There are a ton of really outstanding songs out now, and I have to say that, having grown up during the 60s and 70s – which many consider to be the greatest years for music – I honestly never imagined I would still enjoy hearing new music at my advanced age in the year 2022. It keeps me hopeful about the future of music! Now, let’s get to the highlights of this week’s Top 30 chart. I love every song on this list, and wish I could place them all in the top 5. The haunting and topical “Broken Record” by British artist NAVE spends a second week at #1. The Killers‘ inspiring anthem “boy” closes in at #2, while Måneskin‘s “Supermodel” holds at #3 for a third week.
Entering the top 10 are “Here to Forever” by the ever brilliant Death Cab For Cutie, climbing five spots to #6, and “Bad Habit” by Steve Lacy, leaping eight spots to #10. British artist Granfalloon‘s delightful “Please Write Responsibly” and The 1975‘s enthralling “Part Of The Band” both climb four spots to #12 and #13, respectively. And Beach Weather continues their rapid ascent up my chart with their marvelous “Sex, Drugs, Etc.”, climbing seven spots to #14. Three songs make their debut this week: “My Babe” by Spoon, entering at #27, “Sisters” by Irish artist pMad, entering at #29, and “Bitter” by British trio Wild Horse, bringing up the rear at #30.
BROKEN RECORD – NAVE (1)
BOY – The Killers (4)
SUPERMODEL – Måneskin (3)
UNTIL I FOUND YOU – Stephen Sanchez (2)
VIVA LAS VENGEANCE – Panic! At the Disco (6)
HERE TO FOREVER – Death Cab for Cutie (11)
BONES – Imagine Dragons (7)
BREAK MY SOUL – Beyoncé (8)
TEK IT – Cafuné (10)
BAD HABIT – Steve Lacy (18)
FAILURE TO COMPLY – MISSIO (5)
PLEASE WRITE RESPONSIBLY – Granfalloon (16)
PART OF THE BAND – The 1975 (17)
SEX, DRUGS, ETC. – Beach Weather (21)
WHAT’S THE TRICK? – Jack White (15)
CLOSER – The Frontier (9) 19th week on chart
SIDELINES – Phoebe Bridgers (14)
SEASICK – The Rare Occasions (19)
MISTAKES – Sharon Van Etten (13)
LEMON TREE – Mt. Joy (12)
FREE – Florence + the Machine (22)
CRACKER ISLAND – Gorillaz featuring Thundercat (23)
The cool album artwork was designed by Daniel Benayun
Though many singer-songwriters tend to draw inspiration from their own life experiences, few I’ve come across are quite as thoughtful, candid and personal as Virginia-based singer-songwriter Andrew Neil (born Andrew Neil Maternick). Considered an outsider music artist in a similar vein to the late Daniel Johnston, Andrew writes from his heart and soul. The 34-year old has faced a number of daunting life challenges that would have crushed many of us, but his faith, strength and resilience, as well as the incredible love and support of his family and friends, have enabled him to flourish as an artist.
I’ve featured Andrew twice on this blog, first in November 2019, when I reviewed his third album Freak, then again in June 2021 when I reviewed his fourth album Sunny Side (you can read those reviews by clicking on the Related links at the end of this post). I wrote extensively about his life experiences in those reviews, but will touch on a few significant points to provide a bit of context.
After growing up as a fairly typical kid and high school athlete, he suffered a life-altering event in 2009 when he sustained a serious head injury in a car accident. The injury resulted in two significant changes for Andrew: 1) he began having a series of psychotic episodes, and 2) he started writing songs, despite the fact he’d never had any prior music training of any kind. During a psychotic episode in 2013, he stabbed his younger brother in the arm, which landed him in jail for seven months until his family and attorney convinced the prosecutor that he needed help, rather than being incarcerated.
He was subsequently released and sent to a state mental hospital, where he received excellent treatment and learned to manage his illness. During the three years there, he wrote and recorded around 70 songs on a battery powered Tascam recorder, which his father Ray later uploaded to a computer. Andrew was conditionally released from the hospital in May 2017, and moved into a group home in Charlottesville. (He now lives independently.)
Upon his release, he produced his first album Code Purple – Andrew Neil, featuring 11 melancholy yet optimistic songs he hoped might help others struggling with similar mental health issues. He followed up a year later with his second album Merry Go Round, then quickly went back to work in early 2019 to record his third album Freak. Sadly, as he was wrapping up the recording he was hit with yet another health crises when he was diagnosed with Non-Hodgkin’s Lymphoma. He underwent a grueling round of chemotherapy while the album was being mixed and mastered, and he and his family started a Kickstarter campaign to help raise funds for album production and marketing, garnering even greater support than expected. The album, an ambitious work featuring 14 tracks addressing topics of love, faith, mental illness and self-identity, was released that October to widespread acclaim.
