The beautiful “Tropic Morning News” by The National holds at #1 for a second week, with Sea Power‘s majestic “Transmitter” also remaining at #2. “New Gold” by the dream collaboration of Gorillaz, Tame Impala and Bootie Brown slides into 3rd place (Gorillaz & Brown performed the song at the Coachella Music Festival this past Friday night), while Depeche Mode‘s “Ghosts Again” assumes the #4 spot. British singer-songwriter Frank Joshua enters the top 10 with his sublime love song “Bluebell Wood”.
Three songs make their debut this week: Entering at #23 is the amazing “Eat Your Young” by Irish singer-songwriter Hozier. He states the song was inspired by Gluttony, one the 9 Circles of Hell contained in the first part of Dante Alighieri’s epic poem Divine Comedy, and describes a feast being prepared and served together with the chaos that comes with it. “Rescue Me” by Southern California reggae-ska rock band Dirty Heads enters at #29, and “leaving” by Michigan singer-songwriter Au Gres enters at #30.
TROPIC MORNING NEWS – The National (1)
TRANSMITTER – Sea Power (2)
NEW GOLD – Gorillaz, Tame Impala & Bootie Brown (6)
Hailing from Copenhagen, Denmark is Thomas Charlie Pedersen, a thoughtful and earnest singer-songwriter and multi-instrumentalist who calls his pleasing style of music “chamber folk”. It’s a fitting description, as his sound is characterized by intricate melodies, understated yet lush arrangements, beautiful instrumentation and comforting vocals.
Thomas has been making music for nearly 20 years (he must have started out when he was 13, as he still looks quite young!), both as a solo artist and as part of alt-rock band Vinyl Floor, which he formed in 2004 along with his brother Daniel and a third member who recently departed. Vinyl Floor has released five albums since 2009, whereas Thomas has released three under his own name, beginning with his debut album Second Hand War in 2016, followed four years later by Daylight Saving Hours. Now he returns with Employees Must Wash Hands, a lovely work featuring 15 tracks. The album is being released by Vinyl Floor’s own label Karmanian Records.
Thomas actually recorded two albums in 2021, this solo record as well as Funhouse Mirror with Vinyl Floor, which was released in September 2022. He explains how Employees Must Wash Hands came to be: “The Covid lockdown situation was a highly creative period for my brother Daniel & I. Alongside the Vinyl Floor tracks, I found I had written 15 more songs but I didn’t exactly know what to do with them. Daniel and I had been working on and off on band demos for quite some time, and when I suddenly was isolating at home I found myself writing even more stuff on my acoustic guitar & piano. I lived with these songs alone for a while, and late at night I could work on the lyrics for hours on end. At one point, our studio time with the band in Sweden got postponed – leaving us with 5 months of practically nothing to do but wait.
To keep ourselves on our toes, we decided to record almost the entire ‘Employees Must Wash Hands’ album and we wrapped up the additional recordings once we got back from band sessions in Sweden. What you have here is the other side of the ‘Funhouse Mirror’ sessions – a quieter and somewhat more introverted and reflective album, but also showcasing a more arranged and ‘band-like’ feel than my previous solo efforts. Some of these songs deal with man’s relationship with God and God ́s relationship with man. Who has abandoned who? And is there any faith or spirituality left? They also deal with isolation, self doubt, and all the other stuff on my mind during the strange time that was Covid lockdown.”
The album, whose title is a cheeky nod to that strange pandemic time, serves up 36 minutes of introspective indie folk-pop goodness. Most of its 15 tracks are less than three minutes long, making for a quick and very enjoyable listen. Thomas’s brother Daniel had a major hand in the album, helping out with everything from arranging the songs to recording, producing & mixing them. He also sang backing vocals and played instruments on most tracks.
It opens with “Yesterdays And Silly Ways“, a pleasant track with a buoyant melody but somewhat darker lyrics about hiding behind an upbeat façade that hides less happy truths: “You tried your best, it was not your fault. Don´t try to delay me, your concrete walls proceed to retain a lonesome feeling. Yesterdays and silly ways.” Keeping with a similar theme, “Oh Whatever” seems to be spoken from God’s perspective to people and their tendency to fall prey to greed and ignorance: “Oh, my children, the sky is painted blue, but all you do is lying and denying every clue. Oh, my lost children, where money and mistrust is king. It´s sad to be the relayer, since I brought you everything.”
On the melodic “Slow Passage” Thomas sings of finding a bit of rejuvenation for his soul: “I might opt for a peaceful retreat or a lone walk in the woods, ‘cause a break from the wilderness will surely do me good“, with a catchy toe-tapping beat and some great guitar noodling.
One of my favorite tracks is “Rains On Saturn“, a beautiful piano-driven song that seems to speak of people who search for something better, while not appreciating what they already have: “You may prevail in your zeal for new horizons, but the sky you had was clear and when it rained, it rained diamonds. Drought for forty days, for golden times you yearn, just like when it rains on Saturn.” I really like the song’s lovely piano melody, accompanied early on by subtle sounds of rockets shooting through the heavens, then later by stirring strings. Thomas’s pleasing vocals are backed by his and Daniel’s enchanting harmonies.
“Coarse Rasp of Yours” is a wonderful folk-pop song of remembrance and affection, with poetic lyrics containing the album title: “Employees must wash hands. It’s weird to feel oppressed by reality. A few emotional feeds, painted infinity. There are only a few things left which I truly still adore, a real blonde and that coarse rasp of yore.”
Several tracks have a strong classical sensibility: “Mass in D Minor” is a somber dirge-like song about being stuck in a state of depression and ennui: “I’ve become a regiment of drugs, booze and cigarettes. My smile’s just a cry in disguise. Life is just a sentiment, a motion of silhouettes. The sun is now a cloud in my eyes.” “Fiddler & the Travesty” is a hauntingly beautiful song with melancholy piano and hopeful strings, and Thomas and Daniel’s lovely harmonies as they lament “Fiddler and the travesty, can’t escape his destiny. Singing his heart out to no one. He must not sing forever.” And as it’s title suggests, “Organ Prayer (in E Flat)” is a church-like hymn with great lyrics calling out sanctimonious posers and phonies: “I´ve had enough of your dense accolades. Choose side or fall flat with the crowd. A prayer must lose some effect when it comes off too proud. Tell your lame friends to go screw themselves.”
