Fresh New Tracks, Vol. 15 – The Frontier, Partisan, Johnny Ritchie

On By EclecticMusicLoverIn Reviews4 Comments

There’s so much new music being released these days that it’s already time for another installment of Fresh New Tracks. Today I’m featuring new songs by (in alphabetical order) Virginia-based singer-songwriter The Frontier, British rock band Partisan, and Montana-based singer-songwriter Johnny Ritchie. All three singles were released yesterday, April 8th.

THE FRONTIER – “Closer”

The Frontier is the music project of singer-songwriter Jake Mimikos, who’s based in northern Virginia. An enormously talented, gracious and funny guy, he’s released an impressive amount of music both as a band and a solo artist under The Frontier moniker since around 2015, and we’ve followed each other on social media for nearly that long. Drawing upon elements of pop, folk, rock and electronica, his music is incredibly pleasing and flawlessly crafted. As with many singer-songwriters, Jake’s songs are often inspired by personal experiences, and touch on such topics as love, relationships and loss. He prefers to write lyrics that are honest and straightforward, as if he were having a conversation with a friend. I’ve loved all of his songs, and have featured many of them on this blog over the years. Two of his singles, “Dark Places” (from 2019) and “Can We Go Back” (from 2021) went all the way to #1 on my Weekly Top 30, while “Sleep” (released in late 2020) reached #2.

On his latest single “Closer“, The Frontier delivers more of the catchy and melodic pop-rock we’ve come to love and expect from him. The song is more upbeat and pop-oriented than some of his previous releases, with a bouncy, guitar-driven groove and colorful synths nicely complementing the optimistic lyrics. About the song, Jake told Cool Top20 blog “This song was written during the pandemic while there was a very intense feeling of loneliness and isolation going on. It’s really a response to that. Wanting to get back to feeling connected again, I wanted to release something that hopefully everyone might be able to relate to and enjoy. I’m hoping that came through in the song. This song is special because it was 100% funded and supported by my friends, family, and fans. Huge thanks to everyone who contributed to my kickstarter to make this happen.“

Connect with The Frontier: Facebook / Twitter / Instagram

PARTISAN – “Animal”

Manchester, UK rock band Partisan was one of the earlier bands to follow me on Twitter way back in 2016, and I loved their high-energy style of melodic rock right from the start. Now comprised of Stuart Armstrong on guitar and vocals, Dan Albon on bass, and Leo Stanfield on drums, I first wrote about them in August 2016 when I reviewed their fantastic single “Juggernaut”, then two months later had the pleasure of meeting them when they performed at the legendary Whisky a Go Go on the Sunset Strip. I featured them a second time in June 2018 when I reviewed their single “Oxygen.” They followed with three more singles over the next two years, before the pandemic brought things to a halt.

Now, I’m happy to report that the guys are back with a brilliant new single “Animal“. It’s their first new music in over two years, and was definitely worth the wait. The song is both melodically beautiful and intensely satisfying from a rock perspective. It’s an electrifying stomper, highlighted by Stuart’s gorgeous, intricate guitar work, Dan’s driving bassline and Leo’s galloping drumbeats. I love Stuart’s beautiful tenor singing voice, which sounds better than ever here. The lyrics speak to the inherent dichotomy that exists with physical love and lust, namely that we often want a bit of both devil and angel in a romantic partner, but more heavily oriented toward the latter, of course: “Give me some more of that modern love. One from below, and two from above. Animal.” I love this song, and cannot get enough of it!

Connect with Partisan:  Facebook / Twitter / Instagram

JOHNNY RITCHIE – “Too Much Trouble“ featuring Jay Davis

Johnny Ritchie is an engaging and thoughtful young singer-songwriter and multi-instrumentalist based in Great Falls, Montana. With a lifelong love for music, he began learning to play piano and drums as a young child, then went on to study Contemporary, Urban, and Popular Music at Columbia College Chicago, and in 2020 earned a B.A. degree in Music at Western Michigan University. He now has his own business teaching others to play piano, keyboards and drums, as well as providing lessons in music theory, songwriting and improvisation. He also writes and records music in which he fuses alternative and experimental rock with neo-psychedelia and contemporary jazz to create incredibly fascinating soundscapes.