His cancer thankfully in remission, Andrew began recording songs during the Covid lockdown, this time with only his own quirky, endearing vocals and vintage nylon string Ovation acoustic guitar, accompanied on some tracks by subtle keyboard overdubs. The songs came together as his fourth album Sunny Side, featuring 10 optimistic tracks with a mellower, more lo-fi folk sound. Ever the creative, hard-working artist, Andrew’s now returns with his fifth album Alien, which dropped September 15th. Similar to Sunny Side, the songs on Alien were performed with just Andrew’s vocals and acoustic guitar, giving them a lo-fi folk sensibility. But the subject matter is a bit darker, touching on such issues as mental health, loneliness, suicide, alcoholism and relationships.
In order to get a bit more insight into his inspiration for writing Alien, I asked Andrew a few questions, to which he graciously responded.
EML: Thank you, Andrew, for agreeing to speak with me about your latest album Alien. You’ve experienced more than your fair share of trauma and difficult challenges in your life, and also suffer from depression, which you’ve spoken about pretty openly on social media. Like many songwriters, you draw from your own experiences when writing your lyrics, and as was the case with your previous albums, the songs on Alien address such topics as mental health and emotional well-being, addiction, suicide, loneliness and faith. Does writing and recording songs help bring you a little peace of mind?
Andrew: Yes, writing songs does bring me a little peace of mind. Some songs help me process my grief and sorrow. When I write it is like the hand of my heart reaching out to the world for help, love and understanding; almost always the world reaches back and that feels good. I also hope that my music will help others to deal with their own issues, depression, loneliness. If you think about it, it’s almost like a continuous circle of emotions. You write to help yourself, which directly or indirectly helps others and they in turn help you back with positive feedback. They view my song within their own life experiences and relate in their own way. We all learn from this exchange of melody and lyrics and emotions. Knowing this gives me peace of mind.
EML: The title track “Alien” reminds me a bit of “Freak” in that it seems to speak to embracing one’s identity, warts and all, rather than being ashamed of it. Is that the point you’re trying to make on this song?
Andrew: The point of “Alien” is the truth behind my belief in a universal family. We may come from other places, have different religions, have different governments, eat different food, but at the end of the day I firmly believe we all have hearts with similar desires. These hearts feel and desire love and it’s this desire that illustrates we truly are a family. So, when we see someone different, someone who fits the mold of an alien we should reach out to them with love and understanding.
EML: Two songs in particular, “I Need a Reason” and “Don’t Tell the Doctor”, are pretty heavy and dark, dealing with thoughts of suicide. Your dad told me that “Don’t Tell the Doctor” was inspired by a comment a woman whispered to you during a group therapy session – “Don’t tell the Doctor, but I’m in love with suicide”. What prompted you to write about that experience?
Andrew: I have spent a fair share of time in mental hospitals and have met many interesting characters. During one of my first stays at Virginia Baptist Memorial Hospital I met a young lady named Holly. It is true that we had a group session in which we were supposed to talk about what we love. Her answer was “Suicide”. I, like many in the group, could relate and it’s a moment of genuineness I will never forget. I wonder where Holly is these days, and she will always have a place in my heart.
EML: Not being a songwriter nor musician, I’m always impressed by people who can write compelling lyrics and compose interesting or catchy melodies. Do you generally write your lyrics first, then set them to music, or do you first come up with a melody or guitar riff, then write words to fit?
Andrew: When writing songs, I usually start with strumming some chords on the guitar. Then I hum a tune that fits and then I transform that tune into words. Sometimes I feel as though my fingers are guided on the fretboard. I don’t really know any standard chords or notes or even musical keys, but my fingers seem to find the right sound and melody. I really think melody is important. Melody is something I think is missing from many songs written today. There are lots of “beats” but not really much melody in many contemporary songs.
Once I have a melody, I try to determine what the melody is telling me or saying. The words/lyrics are by far the hardest part of the process. The lyrics are really my notes in a weird way. I write the lyrics so that the melody wraps around them. Sometimes I’ve come up with lyrics when the guitar is not in my hands. I might have a dream or a special feeling and the lyrics just pop into my head. “Mongolia” was a good example of this. In that case the lyrics helped to dictate the melody. I tend to write 2 to 3 songs a month.
EML: From what I can tell, the only sounds we hear on these songs are your voice and acoustic guitar, is that correct?