One of the sweetest tracks is the poignant “You Can’t Have it Both Ways” a Beatles-esque song with lovely strummed acoustic guitar and a wonderful organ riff, accompanied by the guys’ sublime harmonies. “Sooner Than You Think” has more of a rock feel, with a driving beat and grungy guitars. The lyrics speak of trying to regain trust in a troubled relationship: “Recycled trust, we should aim for something new, but you long for the past and, honestly, I do too. I will gaze at your beauty without a nod or a blink.We may face the truth sooner than you think.”
I like how Thomas builds his songs around a particular instrument. Case in point is the lovely piano melody of “Tremble and Reel“, with what sounds like a recorder adding some nice touches, or “Beach in Vietnam“, a sweet 47-second-long love song consisting of a simple but impactful piano riff, accompanied by his heartfelt vocal. Strummed guitars form the basis of the beguiling love song “Night of Stars“, and the uplifting folk song “Worry Beads“, both of which also feature the guys’ delightful harmonies.
The album closes on a beautiful note with the stirring piano instrumental “Stagnant Pools of Sorrow“. The combination of gorgeous piano and orchestral strings gives the track a classical feel as well. It’s a fine finish to a truly wonderful collection of carefully-crafted songs. So just sit back in a comfortable chair, close your eyes, and let them wash over you.
I seem to be in a pattern of writing about British artists lately (this is my seventh in a row!), but truth be told, they reach out to me about their music far more often than artists from any other countries, including the U.S. Today, I’m shining a spotlight on Chris Mardula, a singer-songwriter from Durham County in Northeast England. His music style is strongly informed with elements of folk, indie rock and blues.
A seasoned musician, he’s played in several bands over the years, but often felt frustrated by uneven levels of commitment by other members. He told me that with everyone having other responsibilities, it was often difficult getting everyone on the same page. Sick and tired of having to rely on other people, he eventually decided to move forward on his own as a solo artist. “I’ve had all of these songs just sitting there doing nothing for years. I thought to myself, it’s time I do something with them and get them out there to be heard. If there’s only me, there’s no excuses. So I built myself a little studio in the house and got busy making a few demos and writing some new tracks.”
Last November, Chris began releasing songs at the rate of one per month, starting with a lovely demo titled “Don’t let me down“. Consisting of just his strummed acoustic guitar and heartfelt vocals, the song is a poignant folk ballad about a fragile relationship. He assures his partner that he’ll be there for her, imploring her to not let him down: “Please stop complaining over things that I do. If you’re not so happy, you know what to do. Said I’d be there, I guess I always will. Just don’t let me down, C’mon now, don’t let me down. Cause this time is gonna be the last.” Listening to his pleasing vocals, I could easily be convinced that Chris was from Nashville or Austin instead of Northeast England.
He followed in December with his first official single “Take It Or Leave It“, which is my favorite song he’s released thus far. Written several years ago, Chris says the song is about living in a small town, making the most of it and finding your way forward while getting through the drag of everyday life, and how things usually turn out alright in the end. For this song, he layers beautiful programmed strings and vibrant percussion over strummed guitar notes, creating a stirring cinematic backdrop for his warm vocals as he fervently sings “Taking chances on the outside. I’m on the outside looking in. See my friends and see their faces. And all the places that we’ve been. So take it or leave it. Seen it all before. Take it or leave it. Cause you know you wanted more.”
In January, he dropped “Fade Away“, a beautiful rock song with a more powerful feel than his previous two. Chris’s guitar work is quite impressive as he unleashes an onslaught of scorching riffs over a background of strummed guitars, sweeping strings and riotous percussion. The lyrics seem to speak to the enduring pain over the death of a friend or loved one that refuses to fade away. “Days since he left me, was the day that he died. Still I can’t forget you, still here in my mind. Why can’t it all just fade away?” The song’s compelling video features footage shot by Chris, Craig Addison and Ella Brown.
February saw the release of “Catch a Fire“, an impactful rock song about not continuing to waste our precious time, and to keep pushing forward through the obstacles and pain life throws our way, in order to achieve our dreams and become a better person. The song has a bit of a Southern rock vibe, thanks to Chris’s splendid mix of bluesy and twangy guitars.
His most recent release “Calm In The Storm” is a terrific bluesy instrumental, where his skills on the guitar, piano and drums are allowed to really shine.
While it could be argued that the music world has more than enough ‘guys with guitars’ to go around, I think the quality of his songs places Chris near the top of a crowded field. Based on the five tracks he’s released so far, I’d say that he’s a pretty talented songwriter, musician and vocalist with a promising future. I also like that each of those five songs sounds completely different, a testament to his ability to reach across genres. He’s now putting the finishing touches on his debut album Monumental Horizons, which he plans on releasing later this year.
A.Wake (short for Anita Wake) is a fascinating and innovative singer-songwriter and musician based in Sheffield, England who’s been actively making music for several years, both as a member of several bands (in which she played bass and sang backing vocals) and more recently, as a solo artist. With a passionate interest in sound therapy, mysticism and the healing properties of music, she seeks to incorporate healing frequencies and modern music elements into her songs.
She released her enchanting debut single “Lemuria” last July, then followed in October with the darkly beautiful “Railings”, which I reviewed. Now she returns with her latest release The Seed – Root Chakra Remix EP, an unusual and interesting concept work featuring three different versions of her song “The Seed”, along with a shortened radio edit of the third remix.
Starting with the line “The seed of creation in you“, a quote by an angelic entity named Kryon, who’s been channeled through noted American author and medium Lee Carrol, A.Wake wrote the words “Stop wasting your life. Want what you do. Stop chasing the strife.” She then added these lines written by an unknown source and spoken by a man who’s also unknown: “If you only care enough for a result, you will almost certainly attain it. If you wish to be rich, you will be rich. If you wish to be learned, you will be learned. If you wish to be good, you will be good. All things are possible to him that believe it.”