In March 2021 he released his debut single “Social Robots”, a song addressing human behavior and social media consumption following the tragedy of the 2018 shooting at Stoneman Douglas High School in Parkland, FL (which I reviewed). He followed with “Tired of the Media”, a song decrying the scare tactics so often used by the media. Now he returns with another socially topical single, “Too Much Trouble“, which touches on the superficiality of many of our interpersonal interactions these days, specifically the feelings of emptiness, disconnectedness and isolation that often result from using dating apps. Social media platforms were supposed to bring us closer together, but as Johnny noted to me, they “ironically make us feel more disconnected from those traits of human connection that we so desperately desire: love, physical touch, understanding and acceptance.”  

Musically, the song has an incredible arrangement and sophisticated jazzy vibe, dominated by a fabulous soulful organ and deliciously funky bass groove. The trippy psychedelic synths, subtle guitar notes and crisp percussion are perfection, and nicely complemented by some well-placed finger snaps adding even more coolness to the proceedings. The marvelous solo at the end was performed by his friend Jay Davis on an electric wind instrument. Johnny’s smooth, low-key vocals are wonderful too, exuding just the right amount of emotion as he sadly ponders “Is it too much trouble, baby, to want to know your mind? / I want to connect, skin on skin contact. But it’s only video call dates, swiping to find a mate. Nothing seems to last more than a day.”

Connect with Johnny:  Facebook / Instagram

SOLAR EYES – EP Review: “Dreaming of the Moon”

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One of my best new finds in 2021 was British psychedelic pop/rock collective Solar Eyes. Based in Birmingham and formed little more than a year ago, the trio is comprised of singer-songwriter, musician and producer Glenn Smyth, Tom Ford and Sebastian Maynard-Francis, who together play an arresting style of pop/rock awash in colorful psychedelic grooves, twangy surf guitars and dreamy cinematic synths. The moment I heard their music I became a fan, and happily reviewed their fantastic singles “Naked Monkey on a Spaceship” and “I See the Sun” (you can read those reviews by clicking on the ‘Related’ links at the end of this post), both of which included B-side tracks. I loved them all, and “I See the Sun” recently spent four months on my Weekly Top 30, two of them at #1. In February, Solar Eyes signed to Fierce Panda Records, through which they’re now releasing their debut EP Dreaming of the Moon, which drops today.

The EP features five tracks addressing a variety of topics, including love, loss, betrayal and the cost of fame. It opens with the title track “Dreaming of the Moon“, a haunting song with some of those gorgeous and cinematic Spaghetti Western vibes I love so much in “I See the Sun”, only slowed down and with greater emotional intensity. A mix of twangy and grungy guitars are layered over a galloping rhythmic beat and a backdrop of moody psychedelic synths, creating a sense of urgency and longing. Glenn has a pleasing voice, and here his vocals have an almost ethereal quality, which he uses to great effect to share his dreams with a loved one for a better life away from the world: “I been dreaming of the moon, I’m gonna get there soon and build a house for us two loons. I’m gonna drive us there, in my own spaceship, and let the world know that I got out. I been dreaming of the moon, how am I gonna make you see that I, really love you?“

Here’s a cool 360° video of the band performing the song:

“Nothing’s for Free” is a rousing stomper that seems to touch on the perils of being a rock star: “Make some money, girls will find you funny. The bright lights–they make you see, ahhh – nothing’s for free.” I love the song’s exuberant New Order-esque sound, with its lush, cinematic synths, swirling guitars and buoyant driving rhythms. On “Russian Roulette“, Glenn laments of a woman who stole his love and soul, leaving him alone and miserable: “In so much pain, but I’m not to blame. Can you put me out of my misery. The end is here, it’s all coming clear, my sense of freedom has gone.” The music is appropriately dark, with more of those wonderful twangy guitars and moody synths. But the highlight for me are the gorgeous notes from what sounds like a mandolin or balalaika, which combined with the mournful vocal chorus, give the song an almost funereal Russian feel.

“Nobody Knows” is a full-blown rocker, with screaming psychedelic riffs, driving bass and thunderous drums that really get our blood pumping. The biting lyrics take issue with self-appointed people who make decisions that have a major impact on society, but are they right or do they even know what they’re doing? “Ooh burn the witches, ooh they’re just bitches. What did it solve? Nobody cares. / Ooh they’re the rulers, ooh they’re the soldiers, who is in charge? Nobody knows.” The music calms to a lovely interlude as it slowly fades out in the final 40 seconds or so.