Andrew: Yes, it was certainly stripped down. Just me and my nylon string ovation guitar. I do not recall any keyboard dubs on the Alien album tracks. We decided to keep it simple and maintain a lo-fi sound. We also wanted to help the subtleties of my guitar playing, which is different than many guitarists, stand out. Over the years, I have come up with my own style of playing and make up my own chord shapes. It’s a very percussive style. My dad says it reminds him of Richie Havens in some ways. I am not really encumbered by the rules, scales, etc. of the instrument. I really think this gives me a certain amount of freedom in writing songs that many songwriters don’t have. They tend to stick to the conformity of the instrument.
EML: Who are some living artists or musicians whose work inspires you, or that you would like to collaborate with if possible?
Andrew: My inspirations are many. The living artists who come to mind are Bob Dylan, Willie Nelson, Carlos Santana, Richard Thompson, Sanjay Mishra, and Lady Gaga to name a few. I’ve also been listening a lot to Country artists John Anderson and Raelyn Nelson. It would be cool to collab with them, but I realize that is pie in the sky kind of stuff. More realistically, as far as collaboration, I would love to work with and perhaps co-write songs with some rising artists in different genres. One genre in particular I am developing an interest in is Alt-Country, which is a mix of Country, Garage Rock, Blues and Alternative. One up and coming Alt-country artist I would love to co-write a song with is Raelyn Nelson. As you know I was scheduled to open for her Band on 19 August of this year in Hershey PA, but it was cancelled due to an illness in her band. It will be rescheduled hopefully in November. After her manager notified me that they wanted me to open for them, I started listening to the Raelyn Nelson Band music. That listening experience inspired me to write a few Alt-County songs for the show. I would love to release an alt-country album after Alien. This would definitely be a different direction, but I think it’s also a way to reach more people with my music.
Prior to the inspiration by the Raelyn Nelson Band, I had begun to dabble in writing more country-like songs. For instance, I think the songs “Gambin Man” and “Kinda Turns me On”, on my Sunny Side Album have an alt-country feel to them. I think I am going to travel in that direction for the time being. Also, I am on this list on Ranker (Best Outsider Music Artist list). Many of the artists that are listed have passed on now. I really wish I could have worked with Daniel Johnston. But there are a few younger living artists on the list like John Revitte who is an exceptional lyricist, that I would love to collab with. R. Stevie Moore, and Iggy Pop are also on the list, but are really up there in age and I’m not sure if they are still active in music.
EML: Anything else you’d like to say about Alien or yourself that I’ve neglected to ask?
Andrew: No storm lasts forever. Life is good and people are beautiful. I appreciate you taking the time to review my music and get my story out there into this world. Music makes a difference in this jello world. Thanks again and peace out.
Now, let’s get to the album, which opens with the title track “Alien“. As Andrew stated, the song speaks of reaching out to people who are different from us with love and understanding, as we’d hope they’d do for us: “Far from ordinary, makes life kind of scary. I’d have it no other way. We come in peace. Don’t shoot please. It’s alright alien.” On the melancholy “I Need a Reason“, he questions the value of his very existence: “Like a bug stuck in a spider’s web, the more I struggle, the more I’m dead. I am blue, and blue I remain. Will I get conquered by my pain?I need a reason baby, a reason to be here. I need a reason baby, to make it through the year. I need a reason baby, before I disappear.“
While “Mongolia” comes across as a pleasing folk tune, its lyrics are packed with meaning and emotional conflict. It starts off with Andrew listing a few of his psychoses: “I know angels on a first-name basis. And I can’t stare at the walls too long, or else I’ll see faces.” He then describes his wanting to escape to an exotic place in hopes of overcoming some of his shortcomings: “I want to go to Mongolia, Perhaps there I’ll get holier. Holier than the Judas that I am. Holier like Mary’s little lamb.” Continuing on, he acknowledges that he’s too old to be treated like a child, yet still needs emotional support and comfort from his mother: “Mommy please don’t spank me. I’m way, way too old. And I need a blankie, cause this world is so cold. So I wanna go to Mongolia.” Here’s a wonderful live performance of Andrew singing the song in 2021.
As described earlier, “Don’t Tell the Doctor” was inspired from an experience Andrew had in one of his group therapy sessions back in 2009, in which the discussion leader asked them to talk about what they loved. A woman in the group leaned over to Andrew and whispered “Don’t tell the doctor, but I’m in love with suicide“. The song has a languid, rather somber melody, with some really fine guitar noodling. Andrew’s melancholy vocals sing of feelings of hopelessness: “Sometimes I feel like there’s only one way out. That’s when you’ll find me hanging from a cloud. And sometimes I feel like there’s nowhere left to run. I keep my promises, I won’t use a gun.” That line, combined with the almost grungy feel of Andrew’s acoustic guitar, makes me think of Nirvana.