About the song and EP’s concept, she explains “‘The seed’ remixes are embedded with a root chakra balancing frequency, that can help you to stabilise your material world, earn money, find your life purpose, and feel grounded and connected to others. It should help you to stay focused and present.”
The first remix, by fellow Sheffield electronic act The23s (who’s debut single “Never Be the Same” I reviewed in February), has an exotic Middle Eastern vibe that lends itself well to the song’s mystical subject matter. A.Wake’s bewitching array of hums, vocals and chants are simply captivating, backed by mysterious synths and ambient sounds of chirping birds layered over a languid pulsating groove.
The second remix, by DJ Steal, an electronic producer and composer also based in Sheffield, starts off with a delicate piano movement that seems to promise a gentle treatment of the song, but it’s soon joined by sharp percussive beats and industrial synths, taking the song into darker territory. A.Wake’s vocals sound more ethereal here, while the man’s vocals are more clear than in the previous remix.
The third remix, by LEen, another Sheffield-based electronic artist, is the longest of the three, running over seven and a half minutes. This remix features a hypnotic EDM beat, layered with a contrasting mix of airy and harsher industrial synths that very effectively create feelings of both euphoria and tension. A.Wake’s vocals are more enchanting than ever, soaring to great heights along with the music. I love a good dance groove, and though I like all three remixes, I think this one’s my favorite. I can definitely imagine myself getting lost to this in a dance club.
The fourth track is a high-voltage, four-minute long reimagining of the LEen remix, featuring some wonderful instrumental touches not found in the original. All in all, I must say that The Seed – Root Chakra Remix EP is a very enjoyable little collection of remixes!
Though my feelings about social media are conflicted and complicated – a sentiment I’m confident many others share – one of the things I do like about it is that it’s allowed me to connect with a lot of really talented musicians and bands. One I’m happy to know is NAVE, the solo music project of British singer-songwriter, composer and producer Nathan Evans. Incorporating a broad array of genres and styles, including alternative rock, electronica, trip-hop, ambient, orchestral and dark wave, the hyper-talented Bournemouth-based artist creates dramatic, incredibly compelling music that’s often atmospheric and gorgeous, but sometimes also harsh and disturbing. Nathan is a thoughtful guy who’s unafraid to tackle issues relating to social justice and mental health, calling out the incessant bullshit and hypocrisy we seem to be faced with on a daily basis.
A truly prolific songwriter, he’s released a staggering amount of music over the past 10 years, both as NAVE (also sometimes represented as Nave or N.A.V.E.) and as front man of alternative psychedelic rock band Native Tongue. He’s been on a creative tear since 2021, and from what I can tell, he dropped eight singles last year, including “Broken Record”, a hauntingly beautiful song decrying the addictive nature of social media and its negative impacts on our emotional well-being. I love it so much, it went all the way to #1 on my Top 30 chart and ranks #14 on my 100 Best Songs of 2022 list.
He’s continued to release lots of new music in 2023, and on February 19th, he dropped God’s Waiting Room, a monumental work which I believe is his first full-length album. The words “full-length” are a massive understatement, as the album contains a mind-boggling 31 tracks! Because of its daunting length, it was a few days before I was able to give it my full attention, but once I did, I was literally blown away! The word “masterpiece” is often overused and lightly awarded, but I can say with all certainty that in the case of God’s Waiting Room, it’s well-earned. Listening to this brilliant and stunning album is an immersive experience that takes us on a sonic journey through the many moods, ideas and emotions of NAVE’s creative mind.
In order to gain a bit of insight into his inspiration for creating such an epic work, I asked Nathan to answer a few questions, which he was more than eager to do. Here’s what we talked about:
EML: You’re an astonishingly prolific musician and composer Nathan, and I’m truly in awe of your tremendous output. Not only have you released an epic 31-track album, you’ve also recently released a number of other stand-alone songs. Where and how do you find your inspiration for all this music?
NAVE: First off, thank you for your continued support and kind words. You have been a true rare find in this shallow industry. The lack of camaraderie and true music lovers is scarce and we need more people like yourself who truly care about new music.
My 31 track album is a collection of songs and ideas spanning over 8 years to now. The majority of those songs were never intended to be released, but after going back and listening, I felt it was important because they carry so much emotion. I tend to release stand-alone songs that I spend a lot of time on and have that feeling of “oh this is a single”. The reason I called the album ‘Gods Waiting Room’ is because most of the songs aren’t singles, but more snapshots of moments in my life. What was going on and how I was feeling. I could imagine them all being played in a waiting room because they are so random and odd.
In answer to your question though, the honest response is I don’t know where and how I find the inspiration to have such a high output. Maybe I feel I have something to prove to myself and others who never believed in me. I was written off in school for having ADHD, and was medicated for 6 years with Ritalin so I always felt like an outcast. Maybe my subconscious wants to leave behind a large library of work that I feel is important. Maybe I’m on an autistic spectrum and I can’t stop jumping from one idea to the other, constantly trying to outdo myself and find my “smells like teen spirit” banger. Maybe I am trying to refine my tools and become the best I can be, which is very similar to the mentality I had when I was competing in trampolining from the age 5-11 and had to come 1st in all competitions. If I would come in 2nd ever, it would be crushing. I knew I had the magic and that has translated to music today
EML: Continuing on the theme of inspiration, some of the tracks on ‘God’s Waiting Room’ seem to have titles and/or lyrics dealing with self-assessment, mental health or personal well-being – e.g. “Jealous Little Bitch”, “Passive Aggressive”, “Son of a Rich Man”, “Computer Is My Friend” and “Kiss My Bad Side”. Are any of these songs autobiographical, or a means of addressing some inner demons or conflict?