The final track “Sitting Here on My own Again” reminds me of the music of another band, but I can’t quite put my finger on who it is. At any rate, it’s a wonderful, upbeat-sounding song, but with bittersweet lyrics about preferring to be alone and unhappy: “I gotta let you go, cos this was too far good. I don’t wanna be happy. I wanna sit on my own and play my guitar to myself and no one can hear what I sing, cos I am on my own. / Crying myself to sleep, and that is just my dream, and don’t you be so sad. It’sjust what we had la, la, la, la, la.” I really like the bouncy melody, and the chiming guitars are particularly enchanting.

Dreaming of the Moon is a fine little EP that nicely showcases Solar Eyes’ impressive creativity, imagination and musicianship. As noted by a fellow music blogger, each song sounds completely different, a good indication of the variety in their sound. I hope they’ll continue making great music together for a very long time.

To coincide with the release of their EP, they’re also giving their first ever live performance as a band tonight at a sold out show at Muthers Studio in Birmingham.

Connect with Solar Eyes: Facebook / Twitter / Instagram

Stream their music:  Spotify / Apple Music / YouTube

Fresh New Tracks, Vol. 14 – Bealby Point, Big Sleep, pMad

On By EclecticMusicLoverIn Reviews11 Comments

It’s time for another installment of Fresh New Tracks, and this week I’m showcasing three terrific new singles, one by Bealby Point, a Canadian alt-rock band I wrote about twice last year, and two by Irish acts I’ve not previously featured – Big Sleep and pMad.

BEALBY POINT – “Say It Anyway”

Named after their favorite beachside vacation spot, Vancouver, Canada-based Bealby Point consists of four childhood friends, Jack Armstrong (lead vocals), Clayton Dewar (lead guitar), Jordan Studer (bass), and Zack Yeager (drums). I love their buoyant, high-energy style of alternative/garage rock they cheekily describe as “music to fold laundry to“, which has earned them favorable comparisons to such bands as The Strokes. Since the release of their debut single “I’m So Bummed Out Right Now” in February of last year (which I featured in an earlier installment of Fresh New Tracks), the engaging four-piece have continued dropping a series of excellent singles every few months, including the brilliant “Talk To Me”, which I reviewed, and also earned a spot on my Top 100 Songs of 2021 list. 

Now they’re back with their fifth single “Say It Anyway“, which will be included on their forthcoming EP, due out this summer. Like all their songs, it was produced by Matt Di Pomponio, and features the guys’ signature intricate guitar noodling and lively rhythms we’ve come to love and expect. The bouncy, upbeat vibe contrasts with the rather biting lyrics about struggling to get over a former romantic partner whose hurtful words still sting: “Cause I don’t really care about this. Like anyone, I’m trying my best. But I don’t want to hear your bullshit. Reminds me of that thing that you said ‘Do unto others as they do to you’. You don’t have anything nice to say? Say it anyway.” As always, Jack’s colorful emotive vocals perfectly convey the frustrations expressed in the lyrics, and make for a compelling listen.

Follow Bealby Point:  Facebook / Twitter / Instagram

BIG SLEEP – “Tutti Frutti”

Photo by Niamh Barry

I recently learned about the charismatic Dublin-based duo Big Sleep when they followed me on Twitter, and I’m glad they did because I love their brand of alternative indie pop, infused with elements of synth wave, funk and folk. Comprised of Irishman Rónán Connolly and Florence, Italy-born Matteo Poli, they met in at school when Poli came to Dublin on an exchange program to learn English. Together, they honed their musical chops spending countless hours playing open mics, charity gigs, battles of the bands and busking on the streets. In time, they’ve earned a reputation for their energetic live shows, performing weekly as a four-piece with some of Dublin’s most talented musicians.