“Fingers Crossed” seems to touch on people’s superficiality and phoniness, and making empty promises but not following through: “Ring, ring, ring, I ignore the call. So leave a message and I’ll call you back. Fingers crossed, yeah we all know that.” On “My Best Friend is Not Whiskey“, Andrew speaks to how alcohol does not solve our problems or make us feel better: “Where’s my fairy tale ending? What the fuck happened to me? Every day I keep pretending that I’m not in misery. Every day I keep pretending my best friend is not whiskey. It’s a thirsty world.” And on the allegorical “The Beat Goes On“, he describes a series of dreams in which he meets an Aztec priestess, has Jesus in a high school class, and is a Samurai warrior addicted to death and glory who ultimately commits hara kiri.
“Remember to Forget” is a sweet song about being supportive and loving to a friend in need: “When you’re cold, I’ll be your sweater. When you’re sad, I’ll make you smile. We’re all in this together, mile after mile. When you need a hug, I’ll be your teddy. Yes, I’ll be your happy thought. Remember, remember to forget, the vampire that bit. Remember, remember to forget all of the bullshit.” And of course, it’s always wonderful getting that support in return: “When it rains, you’re my umbrella. When I cry, you dry my tears. We’re all in this together. You put meaning in my years.“
The album closes with the charming “Black Sheep“, which speaks to how just because someone may be quirky and different, they still have qualities worth loving: “One day, we all kick the can. So girl, won’t you hold my hand. I promise that I am no creep. Yeah, I’m just a black sheep.” Andrew’s percussive style of guitar playing is strongly evident in his heavily-strummed acoustic notes. It’s an upbeat ending that keeps the album from being too overwhelmingly bleak. All in all, Alien is a marvelous little album, and Andrew’s stripped-down acoustic treatment really allows his endearing, heartfelt vocals and relatable poetic lyrics to shine.
Perpacity is an electronic music act comprised of British singer-songwriter, composer and producer Ian Harling and Danish singer-songwriter, composer and producer Martin Nyrup (Martin is a also a member of Danish Electronica act Oui Plastique, whose single “The Fear” I reviewed last year.) They’re both accomplished musicians, with over 20 years of experience, and from what I’ve been able to discern from their website and social media accounts, have been collaborating for nearly a decade. Their sound is characterized by haunting melodies, lush electronic soundscapes and driving beats, with thoughtful and compelling lyrics. And while their social media following is rather modest, they have over 3,100 followers on Soundcloud, an impressive figure for an independent music act.
Martin Nyrup & Ian Harling
The released their debut album The Sinner Inclination in 2015, consisting of a previously-written catalogue of early instrumentals and songs. Since then, the prolific duo have released scores of singles and three more albums: Arise, The Order of Now and, most recently, Conflagration in 2020. Now they’re back with a new single “Granite“, along with a B-side “Never Let Go“, both of which will be included on their forthcoming fifth album Discordia. The songs explore the seemingly conflicting aspects of love lost and love found. Martin produced, mixed and mastered both tracks, and Ian produced the video for “Granite”.
Perpacity states that “‘Granite’ is about love lost and the repercussions that follow, finding that you are suddenly alone and vulnerable, whereas ‘Never Let Go’ is its opposite, about love found and the strength and cohesion it brings.” Both songs have a haunting, rather enigmatic vibe, but that’s where the similarities end. “Granite” features a insistent thumping beat, overlain with a pulsating synth bass groove and mysterious swirling synths. Ian’s low-key vocals nicely convey a sense of sad resignation as he contemplates a love that’s slipping out of reach, never to return.
Reading in Fahrenheit,
I'm in flames,
But I feel colder than the rain you left me in again today.
Bleeding but sanitised,
There's no pain,
But every little raindrop,
Is burning in my veins.
Don't let it rain anymore.
I'm washing away I'm not stone.
Don't let it rain anymore,
I'm slipping now don't let me go.Nearing the danger line,
Overflow,
And the clouds that gather round my head are greyer than before.
Drowning in real time,
You couldn't wait,
You found a friend for shelter,
And let me liquidate.
Don't let it rain anymore.
I'm washing away I'm not stone.
Don't let it rain anymore,
I'm slipping now don't let me go.
Hvad som kommer er mit
Som i hvileløst granit
“Never Let Go” is more introspective, with a gentle, cinematic soundscape that nicely complements, but never overpowers, Ian and Martin’s enchanting vocal harmonies. The moody atmospheric synths and softly soaring strings are really captivating, and I think I actually prefer this track.
I was in denial,
I love LOVE, that you see me.
So let me stand trial,
I love you, now hear me.I looked to the stars
I love LOVE, when you´re near me.
I carry all the scars,
You see them, you feel me.