NAVE: I find my songs either have a personal meaning, a message, or they don’t mean anything to me. Some tracks are blunt, some are cryptic, which means something to me, but to someone else interpreting them, it is completely different (which tends to happen often). Someone will tell me what my song means to them and I’ll be like “whoa, that’s not what I had in mind”. But I love that and it’s become clear from people’s comments that my music/lyrics creates imagery and causes multiple interpretations which I love.
For example, the songs you’ve mentioned. “Jealous Little Bitch” is an instrumental song, but made at a time when I was angry at certain people in my life and patterns of behaviour where I felt jealousy from “friends” or “family” instead of support and love. “Son of a Rich Man” was a dig at certain people that would never know the stress and uncertainty of having no money. They have an easy ride almost in a world where billionaires exist, and shouldn’t. I compare them to cartoon characters in a fairy tale paradise.
My track ‘Rose Tinted Glasses”, which was a stand alone release, was probably the most personal and therapeutic song I’ve ever written, about the loss of my Mum at 26. I put out a music video of it and I would cry every time I’d watch it. I’ve never had that with any song I’ve ever written and it addressed grief, anger and such sadness in me.
Another driving force isn’t so much facing inner demons but a feeling of obligation and duty to spread truth, love and light. Call out corruption, bullshit and lies. I made a tune called “blood thirsty billionaires” and made a video calling out certain people and shone a light on the ridiculous injustice and imbalance. It pisses me off that actors, musicians, sportsmen and whoever don’t use their platform enough to stand up to the lies we are fed everyday. The food we eat is full of harmful pesticides, the water we drink contains high levels of chlorine and the doctors don’t have our best interest at heart. They just read from a script or give us big pharma products. Cancer is 1 in 2 from the water, food and air, yet we freak out over a flu that mainly kills old and vulnerable people. We keep bending over to the government and accepting their lies and obeying without thinking for ourselves and truly questioning. Can you tell I am passionate about all this stuff. Can you see maybe why I make so much music lol?
EML: You certainly have a lot to say!When recording your songs as a solo artist, do you play and record all the music yourself? And besides the piano as your primary instrument, accompanied by what I’m guessing are lots of programmed synths, what other instruments do you play?
NAVE: Yeah, I mostly use the keyboard to write in synths, then programme and edit the drums. Then I finally add vocals. The vocals are always hit and miss. Sometimes they come quick and other times its a slog. I focus on the beat, atmosphere, melody and bass to create a vibe and if it makes me feel something, I quickly know whether to spend more time or move on. There always comes a time when I produce where that moment happens. Its like a magic. A transition occurs when the song comes to life and its amazing. I play drums, piano, guitar, bass and hope to learn the violin one day. I tried once and was terrible. The noise was so bad, I was unable to persist. So big respect to you violin players out there. You truly have to crawl through thorns and stinging nettles to reach the roses.
EML: With 31 amazing tracks, you could have broken them up into two or even three separate albums. Why the decision to include them all in one monumental album?
NAVE: I had considered that, but it felt they were all from a chapter in my life and belonged together. It also shows my progression till now and it was appealing to release a large body of work, particularly under such a poignant album title.
EML: That certainly makes sense. What other musicians or bands do you consider primary influences for your music?
NAVE: I ingested a lot of music as a teenager, but over the years I tend to stay away from listening to music as I find it better to be naive and not influenced by others’ music. The more music I listen to, the more chance I might feel I am copying them or “I cant do that because that sounds like that” if you know what I mean? But obviously Radiohead, Nirvana, Queens Of The Stone Age, Muse, BRMC, UNKLE, Jose Gonzalez, Deftones, Limp Bizkit, Morcheeba, Moby were big influences. Our bass player in my band Native Tongue is a music freak so he shows me a lot of new music and one track in particular that blew me away recently and inspired me to write my track “CONNIFER” is the track “NOT” by Big Thief. Incredible song.
EML: Is there anything I’ve neglected to ask that you’d like people to know about yourself or your music?
NAVE: I have struggled not finding the audience I was hoping to. It hurts when I put my heart and soul into these songs and I can’t reach anyone new or build my fan base, no matter how hard I try. I feel I’m finally coming to peace with that and doing this because I love it, not for people’s validation. My main drive has always been to reach people, and its been a painful road reaching so few people and not building that fan base I hoped for. Obviously there is still time but if it never happens, then fuck it. I still touched you and others, and devoted myself to an outlet which has kept me sane for so many years. Without it, I may not even be here now to answer these questions.
So my final thing to say is to everyone out there, do what makes you happy and try not to seek happiness externally. Think for yourself and question authority. We have been boxed up like objects and we are still treated like slaves working long hours for no money. It doesn’t have to be this way. Seek the truth within yourself and the world will open up like a flower. Independent thought. Love yourself and be kind to others.
Thank you Jeff. You are a star.
EML: Thank YOU Nathan for taking the time to answer my questions, and for all your incredible music. Hopefully, this review and interview will bring you at least a few more fans.
Okay, let’s get to God’s Waiting Room, shall we? Because it contains so many tracks – all of which are outstanding – I won’t be doing my usual track-by-track discussion, as it would take me forever and besides, no one would read it all! Instead, I’ll touch on my favorites, as well as some of the more fascinating and impactful tracks. Of the album’s 31 offerings, 17 are instrumentals, whereas 14 feature lyrics and vocals of some kind or another.
On the unsettling opening track “The Speaker“, NAVE talk-sings in a mysterious whispered voice “Why do you listen to the speaker? Isn’t that, in listening to the speaker, you’re listening to yourself? Is that what is taking place? The speaker is only pointing something out. Acting as a mirror in which you only see yourself. Your own state of mind. Your own consciousness. And if at the end of these talks, you say to yourself ‘I have not changed’, why, it is your fault.” Though I didn’t ask him, my guess is that the song set the overall tone for the album, also serving as a kind of introduction.
