joseph Nova, with both the demo and final track mastered by Sam Berdah at The Wall Studio. Rojas states that this three-part single represents the evolution of the track from inception to final product. The single artwork was created by William and Jaydee Buege at Wire Mark Design, using a photo by 6ri Ramriez.
Band drummer Janke wrote a terrific description of the song for their press release, in greater detail and with more colorful language than I possibly could, so I’ll simply quote his words about “ANTIPATHY”: “Working alongside producer Joseph Nova, Machinekit recalibrates their aggressive electronic-punk sound with fucked-up mood swings and penetrative instrumentation. With the tempo lowered a few notches from the four-on-the-floor stomps or the driving noise-rock outbursts that the band often offers, the emphasis is on a chillingly tense electro groove that percolates through the delicate verses and explodes in the deafening choruses. The vocals croon, coax, swirl, and shout atop a head-nodding concoction of electronics, percussion (both computerized and analog), and a real earworm of a heavy main riff.“
Okay then, now I’ll attempt to describe what I hear with my own meager literary talents. “ANTIPATHY” starts off with heavy and glitchy pulsating industrial synths, creating an unsettling soundscape as Rojas’ sensual croons, tinged with a sinister undercurrent, enter the proceedings. The music gradually builds until, at the one-minute mark, the chorus arrives with a furious barrage of screaming distorted guitars, explosive percussion and tortured synths, Rojas’ vocals now rising to piercing, impassioned wails as he screams “I want you so bad!” From here on out, the song contracts and expands with each verse and chorus, punctuated with all sorts of ominous sounds and textures, resulting in an intensely powerful song filled with tension and unease.
The provocative lyrics describe someone intensely besotted with another who treats him with cruel indifference and apathy – i.e. antipathy, rendering him feeling sexually frustrated and verging on madness.
You think you know me well? But well enough to keep it raw? You put me through your hell as you're leaving me in awe
It's not enough to know what's left You're just like Judas when he was breaking bread But I still crave your fuckin' company Regardless of the fact that you will feed on apathy
I want you so bad to be proud I want you so bad when it's not allowed I'm poisoned irony Aren't you the god that asked the serpent to speak to Eve? And acted so goddamned viciously I guess it's OK cause you're in the sky and feeling "lonely"
I want you so bad to be proud I want you so bad when it's not allowed I can feel you in my head You're living in my head You're toying with my head Goddamn drop dead instead I can feel you in my fucking head
I want you so bad to be proud I want you so bad when it's not allowed
Make your bed in my head
The original demo is slightly longer, and to my ears has a somewhat rawer sound, with stronger and more pronounced thumping drumbeats and more overdubbed vocals. Matt Miller’s remix is great, with a sharper, more industrial treatment, while still retaining the overall sinister vibe, thanks to an abundance of screaming distorted guitars and even greater use of Rojas’ fearsome wails. I really like all three versions.
In cleverly naming themselves after the entrance to an old newspaper distribution office in the center of Nottingham, it’s no surprise that British synth-pop band Express Office Portico do not shy away from tackling relevant and timely issues in their songs. Since forming during the height of the Covid pandemic in 2020, the talented five-piece have released a string of outstanding singles touching on topics like mental health, emotional well-being and this crazy thing called life. Consisting of Tara Freeman and Billy Townsend on co-lead vocals & keyboards, Sam Watkins on guitar (who replaced Reuben Tobolewski in May 2023), Ben Phipps on bass and Olly Walton on drums, together they play melodic and dreamy synthpop with an edge. I love their music, and have reviewed four of their singles, some of which you can read by clicking on the ‘Related’ links at the end of this post.
On the strength of their vibrant, compelling sound and charismatic performances, the quintet has made a name for themselves not only in greater Nottingham, but throughout the UK. Last year, they played their first headline tour, performing in Manchester, London, Leicester and finishing at Nottingham’s renowned Bodega, played a packed festival season that included a debut appearance at Splendour festival at Wollaton Hall in Nottinghamshire, followed by their first gig in Newcastle at Bobniks supporting Cat Ryan.