They released their debut single “Paint on Cars” in January, 2020, and like Bealby Point, have just dropped their fifth single “Tutti Frutti“. The delightful song is the lead single from their forthcoming EP Feel Something Someday, and features Jacopo Stofler on lead guitar and Aidan Gray on bass. Connolly also played guitar and Poli played drums. Featuring a deliriously infectious groove, “Tutti Frutti” is their most upbeat song yet. A colorful blend of swirling jangly guitars are layered over Gray’s propulsive bassline, accompanied by Poli’s assertive thumping drumbeats, creating an exuberant sonic backdrop for Connolly’s charming Irish brogue. The lighthearted lyrics speak of being attracted to someone and wanting to get to know them better: “Tutti Frutti, now won’t you take it easy, cuz I’ve been dying just to see your other side / And you seem hard to keep ahold of, and I don’t mind going where your breeze blows.”

Big Sleep will be performing a show at the Sound House in Dublin on May 21st. Tickets can be purchased here.

Follow Big Sleep:  Facebook / Twitter / Instagram

pMad – “Broken”

pMad is the solo music project of Irish singer-songwriter Paul Dillon. Based in County Galway, Paul is a lifelong lover of music, and has been involved in songwriting and performing for years, previously as a member of the bands Starve the Barber and The Suicidal Dufflecoats, and currently a member of The Greeting as well as his recently-begun solo project pMad. His eclectic sound, which is a glorious 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. With his music, he aims to “follow a path of introspection with a unique view of the world & what we are doing to ourselves and the planet.”

When the pandemic lockdowns impacted his and every other musician and band’s 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. Energized by the response, he unearthed his own music collection, which inspired him to rework and record some of his previously-written songs, along with some newly-written ones. Taking advantage of modern recording technologies, he created a number of singles and a full album he plans to release later this year. Without ever being in the same room together, he created the songs 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 quickly followed in early February with “Medicine”, both of which have received critical acclaim and airplay on radio stations around the world. Now he returns with his third single “Broken“, a dark and powerful song that speaks to today’s troubled times.

As to the meaning behind the song, Paul explains: “None of us are built without cracks or faults, we all hurt, we are all human. pMad is ‘broken’ in some form or another, just like everybody else. Knowing and understanding that we are all broken, and being comfortable with that, is the way to save ourselves.” To convey these strong emotions, pMad starts with a deep pulsating bassline and pounding drum beats, over which he layers grungy guitar notes and haunting industrial synths. The result is a lush, darkly beautiful soundscape that’s the perfect accompaniment to his commanding vocals that sound ominous, yet reveal glimmers of optimism. The video he’s created for the track is every bit as impactful as the song. Featuring a cast of androgynous youths, people of color and others dealing with emotional trauma, interspersed with footage of street protests, it’s a powerful representation of the song’s message of human vulnerability and perseverance.

Follow pMad:  Facebook / Twitter / Instagram

Top 30 Songs for April 3-9, 2022

On By EclecticMusicLoverIn Weekly Top 30's3 Comments

It’s hard to believe we’re already into April, as 2022 seems to be rushing by at a breakneck speed. All of the songs in last week’s top five remain in that rarefied group, with a bit of shuffling around, however, the seductive “Caviar” by Two Feet holds onto it’s #1 spot for a second week, while Portugal. The Man‘s “What, Me Worry?” moves up to #2. There’s lots of movement on the rest of the chart, though, as older songs move down to make way for newer songs on their way up. Entering the top 10 is the dramatic and haunting “Deception”, by British producer/composer Noodle Beard, with vocals by Hannah Reem.

A whopping five new songs make their debut this week, three of them by veteran acts who’ve had numerous appearances on my chart: “Wild Child” by The Black Keys, “Wild” by Spoon (replacing “The Hardest Cut”, which drops off after a 15-week run), and “My Love” by Florence + The Machine. The other two new entries are by acts making their first appearance: “On My Knees” by Australian alternative electronic band RÜFÜS DU SOL and “The Hurt Within” by Welsh psychedelic rock band Holy Coves, another act I learned about as a guest moderator for Fresh On The Net.