As the album unfolds, each new track brings a different mood and vibe, keeping it sounding fresh and holding our attention. The second track “Sleepy Head” is a darkly beautiful instrumental featuring a mesmerizing trip hop groove and rather spooky string synths. And speaking of spooky, “White Witch” is downright chilling as NAVE drones “Never again, will you and I suffer.Never again, will the world go by unnoticed” against a mysterious cinematic backdrop that would make a great opening for a horror film.
Several instrumental tracks, like “Into the Abyss“, “Twilight Zone” and “Watch It Unfold“, are atmospheric and beautiful, with haunting piano movements, sparkling synths and cinematic strings. One of my favorites is the stunning “Linda’s Song“, with its vibrant piano keys, soaring strings and pleasing guitar chords. I also love “Jealous Little Bitch“, with its gorgeous violin notes and eerie synths layered over an assertive skittering beat.
Another favorite (on an album full of favorites) is “Passive Aggressive“, with its trippy hip hop groove, highlighted by menacing industrial synths sprinkled here and there with twinkling little touches that keep the song from sounding too heavy and dark. NAVE does a great job rapping the wonderful lyrics about an encounter with an unpleasant receptionist at a medical appointment: “Walk in the door, time for my appointment. Ignored by a lady unhappy in employment. Making me wait for a good few minutes. Grittin’ my teeth, pushed to the limit. I calm myself, instant reflection dealing with this middle-aged bitch on reception. Stay strong, try not to break. Refrain from explaining, I’m here cuz my balls ache. I’ve come a long way, massive obsessive, passive aggressive.“
“Swim Away With Me” is so quietly majestic and beautiful, it brings tears to my eyes. Then, abruptly changing the mood with “Millions of Wilfully Ignorant Sleepwalkers“, he skillfully uses a droning melody and rather ghostly, dream-like synths to convey a sense of people moving through life like zombies, seemingly unaware of their surroundings. The darkly beautiful “Breath With Me” has a strong Radiohead vibe, thanks in large part to the beguiling falsetto by appropriately-named guest vocalist Ethereal, which seems to channel Thom Yorke.
The terrific “Son of a Rich Man” is a languid and bluesy, guitar-driven song that NAVE touched on earlier as being a dig at people born with a silver spoon in their mouths. I love the pointed lyrics: “I don’t know who I am anymore. In fact, I don’t think I ever did. I’m indecisive, with hindsight bias. Sure, the grass could always be greener./ But who knows, paradise could just be a fairly tale, only fit for cartoon characters and billionaires. Maybe I should make a plan, or wait to reincarnate as the son of a rich man.”
One of the most beautiful tracks on the album is “Infinite Ground“, where NAVE’s dreamy echoed vocals meld so perfectly with the delicate acoustic guitar notes, it nearly takes my breath away. The unusual “Tashi Delek” is a dark song, featuring a strong trip hop beat, deep bass and harsh industrial synths, punctuated by contrasting delicate xylophone sounds. NAVE’s otherworldly vocals add to the song’s edgy vibe as he wails “I looked at your face. I couldn’t help but stare. I got you on my mind. There ain’t nothing wrong. Just a slip of the tongue. Can you feel my pain? And I miss you.”
The album closes with the contemplative piano piece “My Goodbye“, a beautiful and fitting end to this exquisite work of musical art. I’ve probably listened to God’s Waiting Room more than 15 times, and it manages to reveal new sounds, textures and meanings each time I hear it. I love this album, and hope at least some of my readers will appreciate and enjoy it too.
My gosh, what a stellar week for music! Great songs by The National, Sea Power, The Zangwills, Death Cab for Cutie, Fall Out Boy, Gorillaz, Tame Impala & Bootie Brown, and Depeche Mode, and that’s just the top 7! The National’s captivating “Tropic Morning News” ascends to the top of my chart this week. The song is the lead single from their ninth studio album First Two Pages Of Frankenstein, due for release on April 28. For those unaware, The National consists of Matt Berninger (vocals), twin brothers Aaron Dessner (guitar, piano, keyboards) and Bryce Dessner (guitar, piano, keyboards), and brothers Scott Devendorf (bass) and Bryan Devendorf (drums). I love their sophisticated songwriting and rich, complex sound, especially Matt Berninger’s beautiful baritone vocals.
According to an article by Leah Degrazia for the website Genius, the album came together while Berninger was emerging from a period of crippling writer’s block (something I can strongly relate to). “Even though we’d always been anxious whenever we were working on a record, this was the first time it ever felt like maybe things really had come to an end,” Berninger said. The song’s lyrics, written by Berninger and his wife, Carin Besser, speak of how constantly inundating yourself with negative news can pull you into a dark hole of isolation and sadness, making it hard to reach out and form deep human connection.
In other chart developments, the gorgeous “Soften” by exceptionally-talented Canadian singer-songwriter Alex Southey enters the top 10. Entering this week’s chart are “Angelica” by the delightful English duo Wet Leg, at #29, and “1982” by Dutch alternative rock band Morgendust, whose wonderful self-titled album I recently reviewed, at #30.
TROPIC MORNING NEWS – The National (2)
TRANSMITTER – Sea Power (3)
BACKPATTERS AND SHOOTERS – The Zangwills (1)
PEPPER – Death Cab for Cutie (6)
LOVE FROM THE OTHER SIDE – Fall Out Boy (4)
NEW GOLD – Gorillaz featuring Tame Impala and Bootie Brown (7)
April 7, 2023 seems to be a big day for releasing new music, as scores of artists and bands I follow are dropping new singles, EPs or albums today. Because my time and energy are of limited supply, I’m able to only write about a tiny fraction of it. With that in mind, I’ve chosen three new singles for my latest edition of Fresh New Tracks, all by British acts. They are, in alphabetical order, singer-songwriter Eleanor Collides, psychedelic alt-rock band Future Theory, and indie rock band THE Q’s. I’ve previously written about Future Theory many times, whereas Eleanor Collides and THE Q’s are new to me.