You´re my seed to everything
And with water we´ll grow
And I´ll give you anything
Just you hold on and never let go
You´re always by my side
You´re loved LOVED, and I'm near you
When worlds they collide
Together, I´m with you
You and I have come far
You´re loved LOVED, and I am with you
I'm with the northern star
Everything shines up, when with you
Mount Famine are a British post punk/synth-infused indie rock’n’roll project based in Derby. Formed in 2019 as a collaboration of seasoned musicians with a shared love of such bands as The Cure, The Psychedelic Furs, Pet Shop Boys, Manic Street Preachers, Pulp and Suede, they aim to create music that, in their own words, “produces the adrenaline-fueled highs of indie disco dancefloors.” Hallmarks of their vibrant sound are infectious melodies, lush soundscapes and soaring vocals. A rather enigmatic band, they have no photos of themselves on any of their social media, nor do they list their members’ names. Band front man and vocalist Martin Stanier, who I know of from his having reached out to me on Instagram, explained that they’ve steered away from photos, wanting the focus to instead be on their music.
Beginning with their debut single “Faith” in January 2020, they’ve released a string of excellent singles over the past two and a half years. This past March, I included their fourth single “Distance” in a Fresh New Tracks post. The song garnered support from BBC Introducing East Midlands and Louder Than War, as well endorsements from actor Robert Carlyle and British broadcaster Terry Christian. I liked the song so much, it spent 11 weeks on my Weekly Top 30 list. Now they’re back with a new single “Offcuts“, a rousing anthem that calls to mind some of the great songs by New Order, Manic Street Preachers and The Killers.
The song storms through the gates with an exuberant soundscape of swirling synths, roiling guitars and driving rhythms. Martin’s sparkling keyboards have a wonderful cinematic quality, and the layered shimmery and grungy guitars are quite marvelous. Also outstanding are the humming bassline and emphatic thumping drumbeats, both of which add great power and depth to the track. And, as always, Martin’s resonant vocals are incredibly pleasing, rising with a commanding force in the choruses.
The song’s lyrics touch on the drudgery of executive management, work hierarchies, and the disposability of workers. Martin elaborated further: “It’s about a moment I had recently where I doubted myself. I spent some time in the company of some very senior managers in my job who weren’t nice or kind and treated others lower on the food chain really badly. And all the others treated them with adoration and respect that to my mind, they didn’t really deserve. I wondered if I had got it wrong and that doing this was the way forward. I mean, it didn’t last very long because of course that isn’t how to be or to treat people, but it also echoed the behaviour of a lot of our world leaders of late.”
I am the new normal in rock and roll; discos
Kiss me, between the sheets
You're so discreet, discreetMaybe I misunderstood
And dreams and schemes are not as fun
As real life, through office doors
We are Offcuts on director's floorsMaybe I misunderstood
And dreams and schemes are not as fun
As real life, through office doors
We are Offcuts on director's floorsFast cars, high class barsNow you are stars, all stars
Diamonds and dollars
Now you look down on us, on usMaybe I misunderstood
And dreams and schemes are not as fun
As real life, through office doors
We are Offcuts on director's floors
Maybe I misunderstood
And real life is Hollywood
And Sundays walking through the malls are the best days, best times of allFunny, you're so funny
They laugh with you
But money and power have made you sourMaybe I misunderstood
And dreams and schemes are not as fun
As real life, through office doors
We are Offcuts on director's floors
Maybe I misunderstood
And real life is Hollywood
And Sundays walking through the malls are the best days, best times of all
“Offcuts” is a fantastic radio-friendly song that’s certain to be a hit.
One of the most hauntingly beautiful songs I’ve heard this year is “Broken Record” by British artist NAVE, the solo music project of singer-songwriter, composer and producer Nathan Evans. The prolific and hyper-talented musician creates gorgeous and dramatic music incorporating a broad array of genres and styles, including alternative electronica, rock, ambient, trip-hop, orchestral and dark wave. He’s also front man for alternative rock band Native Tongue. He wrote “Broken Record” to address the powerfully addicting allure of social media and its impacts on our emotional and mental health. Nathan states “‘Broken Record’ focuses on the like, follow and share society we have transitioned into over the past decade. Likes release dopamine like a drug and we become addicted to the validation, attention and acknowledgment of our successes or happiness. We hide behind filters and fake smiles to show an inaccurate reality we wish was real.” The song is stunning, with mournful, contemplative piano keys overlain with arresting percussion, swelling strings and mysterious vocal effects. I love male singing voices in the higher ranges, and Nathan’s is especially captivating here. Not only is “Broken Record” a gorgeous song, it also resonates very strongly with me, and I’m thrilled to place it at the top of my list this week.