I’m a big fan of Express Office Portico, so am thrilled they’re back after a bit of a break with “No One“, the first in a series of singles they plan to release over the next six weeks or so. Like all their previous songs, “No One” was produced and mixed by Joshua Rumble and mastered by Fluid Mastering, and I’m happy to report they sound better than ever. “No One” is enthralling, with beautiful instrumentation layered over a languid, sensuous groove. The talents of each band member are strongly apparent, as their respective instruments are allowed to shine while also combining to create a luxuriant soundscape. Sam’s intricate guitar work is really marvelous, as are Tara and Billy’s shimmery synths, and Ben’s throbbing bass and Olly’s measured drumbeats are perfection. I really love the colorful little touches like the strings that appear here and there.
About the song, the band explains: “‘No One’ encapsulates the feeling of initial recovery from past trauma which can leave you feeling like a deer in the headlights. What is seen as healthy and stable can feel alien to those who have experienced trauma and chaos for the majority of their lives, as well as for those that didn’t plan to make it into adulthood. When making that leap to recovery and trying to achieve stability, creating boundaries can feel like there’s no one in your corner and that no one warned you that sometimes it has to get worse before it gets better. The beginning of a recovery journey is just that, the beginning.”
The thoughtful lyrics, beautifully sung by Tara and Billy, explore the conflicting emotions and disorientation that often occur when trying to make a transition from a life of trauma and chaos to a more stable existence, leaving one sort of blindly feeling their way, and that no one else could possibly understand what they’re going through.
It started off as just for the show, It’s all okay cause no one knows, You wanna go where no one goes, You plant the seeds to watch them grow, So I’ll just wait till yesterday, Comes around again, And honey I get held down, Every now and then.
Cause no one, Ever tells you what it feels like, If they did, Doesn’t mean that they’re right, Cause I feel, like I’m in the headlights for the very first time, For the very first time.
It’s lovely how it blesses us, Undresses and caresses us, I’m wanting more with every touch, and too much is just enough, So I’ll just wait till yesterday, But yesterday has taken place, And honey I get held down, By a life of time and space.
Cause no one, Ever tells you what it feels like, If they did, Doesn’t mean that they’re right, Cause I feel, Like I’m in the headlights for the very first time in my life.
I’m in love with everything, I will never be, And I’m enthralled by everyone, Who is not me. No one, No one.
Cause no one, Ever tells you what it feels like, If they did, Doesn’t mean that they’re right, Cause I feel, like I’m in the headlights for the very first time in my life
Well, Green Day return to the top spot this week with “The American Dream Is Killing Me”, making it their fourth non-consecutive week at #1. It was the lead single to their critically-acclaimed 14th studio album Saviors, which dropped January 19th. Georgia genre-bending singer-songwriter Teddy Swims, whose sound has been described by Aaron Williams of webzine UPROXX as “Post Malone singing Lenny Williams or Jelly Roll doing Teddy Pendergrass”, moves into second place with his blistering torch song “Lose Control”. The song is from his debut album I’ve Tried Everything but Therapy (Part 1). The captivating “All I Die For” by Canadian indie rock band SWiiMS, which I love more each time I hear it, moves up two spots to #5, while Bleachers‘ “Modern Girl” and The Last Dinner Party‘s “Nothing Matters” also advance two spots to #6 and #8, respectively. Noah Kahan and Hozier enter the top 10 with their rousing “Northern Attitude”, which is now in its third non-consecutive week at #1 on the Billboard AAA chart.
Five excellent new songs make their debut this week. The first and highest debuting is “Beautiful People (Stay High)” by one of my long-time favorite bands The Black Keys, entering at #22. The song is the lead single from their forthcoming 12th studio album Ohio Players. Entering at #27 is “Meant To Be” by Chicago alt-rock band Wilco, the lovely second single from their 13th album Cousin. Coming in at #28 is the delightful “My Golden Years” by indie rock duo The Lemon Twigs. Based in Long Island, the band is comprised of the hyper-talented and charismatic brothers Brian and Michael D’Addario, who began making music in their teens. I love those jangly guitars and beautiful vocal harmonies.