Eleanor Collides – “Pantomime”
Eleanor Collides is the solo music project of London-based singer-songwriter and guitarist Nick Ranga. After having written songs for many years, Nick finally decided during one of the Covid lockdowns in March 2021 to start recording them under the moniker Eleanor Collides, the name of his childhood imaginary friend. Working with a group of like-minded London musicians named The MusiCollective, Nick recorded songs with such acts as Pisgah, Colin Tyler, Corporate Drone and Lucoline. That July, he released a four-track EP How to Make Friends, then followed in March 2022 with his debut album People are Taller in Real Life. Since then, he’s released a series of six singles, the latest of which is “Pantomime“. All six singles will be included in his forthcoming second album, due for release later in the year.
Drawing influences from some of his favorite acts like Depeche Mode, Alice in Chains, Hole and Manic Street Preachers, he melds alternative, indie and dream rock with synth pop to create his distinctly melancholic, yet beautiful sound. A great example of his signature sound can be heard on “Lifeboats”, one of my favorite Eleanor Collides songs. His latest single “Pantomime” is even more enchanting, with dreamy atmospheric synths layered over a throbbing bassline and accompanied by gentle percussion and subtle guitar notes. Nick’s smooth vocals are comforting, but with a quiet vulnerability that’s nicely complemented by his own backing falsetto.
He states the song “started life on acoustic guitar, with a four chord loop in the Dorian mode which lends the track a mysterious, melancholy sound, andis about going through the motions and feeling insignificant.” The lyrics describe a couple being driven apart by unseen forces, unsure of how to fix things: “I can be there if you want me. I can give you space if you need time. Floating away on the breeze. Replaying this old pantomime.What time did love arrive? When did affection slip out of the room? But we’re just two people, and what the hell can we do?“
I’ve been following British alternative psychedelic rock band Future Theory since early 2017, and was immediately impressed by their intelligent songwriting and strong musicianship. Blending elements of alternative and progressive rock, psychedelia, grunge, shoegaze and funk, they fearlessly create arresting music characterized by complex melodies and arrangements, and delivered with lavish instrumentation and mesmerizing vocals. Like many bands, the Lincolnshire-based foursome has experienced changes in lineup over time, and now consists of Max Sander on rhythm guitar and vocals, Chris Moore on lead guitar, Jacob Brookes on bass and Rohan Parrett on drums.
Almost exactly six years ago, I reviewed their superb debut EP Fool’s Dream, and have written about them and their outstanding music many times since. It’s been a pleasure watching them mature and grow as artists, and their music keeps getting better and better. One of their singles “One and the Same”, from their 2022 debut album Future Theory, spent 18 weeks on my Weekly Top 30 chart and ended up ranking #42 on my 100 Best Songs of 2022 list.
Future Theory have been hard at work over the past several months recording a new batch of songs with Corsican producer Yves Altana (Peter Hook & The Light, The Chameleons), and will be releasing a series of singles throughout 2023, as well as touring in Northern England and Scotland in June. The first of these singles is “Why“, a dramatic and powerful song about a dysfunctional relationship that’s breaking apart. And what a spectacular song it is! First off, the jangly and chiming guitars by Chris and Max are breathtaking in their beauty and intricacy. Then there’s Jacob’s deep, resonant bassline, keeping the rhythm in perfect time with Rohan’s muscular drumbeats. Topping it all off are Max’s distinctive, emotion-packed vocals I love so much as he plaintively croons “Say, for me and you there’s really no in-between. We either set sail or crash and burn the dream. Get up before I scream. You’re breaking my heart./ Tell me why, would I lie? Tell me why.” The music builds to an electrifying crescendo of gnarly guitars and explosive percussion that continues to the end of the track. I can’t wait to hear their upcoming singles.
Last, but certainly not least, are THE Q’s, an indie rock band based in Leeds. Formed in 2014 while they were all in secondary school, the five-piece consists of Leo Grace on lead vocals, Freddie Franchi on rhythm guitar, Dexter Burningham on lead guitar, Mattia Paganelli on drums, and Ben Woolford on bass. Apparently possessing a cheeky sense of humor, the guys released their first single “IN NEUTRAL” on New Year’s Eve, December 31, 2021, followed by “TRANQUILO” on Valentine’s Day 2022. Both are really good! Listening to their songs I would generally describe their sound as a happy blend of indie, rock’n’roll, punk and shoegaze.
Now they’re back with their third and latest single “MOVIES“, a sweet, upbeat song about young love, and the trials, tribulations and second-guessing that come with it. I really like the bouncy punk groove, exuberant guitars and snappy drums, and that funky little bass riff in the bridge is terrific. Leo’s vocal are perfect for the song, conveying just the right amount of youthful angst when he sings “But I don’t mind when you make a scene. You make life feel like a movie. And when you’re lying there with me, love life feels like a movie. You’re quite a find. Make life feel like a movie.” But later in the song, he pleads for her to cut him some slack, admitting that he’s partly to blame for their misunderstandings: “Don’t hang up that phone. I know that you’re at home. We’ll sort this out tomorrow, c’mon just let it go.I’m a dickhead, yeah, I know.”
Describing himself as “a middle-aged, middle-class singer-songwriter from South London“, Tim Eveleigh seems to be a humble man right from the get-go. After listening to his charming debut album, simply titled A Record, I am certain of it. Not only that, he’s a Renaissance man of sorts, with many talents and interests ranging from music and stand-up comedy to computer programming/IT development, music and events promotion, economics and politics. He’s also a staunch advocate for racial justice and equality.
Tim’s been involved with music since his childhood, and in a wonderful interview with the webzine Croydonist, he discussed how he began studying piano at a young age, eventually working his way up to violin and then viola in secondary school, where he also played in the orchestra. He began writing songs when he was 10, and ended up playing in two bands, which he cheekily remarked “rather worryingly, evidence of this still exists“. By his early 30s he’d written what he described as a solid collection of songs, but “after playing these for a few years I scrapped them all and started again, and I’ve written enough songs to record a couple of albums.”