In other notable chart developments, The Killers‘ uplifting anthem “boy” leaps 17 spots to #4, Cafuné‘s “Tek It” advances a notch to enter the top 10 at #10, Steve Lacy‘s “Bad Habit” jumps 11 spots to #18, and Beach Weather‘s “Sex, Drugs, Etc.” climbs nine spots to #21. The lone debut this week is the delightful “Party4One” by the brilliant Canadian artist dwi, which enters at #30.
BROKEN RECORD – NAVE (2)
UNTIL I FOUND YOU – Stephen Sanchez (1)
SUPERMODEL – Måneskin (3)
BOY – The Killers (21)
FAILURE TO COMPLY – MISSIO (5)
VIVA LAS VENGEANCE – Panic! At the Disco (8)
BONES – Imagine Dragons (9)
BREAK MY SOUL – Beyoncé (10)
CLOSER – The Frontier (4)
TEK IT – Cafuné (11)
HERE TO FOREVER – Death Cab for Cutie (14)
LEMON TREE – Mt. Joy (7)
MISTAKES – Sharon Van Etten (6)
SIDELINES – Phoebe Bridgers (12)
WHAT’S THE TRICK? – Jack White (13)
PLEASE WRITE RESPONSIBLY – Granfalloon (19)
PART OF THE BAND – The 1975 (20)
BAD HABIT – Steve Lacy (29)
SEASICK – The Rare Occasions (22)
ABOUT DAMN TIME – Lizzo (15)
SEX, DRUGS, ETC. – Beach Weather (30)
FREE – Florence + the Machine (23)
CRACKER ISLAND – Gorillaz featuring Thundercat (24)
VAZUM is a deathgaze duo from Detroit, Michigan, consisting of Zach Pliska (vocals/guitar/drums) and Emily Sturm (vocals/bass). Combining elements of deathrock, goth, post-punk and shoegaze, they create their signature dark, haunting and melodic sound that sounds vaguely familiar, yet totally unlike anyone else I’ve heard. Since forming in 2017, the highly imaginative and prolific duo have released an impressive four albums, three EPs and nearly a dozen singles, all of which they produce, record, engineer and mix independently at their own Light Echo Studios.
I’ve followed VAZUM for over a year, and am finally featuring them on this blog on the occasion of the release of their latest single “Double Stellium“. Stellium is an astrological term that refers to when someone has at least three planets in one zodiac sign or house in their birth chart. Having a double stellium can be very intense with a lot of energy focused in specific areas. Both Zach and Emily have double stelliums in their astrological charts, hence the song’s theme and title.
The song blasts open with a jarring onslaught of shredded psychedelic guitars and explosive pummeling percussion, then settles into an eerily beautiful and melodic soundscape of industrial synths, those shredded guitars ever-present in the background. Halfway through, the music returns to the same intensity we heard at the beginning, before quickly calming back down, only to rev back up at the end for a final bombastic flourish. Zach and Emily’s echoed droning vocal harmonies are perfectly suited to the goth-flavored instrumentals, nicely enhancing the song’s overall haunting feel.
The lyrics are probably open to interpretation, but my take is that they speak to loving those close to us and living life to the fullest in the here and now, given the eventual certainty of death.
Soon it will claim us all Drained, pale porcelain dolls Swept in a sanguine pulse Dark dreams, nothing else Doesn’t really matter who we were All that really matters
I’ll lie here with you till nightfall I’ll bleed here in you till nightfall I’ll lie here with you There’s no end I’ll bleed here in you There’s no end
VAZUM also created and produced the trippy video for the track.
Not a lot of changes from last week on my latest Weekly Top 30. Stephen Sanchez‘ beautiful retro love ballad “Until I Found You” holds the top spot for a second week, while “Broken Record” by British artist NAVE, and “SUPERMODEL” by Italian band Måneskin, each move up a notch to second and third place. “Bones” by Imagine Dragons and “BREAK MY SOUL” by Beyoncé enter the top 10 at #9 and #10, respectively. The biggest upward mover is “Boy” by The Killers, which climbs seven spots to #21.
Debuting this week are the charming funk-pop song “Bad Habit” by Southern California artist Steve Lacy – the song has already reached #1 on the Billboard Hot Rock & Alternative Songs chart, and is at #3 on the Hot 100 – and the enchanting “Sex, Drugs, Etc.” by Massachusetts alternative pop-rock band Beach Weather.