  1. CAVIAR – Two Feet (1)
  2. WHAT, ME WORRY? – Portugal. The Man (3)
  3. THE ONLY HEARTBREAKER – Mitski (2)
  4. JUST LIKE ALWAYS – Oli Barton & the Movement (5)
  5. HEAD IN THE CLOUDS – Thunder Fox (4)
  6. I’LL CALL YOU MINE – girl in red (7)
  7. BROKEN HEARTS – Ships Have Sailed (8)
  8. REDCHURCH STREET BLUES – Philip Morgan Lewis (6)
  9. DECEPTION – Noodle Beard & Hannah Reem (14)
  10. B-SIDE – Khruangbin & Leon Bridges (10)
  11. BLACK SUMMER – Red Hot Chili Peppers (16)
  12. LOVE BRAND NEW – Bob Moses (17)
  13. GIVE A LITTLE LOVIN’ – Jamie Alimorad (15)
  14. LOVE DIES YOUNG – Foo Fighters (13)
  15. CHAPSTICK – COIN (9)
  16. BROKEN HORSES – Brandi Carlisle (20)
  17. CHEER UP BABY – Inhaler (22)
  18. I LOVE YOU – Fontaines D.C. (23)
  19. ONCE TWICE MELODY – Beach House (21)
  20. SLEEP – Gooseberry (24)
  21. CHASING TRAINS – HULLAH (25)
  22. ONE AND THE SAME – Future Theory (11)
  23. TWO CAR FAMILY – Apollo Junction (12) 19th week on chart
  24. SOMETHING FROM NOTHING/POINTS OF LIGHT – Secret Postal Society (18)
  25. WILD CHILD – The Black Keys (N)
  26. WILD – Spoon (N)
  27. MY LOVE – Florence + The Machine (N)
  28. LA CIENEGA – Chief Springs (30)
  29. ON MY KNEES – RÜFÜS DU SOL (N)
  30. THE HURT WITHIN – Holy Coves (N)

HEAD NOISE – EP Review: “SCRAM”

On By EclecticMusicLoverIn Reviews8 Comments

South Wales-based electro/art punk band Head Noise, self-described purveyors of post-apocalyptic synthpop, are one of the more unusual acts I follow. Comprised of Mitch Tennant (primitive keyboards & shouting), Wayne Bassett (guitar & synths), Jordan Brill (more guitar & synths), and Andrew Topper Walsh (drums & percussion on some tracks), their unconventionally quirky music sounds like it could have been created by the love child of Devo, The Vapors and Dr. Demento. I’ve previously featured them twice on this blog, most recently last May when I reviewed their delightful EP CONSEQUENTIAL QUASARS! Now the guys are back with a terrific new EP SCRAM, which appropriately dropped on April Fool’s Day. The EP has been released by independent Welsh label Dirty Carrot Records. 

Photo of Mitch Tennant courtesy of Elis Widgery Media

For their latest effort, they’ve ditched the guitars and, inspired by music from early iterations of The Human League, Depeche Mode and (of course) Devo, they’ve decided to go fully electronic. While still awash with their signature zany screwball flair for the absurd, exemplified by songs about cataclysmic death-derbies (“Screwball Scramble”), unfinished David Lynch movies (“Ronnie Rocket!”), and mangling the English language (“Alliteration, Again”), SCRAM also explores darker topics like hidden surveillance (“Candid Camera”) and nuclear evacuation (“Miracle Mile”).

Opening track “Screwball Scramble” is a fun listen, with throbbing spacey synths and quirky baby-like vocal flourishes, in sharp contrast with it’s decidedly bleak subject matter: “They drop me into this barren place, a wasted space for an extinction race. A four wheel powerhouse of pain where chunks of flesh fall down the drain. Terminate, to seal our fate with blisters coming from the throwing flames.” “Candid Camera” has a funky techno vibe, with a strong, catchy beat overlain with more of those wonderfully spacey, sci-fi synths. In an altered voice at times sounding almost diabolical, Tennant sings “Smile, cuz you’re on candid camera. Yessir!“

On “Ronnie Rocket!“, Head Noise employ a hypnotic EDM beat and swirling sci-fi industrial synths to create a futuristic soundscape in a nod to David Lynch’s film Dune, but the song’s more generally about a film Lynch never made. Tennant said it’s “a mad mash up of Salvador Dali, Monty Python and the Looney Tunes.” An electronically altered voice sounding like Stephen Hawking says “The concept of absurdity is something I’m attracted to” – which could well be the definitive descriptor for Head Noise – followed by Tennant’s more ‘normal’ voice repeating the lines “Let’s Lynch again. We are the saboteurs.” “Alliteration, Again” is a silly and lighthearted new wave song with strong Devo influences, replete with a bouncy pogo-like beat and colorful psychedelic synths.