Next up is “Blush” by Detroit-based deathgaze act Vazum, the music project of Zach Pliska and Emily Sturm, entering at #29. The marvelous song is reminiscent of great 80s darkwave and goth rock songs by such bands as Siouxsie and the Banshees and The Cure. Last but certainly not least is “Lunar Eclipse” by English indie rock band The Vaccines. Though they’ve been around since 2010, I only recently learned about them from fellow blogger Christian’s Music Musings when he featured one of their songs in a post. “Lunar Eclipse” is one of many great songs from their outstanding sixth studio album Pick-Up Full of Pink Carnations, which dropped January 12th.
A long-time favorite music act of mine is Los Angeles-based duo Ships Have Sailed. Comprised of singer-songwriter and musician Will Carpenter and drummer Art Andranikyan, together they play an incredibly pleasing style of alternative pop-rock featuring beautiful melodies, intelligent, uplifting lyrics, outstanding arrangements and instrumentation, and sublime vocals. They’ve released a lot of music since 2013, including three albums, three EPs and many singles. I’ve loved all their music and have written about them numerous times on this blog over the past five years. (You can read some of those reviews by clicking on the ‘Related’ links at the end of this post.) Several of their songs have appeared on my Weekly Top 30 chart, with two of them – “Escape” in 2019 and “Breathe” in 2021, going all the way to #1.
Photo of Will and Art by Gentle Giant Digital
On January 21st, the guys dropped their latest single “Find My Way“, a beautiful, heartwarming song written at the request of an English woman they’d met some time ago while on tour in the U.K., and who wanted help telling her personal story of an epic trip she took across America with her now-deceased husband. Will elaborates on the song and its creation: “‘Find My Way’ is a story of profound love, profound loss, and the journey of finding yourself again. Despite that, this song isn’t a sad one – it’s a note of gratitude for the moments we do have and the memories that are created from our time here on earth, the people we get to know while we’re here and the relationships that grow more and more special with every moment.This song is dedicated to our dear friend who we met on tour a few years ago in the U.K., and to her late husband who we never had the chance to meet. Two soul mates whose love was palpable, they dreamed of taking a once-in-a-lifetime road trip across the U.S. and finally did after years of planning. But shortly after they returned, he passed away unexpectedly. This song is our tribute to them and to holding your loved ones close.”
The song was written by Will, who co-produced it with Dan Sadin, mixed by Fernando Reyes and mastered by John Greenham. It’s really lovely, with a buoyant, toe-tapping groove overlain with layers of slightly twangy strummed guitars and a gentle, galloping beat that lend the song more of a folk vibe than a lot of their music. The soothing background synths and clicking percussion sounds add interesting texture to the proceedings, making for a richer and more complex overall sound, and the wonderful soaring choruses call to mind some of the great songs by OneRepublic.
As always, Will’s arresting vocals are beautiful, conveying both strength of conviction and a heartfelt vulnerability as he sings the poignant lyrics: “Memories of trips we’ve taken, all the things we’ve seen. Thousands of the miles we traveled, chasing down our dreams. Thought the road was never ending, we’d have the rest of time. Reached the end without a warning, I guess we missed the sign.”
The sweet video features moments from Will and Art’s own stories, captured by photographer Andrei Duman, as well as personal photos provided by their friends to whom the song is dedicated. The visual treatments and typography were created by Jody Talmadge.
The Sylvia Platters are a wonderful band from Vancouver, British Columbia, Canada, and I love their music. Comprised of Alex Kerc-Murchison, Stephen Carl O’Shea, and brothers Nick and Tim Ubels, they play melodic jangle pop, infused with elements of alternative rock, indie, shoegaze and dream pop, and served up with stellar arrangements, exquisite instrumentation and Nick’s sublime vocals. While not at all retro, their pleasing sound nevertheless reminds me at times of such 90s bands as the Gin Blossoms and Toad the Wet Sprocket, with hints of 60s The Byrds.
From what I can tell, they’ve been putting out really fine music for about nine years, beginning with their 2015 debut album Make Glad the Day. Since then, they’ve released a second album Shadow Steps, in 2018, as well as numerous singles and three EPs, including the outstanding Live at Malibu Sound last year. If you like great jangle and power pop, I strongly recommend checking out at least some of their back music catalog.