UNTIL I FOUND YOU – Stephen Sanchez (1)
BROKEN RECORD – NAVE (3)
SUPERMODEL – Måneskin (4)
CLOSER – The Frontier (2)
FAILURE TO COMPLY – MISSIO (7)
MISTAKES – Sharon Van Etten (5)
LEMON TREE – Mt. Joy (8)
VIVA LAS VENGEANCE – Panic! At the Disco (9)
BONES – Imagine Dragons (11)
BREAK MY SOUL – Beyoncé (12)
TEK IT – Cafuné (14)
SIDELINES – Phoebe Bridgers (15)
WHAT’S THE TRICK? – Jack White (16)
HERE TO FOREVER – Death Cab for Cutie (17)
ABOUT DAMN TIME – Lizzo (10)
THE FUNERAL – YUNGBLUD (6)
LIN MANUEL – Onism E (13)
GREY – Holy Coves (17)
PLEASE WRITE RESPONSIBLY – Granfalloon (21)
PART OF THE BAND – The 1975 (22)
BOY – The Killers (28)
SEASICK – The Rare Occasions (24)
FREE – Florence + the Machine (25)
CRACKER ISLAND – Gorillaz featuring Thundercat (26)
Art Block is an alternative folk singer-songwriter and multi-instrumentalist based in East London, England. A prolific artist, he’s been making beautiful music for a number of years, and has released an impressive number of singles, EPs and remixes since early 2015, beginning with his debut L.A.-inspired single “Los Feliz”. I’ve featured him three times on this blog, the first time in November 2019 when I reviewed his enchanting song “The Basement”. The song has become his most successful to date, amassing over 290,000 streams on Spotify, which is notable in light of the fact he not represented by any label or management. A year later, I reviewed his lovely single “Borderline”, then this past March, I included his single “Pilgrim” in a post about my having been a moderator for Tom Robinson’s Fresh On The Net blog.
Now he returns with a new EP titled White Horses EP, featuring three tracks he says were “inspired by the beauty of nature but also touching upon war, themes of death, loss and the bitter sweet nature of human existence.” The EP was recorded at Super Symmetry Studios in Hackney, utilizing a mix of both analog and digital sounds that give the songs incredible texture and depth. William Robertson aka Wheeliemix produced, mixed and engineered the EP using Moog synthesizers, as well as played acoustic guitar, Raphael Bouchara played drums, and Sandra Brus played violin. Mastering was done by John Webber (David Bowie, Duran Duran). Art Block created the beautiful cover artwork for his EP using a photo he’d taken of the English countryside.
In addition to beautiful melodies and captivating arrangements, a defining aspect of Art Block’s songs are his tender, heartfelt vocals. With his incredibly emotive singing voice, he has the ability to convey a deep sense of sorrow and despair, which is on full display on all three songs. The first track “Saviour” speaks of a relationship that saved him at first, but ultimately ended because of the hurt and pain they inflicted on each other: “It was a travesty. Unjust unliberty. Hurting those around you. Building walls between ourselves. We knocked our brains out cold. Drank from the cup untold. Floored by passion and the drink. Makes us do what we don’t think. You were a precious stone. Now I am all alone. I’m fading, yeah I’m fading. We dug our grave too soon.” It’s a melancholy but lovely song, highlighted by Art Block’s stunning piano and Sandra Brus’ mournful violin.
“White Horses” is another hauntingly beautiful piano-driven song with a somewhat similar vibe as “Saviour”, except Art Block’s vocals are more emotionally-wrought in the choruses. He says the song “was inspired by a beautiful place in England, but also by the attack in Mariupol Ukraine which was in the news, where I imagined I was going through the devastation there. Perhaps ‘White Horses’ is a metaphor for something else, greater, perhaps mystical or mysterious? The place I visited in England certainly had a mystical feel even though the White Horse itself etched into a hill was not ancient.” His lyrics are poetic and deep, touching on the terrifying randomness of death and suffering: “We bear our own cross. And the people may wonder why God’s left them alone? The wind is burning. There’s so much smoke cos’ you’re coughing up blood now. The poem has ceased. And the soil is all over me, I’m six feet deep.“
The bittersweet “Low Light” is both captivating and melancholy. Art Block’s vocals are downright heartbreaking here, perfectly conveying the intense pain and heartache of a relationship or friendship that’s falling apart, but not wanting to come to terms with it just yet: “A friendship ooh has crumbled. Ooh we’ve stumbled, as we break into dust. A fear I don’t wanna see. A light I don’t want feel. A low light I don’t wanna see. A change I don’t wanna make tonight.” Art Block’s piano is sublime, accompanied by airy synths, William’s shimmery guitar notes, Sandra’s subtle electric violin, and Raphael’s gentle drums and cymbals that evoke waves crashing upon rocks at the sea’s edge.
While it’s subject matter is decidedly bleak, White Horse EP is nevertheless a gorgeous little work. With its flawless arrangements, production and performances by everyone involved, the three songs are among Art Block’s finest yet. The EP was released exclusively on Bandcamp today, September 2nd, and will be released on most streaming platforms on the 23rd.