From what I can tell, he’s released music rather sporadically over the past 15 years, beginning with a three-track EP this is all i have in December 2007. Nearly 13 years passed before he put out another release, a three-track EP In Kilnsea in June 2020, and last month, he returned with his debut album A Record, which dropped March 15th. The album features nine tracks, eight written by Tim and one, “White Lines”, written by British singer-songwriter and musician Ben Cosh. For the album’s recording, Tim played guitars, keyboards & percussion and sang lead vocals, Maria Levesley sang backing vocals, and Joe Jones played bass. Additionally, several other musicians contributed their talents on selected tracks, including Pete Long on saxophone, Pete Cooper on flugelhorn and trumpet, Andy Thornton on guitar, bells and bass, Chris Kimber on tubular bells, and Cara Thornton on backing vocals.
The album opens with “Overture“, a lovely, almost gospel-like song with a bit of a Celtic folk vibe. The inspiring lyrics “tell the world you’re alright, tell the world you sleep tight, and nothing can wake you up” set an overall tone of love and optimism for A Record. And though most of its tracks touch on aspects of love, relationships and emotional well-being, the lone – and glaring – exception is “Drones“. Though the song sounds pleasing from a musical standpoint, highlighted by Pete Cooper’s appropriately droning flugelhorn, the lyrics are searing and bitter, calling out our leaders who lead us into endless wars while insulating themselves from the resulting horrors: “You send our sons and our daughters to war. You send our sons into battle and our daughters into hell. You send our sons and our daughters to war and now you want us to do it all again. Have you learned no lessons from the deaths of the millions. Now you want us to do it all again. I see your sons and your daughters are alive. You make these big decisions, then let others do the killing. I see your sons and your daughters are alive.”
Tim has a pleasing and warm singing voice that’s similar to another British artist I’ve written about, The Blue Flame (aka Richard Stone), as well as Neil Tennant of the Pet Shop Boys in spots. On the beautiful and jazzy “Manifesto“, he sings of the games we play and things we say in order to keep our romantic relationships alive, referring to them as ‘propaganda’: “Propaganda: keeping us together. Propaganda: the lies that we tell each other. Propaganda: tell me what i need to hear. Propaganda: we are all actors. And I will love you till the end of time, and I will take you everywhere you want to go, and I will hold your hand while you sleep. I will be here until you go.” With Joe’s terrific little bassline, Tim and Andy’s wonderful guitars, Tim’s lovely keyboards, and Maria’s enchanting backing harmonies, this is one of my favorite tracks on the album.
On “Headrest“, strummed acoustic guitars and cheerful rhythms create a lighthearted backdrop for the rather bittersweet lyrics about a relationship that may have reached its end: “I don’t have the skills that I need to recover your faith and trust, but this is the best I can do with the lessons I’ve learned in life. I understand we’re in a tricky situation. A song and a smile are not the solution. If your ears are burning this might be the reason. Just this once we tried love, we tried grace, we had hope, we had faith, I found work, we had sex, I’m not sure there’s anything left.”
“Binary” is a brief but upbeat, guitar-driven song with a bouncy melody and sweet lyrics describing a relationship where both partners have long-settled into a comfortable routine that many of us in long-term relationships can identify with: “Turn the light out it’s on your side. Turn the light out it’s in my eyes. And I’ll let you know if I need you now.” On the poignant ballad “Good“, Tim tenderly sings to a loved one of his love and devotion in spite of the hurt he’s caused, accompanied by melancholy piano keys and strummed guitars.
Another favorite of mine is “Deluge“, with it’s bouncy bass-driven groove, lively strummed acoustic guitars, melodic mellotron, and Tim’s spirited taps on the cajón (a box-shaped percussion instrument originally from Peru). Tim assures his romantic partner of his love and devotion as they face the perils of war and conflict: “I have touched you everywhere. we have spoken in the dark. We have talked about so many things and you, you are perfect as you areThe sky’s alight with bombers, and the truth is withheld from us, I don’t know what to believe. The train is at the station, and the soldiers keep us safe from everything that would destroy us.”
The album closes with the tender love song “Touch“, in which Tim serenades his romantic partner of his fervent affection: “The beat of your heart a light in the dark. When I hear you laugh I’m tongue-tied.” Pete Long’s warm saxophone gives the track a nice jazzy touch (no pun intended!). It’s a fine ending for a delightful, well-crafted collection of songs written and sung from the heart.
British indie pop-rock band The Zangwills remain at #1 for a second week with their achingly beautiful song “Backpatters and Shooters”. “Tropic Morning News” by American alternative art rock band The National slides into the #2 spot, and “Transmitter” by British alt-rock band Sea Power holds at #3. Miley Cyrus’ “Flowers” enters the top 10.
Four songs make their debut this week: “Not Strong Enough”, from the new album the record by American indie rock supergroup boygenius, comprised of Julien Baker, Phoebe Bridgers, and Lucy Dacus, entering at #27; “Go Down River” by Brighton, UK duo The Heavy Heavy, consisting of Will Turner and Georgie Fuller, at #28; “Essence” by Danish DJ and electronic house music producer Refeci and Canadian singer-songwriter and musician Shimmer Johnson, at #29, and “Dummy”, the latest single by Portland, Oregon-based alt-rock band Portugal. The Man, bringing up the rear at #30.
BACKPATTERS AND SHOOTERS – The Zangwills (1)
TROPIC MORNING NEWS – The National (4)
TRANSMITTER – Sea Power (3)
LOVE FROM THE OTHER SIDE – Fall Out Boy (2)
TROUBLE WITH THIS BED – Beach Weather (5)
PEPPER – Death Cab for Cutie (8)
NEW GOLD – Gorillaz featuring Tame Impala and Bootie Brown (9)
GHOSTS AGAIN – Depeche Mode (10)
PAGES – White Reaper (6)
FLOWERS – Miley Cyrus (14)
SOFTEN – Alex Southey (13)
YOU GOTTA DO WHAT YOU GOTTA DO – Darksoft (12)
JUST BEFORE THE MORNING – Local Natives (7)
SUREFIRE – Wilderado (11)
BLUEBELL WOOD – Frank Joshua (19)
THE WALK HOME – Young the Giant (18)
I WANT YOU DEAD – Two Feet & Allie Cabal (20)
EYEZ – The Arcs (16)
WEIGHTLESS – Arlo Parks (17)
MODERNISE – Slow Readers Club (21)
KID – The Revivalists (23)
PAID OFF – Oli Barton & the Movement (27)
WOLF – Yeah Yeah Yeahs (28)
NIGHT BUS – Caitlin Lavagna (15) 20th week on chart
For my latest Fresh New Tracks installment, I’m once again featuring for my readers’ listening enjoyment three great new releases by acts who couldn’t be more different from each other. They are, in alphabetical order, Michigan-based singer-songwriter Au Gres (who I’ve previously featured three times on this blog), British alternative grime rock band DeadWax, and German atmospheric rock band gimbal.lock (with the latter two acts being new to me).