Photo of the guys drinking the blue Kool Aid by Anthony Biondi
Now the guys are back with a marvelous new single “Kool Aid Blue“, a tasty cup of jangle pop goodness. Released January 19th, the track was recorded and produced by Jordan Koop at The Noise Floor, Gabriola Island, BC, and mastered by Greg Mindorff at Suite Sound Labs in Vancouver. I know next to nothing about the mechanics of music, so can only do my best to describe what I hear.
First off, I really like the song’s fascinating melody that sounds more complex and unpredictable than a typical pop or rock song, which I find causes me to want to listen more carefully and closely. Second, I love the contrasting gnarly and jangly guitars, which makes for a richer, more dramatic soundscape. And what exceptional guitar work it is, those gorgeous jangly guitar notes sparkling like precious gems, accompanied by grungier notes soaked in glorious reverb. Of course, I have to call out the brilliant rhythm section of resounding bass and aggressive percussion that together drive the song forward so beautifully.
Nick’s vocals are warm and comforting as he sings the poetic, yet relatable, lyrics that seem to be about having uneasy feelings of self-doubt and uncertainty, and attempting to escape from them through alcohol, symbolized by Kool Aid blue.
Living in sequence Gets a little uneven Spin in a fixture Alight as a stone
Alternative vision A tragic hair decision Read in the leaves That all you need’s a missing page
Glimpse the ether A mirror figure It’s just a phase you can’t escape
A sinking feeling Amber light; a dimmer view But that sinking feeling Will dissolve in Kool Aid blue
Slow motion sickness Wasted in stasis Another draft begins alone With three sheets to the wind You follow it home
A sequined ceiling In the dark, a clearer view And that sinking feeling Will dissolve in Kool Aid blue
And that sinking feeling Will dissolve in Kool Aid blue Will dissolve in Kool Aid blue Oo oo oo oo oo oo
The video was written and directed by Daniel Sparrow, filmed by Brendan Taylor, with additional photography by Daniel Sparrow and Alex Kerc-Murchison, and produced by Zone Pictures. It stars Junnicia Lagoutin, who’s shown in scenes with and without Nick Ubels, along with Jordan Hughes and the other band members.
And here’s the song on Bandcamp, along with a bonus “sugar free” instrumental version:
Brittany Howard remains at #1 for a second week with “What Now”, while Green Day‘s “The American Dream Is Killing Me” and Teddy Swims‘ “Lose Control” hold at #2 and #3 for a second week as well. boygenius move up two spots to #4 with “Cool About It”, and Mitski holds at #5 again with “My Love Mine All Mine”. Otherwise, there’s quite a bit of movement on the rest of the chart as several long-running hit songs move downward, making way for several that have been stuck in the lower reaches for weeks.
“Nothing Matters” by English all-female band The Last Dinner Party leaps 10 spots to enter the top 10 at #10. It took me a while to warm up to this song for some reason I can’t explain, but now I love it! “How Did You Get Here?” by English singer-songwriter Antony Szmierek moves up five spots to #12, “Blame Brett” by The Beaches, another all-female indie rock band, jumps six spots to #13, “Northern Attitude” by Vermont singer-songwriter Noah Kahan and Irish singer-songwriter Hozier leaps nine spots to #14, “Pretty Vicious” by English rock band The Struts moves up six spots to #15, and “Winter Cowboy” by English crooner Frank Joseph also moves up six notches to #16. Jumping eight spots each are FutureIslands‘ “The Tower”, to #17, English singer-songwriter Bakar‘s “Alive!”, to #18, and American rapper JackHarlow‘s “Lovin On Me”, to #21. “Mother Nature” by American psychedelic pop-rock duo MGMT, moves up seven spots to #20. The sole debut this week is “Normal People Things” by yet another English act, indie rock band Lovejoy, entering at #30. It’s their second song to appear on my chart, the first being “Call Me What You Like” last year.
ECLECTIC MUSIC LOVER 