Hailing from East Sussex, England is the talented and charismatic young pop-rock band Wild Horse, consisting of brothers Henry and Jack Baldwin and long-time friend Ed Barnes. Now in their early 20s, the guys are seasoned musicians who’ve been writing and recording songs since forming in 2013, when they were barely teenagers. Both Henry and Jack are multi-instrumentalists who play guitar, bass and keyboards, as well as sing vocals, while Ed plays drums and percussion, sings backing vocals and plays guitar on a few tracks. The Baldwin brothers are also prolific songwriters who’ve penned hundreds of songs over the years, with five albums, three EPs and numerous singles to their credit. I’ve been following them on social media for nearly five years, and have reviewed two of their albums, DANCE!! Like An Animal in 2019, and When the Pool Is Occupied this past December, which you can read here.
Always keeping busy and productive, Wild Horse has recorded a number of new singles which they plan on releasing this year, starting with “Joy Ride” this past June. They now follow up with a second single “Bitter“, which drops today. The song explores the emotional minefield of casual romantic relationships, in which one partner desires a ‘no strings’ arrangement with the freedom to see other people, leaving the other partner feeling dissatisfied, insecure and generally unhappy.
I really like the song’s breezy, guitar-driven melody, which nicely contrasts with the poignant, rather ‘bitter’ lyrics. As always, the guitar work is first-rate, accompanied by a lively rhythm section that keeps the toe-tapping groove going, while allowing the guitars and vocals to shine. Jack’s endearing, heartfelt vocals sound better than ever here, and we feel his sad resignation as he plaintively laments “A little bit of feeling’s what I need. And just a little bit of pleasure’s all you want. And now I’m stuck here in the middle, playing games. I really thought we could have talked this out by now. I’m just a little bitter.”
“Bitter” is a wonderful track, nicely showcasing Wild Horse’s continuing growth and maturity as a band.
pMad is the solo music project of Irish singer-songwriter Paul Dillon, a lifelong lover of music who’s been involved in songwriting and performing for years. Based in County Galway, Paul was previously a member of the bands Starve the Barber and The Suicidal Dufflecoats, and currently a member of The Greeting, as well as his project pMad. His eclectic sound, which is a dramatic and fascinating blend of darkwave, post-punk, alternative and goth rock, is heavily influenced by some of his favorite acts like The Cure, The Sisters of Mercy, Sonic Youth, Suicidal Tendencies, The The and Tom Waits.
When the pandemic lockdowns impacted his and just about every other artists’ ability to make and perform music, Paul created a “The Best of Irish Indie” page on Facebook, in which he ran a series of ‘Best of Irish’ polls. The response was so positive, he was newly energized and inspired to rework and record some of his previously-written songs, along with some newly-written ones. Without ever being in the same room together, he took advantage of modern recording technologies to create a number of singles remotely in collaboration with Zedakube Recording (Ireland), Protonaut Studio (Germany) and Elith Mastering Labs (Mexico). He released his debut single “Who Am I” last December, then followed in February with “Medicine”, and “Broken” in April (which I reviewed in a Fresh New Tracks post). He subsequently dropped a six-track EP Broken in May, featuring four songs and two remixes, then another single “Horror” in June, and today returns with his latest single “Sisters“.
Like most of pMad’s songs, it’s dark, brooding and intense, but I loved “Sisters” upon my first listen. Even my husband, who’s not much into goth or alternative rock, liked it the moment he heard it. What a magnificent song it is, driven by a deep, chugging bassline, and awash in ominous darkwave synths, layered guitars and pulsating drums. There are so many brilliant instrumental textures and elements, such as the contrasting shimmery and gnarly, reverb-soaked guitars and dramatic swirling synths, all creating a darkly beautiful cinematic soundscape for pMad’s arresting monotone vocals that come across as simultaneously menacing and hopeful.
About “Sisters”, pMad says it speaks of “those we love gone too soon. They don’t go away very far, they walk beside us every day… having left such an impression on us! They are still loved, still missed and a very important influence on our lives.” He elaborated further in an interview for the NenesButler Presents Music blog: “The inspiration for ‘Sisters’ was my youngest sister Keira who just dropped dead one day! Too young and too good to die, yet she did. We mourned, but the world will spin with you or without you. So, life goes on but she left an indelible mark in my life, like my father and relations and friends that have died. She was a cool, calm character and had some great sayings and thoughts on life. Of course, like me and any of us, she was not perfect, and had a few of her own demons to conquer too. She always saw the good in people, [and] the one great thing she always said, if someone was mean to her or anyone, was ‘be kind to them, you don’t know what they are going through right now’.
“Sisters” is fantastic, and I think it’s the best single released yet by pMad! He plans on dropping more singles in the coming months, and his album Who Why Where What is scheduled for release in November.
The fabulous artwork for the single was created by Little Bird Design.
ECLECTIC MUSIC LOVER 