Au Gres – “leaving”
Photo by Bryan Hugo Iglesias
Au Gres is the music project of talented and affable Michigan-based singer-songwriter Joshua Kemp. (He named his act after the small town of Au Gres in rural northern Michigan where he vacationed as a youth with his family, and holds special meaning for him.) Influenced by such acts as Dayglow, COIN and Hippo Campus, he blends elements of indie rock, lo-fi and synth pop to create pleasing songs that he records in his little DIY home studio. I first learned about him in the fall of 2020, when he released his sweet debut single “Nervous”. He followed in February 2021 with the beautiful “At Home in the Dark”, then a year later with “do you think we’re old enough”. I reviewed all three songs, with the one for “Nervous” garnering 1,162 views thus far. In just a year and a half, he’s become quite a successful artist, garnering impressive numbers on many of the streaming platforms; “do you think we’re old enough” has earned more than 365,000 plays on Spotify alone, and “Nervous” over 208,000. He dropped his fourth single “used to be” in November 2022, and on March 29th, he released his fifth and latest single “leaving“.
With its dreamy melody, sparkling synths and exuberant guitars, Dayglow’s influence on “leaving” is strongly evident, and in fact, Au Gres’ vocals even sound like Dayglow front man Sloan Struble here. In an article premiering the song on Atwood Magazine, Au Gres discussed his inspiration behind “leaving”: “I went through a lot of changes this year and I noticed the way I started to feel about myself was changing too. I wasn’t able to identify it at first, but retrospectively, I was putting a lot of my identity in things that actually had very little to do with me. Things like my career or friends or how much money I had saved. I guess the message here is to not define yourself by external, ever-changing things. Instead, figure out who you are at a core level so you’ll be better equipped to deal with change.” It’s a gorgeous song, and just might be my favorite by him yet.
I haven’t come across an act that calls their sound ‘alternative grime rock’ before, but after listening to the music of northern English four-piece DeadWax, I think it’s the perfect descriptor. Comprised of frontman Jake Milburn (lead vocals), Solomon Price (bass), Henry Skinner (guitar) and Ben Millington (drums), together they make raw, in-your-face musical mayhem drawn from alternative rock, rap rock, hip hop, funk and hardcore punk, to name but a few of the influences I hear. Their music calls to mind such legendary acts as the Beastie Boys, Limp Bizkit and Rage Against the Machine, though their sound is uniquely their own. They’ve released only a handful of singles, starting with “Heavy Temptation” in 2019, but have gained a reputation for their explosive sound and high-energy live shows.
On March 30th, DeadWax dropped their latest single “Northern Behaviour” a stupendous little blast of dynamite they call “A lil homage to how we grew up together in the North, grafting on building sites n laughing at each other in the pissin rain.” Jake elaborates: “The track is born from our time working as labourers on a derelict building site in Holmfirth. Sol and I worked there for about 2 years, doing anything from putting up scaffolding to moving literally tons and tons of dirt by hand.Doing that job,we always used to say it was ‘character building’ and in fairness, it gave us some serious motivation to get out of it. I wanted to pay homage to where we came from and how we got there, and taking the idea of ‘northern-ness’ and saying, yeah it might be gloomy and rough sometimes, but its fuckin’ great here, and we wouldn’t have changed anything about how and where we grew up together.” Well, I must say the song’s fuckin’ great too, a maelstrom of combustible rhythms, raging riffs and Jake’s furious vocals, fueled by a healthy dose of bravado.
DeadWax have a number of shows scheduled this month, so click on this link for details.
The curiously-named gimbal.lock is a fairly new German atmospheric rock act located near Munich. Comprised of Ralph Bayer (guitar, lead vocals), Tom Geissler (drums) and Zsolt Themes (guitar, backing vocals), all are seasoned musicians who’ve played in various bands for several years. I asked Ralph about their unusual name, and he told me ‘gimbal lock’ is a technical term for the phenomenon that occurs in a three-dimensional rotation system where the rotation axes unexpectedly align, causing the system to lose one degree of freedom. He’s a mechanical engineer working in the field of space robotics, and decided upon the name to reflect their music’s singularly unique and unexpected sound.
On February 24th, they released their debut single “Fantasy“, a beautiful song the band says “is meant to inspire the listener to let their imagination run free and escape reality with all its obstacles for a short time.” The guys recorded, produced and mixed the track themselves, with mastering done by Charles H. Root, III at Electric Owl Works in South Wales, New York. The song opens with soothing sounds of waves gently breaking on a beach, which are soon joined by strummed acoustic guitar notes. The music gradually expands to include a bold bass line, thumping drumbeats and glittery synths as Ralph beckons us to let our minds embrace a sense of euphoria and joy: “Close your eyes and follow me. Use your fantasy and free your mind. Forget your pain and touch the sky.” For me, the musical highlight of the song is its enchanting Middle Eastern flavor, thanks to the use of exotic instruments like the buzuq, a long-necked Arabic fretted lute, and the santoor, a trapezoid-shaped Indian hammered dulcimer. “Fantasy” is a promising debut from gimbal.lock, and I’m eager to hear more music from them!
ECLECTIC MUSIC LOVER 