Far and away the best track on the EP is “Miracle Mile“, with it’s stunning Depeche Mode-esque sound. Running 6:20 in length, the song is magnificent, with a complex and lush mix of sparkling and haunting synths layered over a hypnotic pulsating dance groove. Tennant’s vocals sound more pure here, revealing a beautiful voice that’s often hidden beneath the quirky Dr. Demento-like vocals so prevalent on many of their songs. Still, in a somewhat electronically-altered voice that could be his or someone else’s, we hear the chilling lyrics “You’ll find us fossilized, in a dilapidated museum, burning with a strange fire that you can never put out.”

Special shout outs for the song’s phenomenal sound go to guest musician Andrew Llewellyn for his gorgeous synth lines, and Liz Bassett (Wayne’s wife) for her captivating backing vocals, both of which greatly add to the song’s overall dreamy vibe. Being a sucker for heavily melodic music, I think “Miracle Mile” is a triumph, and the best song Head Noise has ever recorded.

SCRAM is another impressive work by this talented group of musicians, who never fail to amaze us with their boundless creativity, imagination and musicianship. The marvelous nuclear-inspired artwork for the EP was created by Anthony Price, who’s own music, under the moniker Dunkie, I’ve also written about previously.

Those of you in the UK can catch Head Noise at one of these upcoming shows:

Follow Head Noise: Facebook / Twitter/ Instagram
Stream their music: Spotify / Apple Music 
Purchase:  Bandcamp / Amazon

MACHINEKIT – Album Review: “I AM JACK’S LONELY HEART CLUB BAND”

On By EclecticMusicLoverIn Reviews9 Comments
Album artwork by Jaydee Buege at Wire Mark Design

MACHINEKIT is a techno-punk band based in Los Angeles. Originally founded as Dharma in 2012 by John Rojas, Dave Cayetano and William Buege, as their sound evolved they made the decision in 2016 to change their name to MACHINEKIT, and the following year released their self-produced debut album Dysappearencer. They followed with two EPs and several singles, and in 2021, drummer Ryan Janke and multi-instrumentalist Ivan Garcia were added to their line up. All veterans of previous bands, the five musicians quickly bonded to become an even stronger musical force, combining their years of collective expertise and array of influences to create what they quite appropriately describe as “an agglomeration of chaos”. Now they’ve released their second album I AM JACK’S LONELY HEART CLUB BAND, and it’s dark, aggressive and brutal, yet also strangely beautiful and sexy.

In early February, Rojas reached out to me about reviewing the album, and though it’s not the type of music I’m normally drawn to, I liked the songs and agreed to review it, even though I wasn’t quite sure how to write about this music. Soon after, I was hit with another bout of burnout, this time so serious that I decided to stop writing reviews altogether, though I would still honor the commitments I’d already made. To further complicate things, Rojas himself is a terrific writer who does reviews for the website Tourworthy, and after reading a few of his, I felt even more intimidated. But he was gracious and encouraging, and also generous in providing me with his thoughts and inspiration for writing the album, along with the lyrics, and I will do my best to give this album the credit it deserves.

Photos by Katie Viola

Before I get into discussing the songs, I’ll share some of Rojas’ eloquent words to provide context for I AM JACK’S LONELY HEART CLUB BAND. “I started writing the album back in March of 2020. We had just gone into lockdown and I had nothing to do, so I just wrote music. Track 1, “In March of Nothing”, was actually written first and its title paves the way for what would be the concept of the entire album: loneliness. The title is both literal and figurative because 1) I literally had nothing to do in March, and 2) life felt so overwhelming that it confused my beliefs. 

During most of 2020 and 2021, I was dealing with a lot of personal issues that gave me a sense of emptiness and boredom. Eventually, I went sober, and for some reason, that exacerbated my loneliness, so I just got into making the album and it just so happened that I had something to say. With all the weirdness happening in politics and society, I felt more isolated, but I wanted to merge that confusing feeling with my personal life. I decided to be cryptic and discuss my childhood in La Puente, my drug use, my current relationships with people, and my interactions with my community and the public. I was also tired of feeling fear and resentment over the toxic behavior that was and still continues to come from the world, so I wanted to talk shit when I felt compelled. By the end of the creative process, I realized each facet was contributing to my loneliness in ways that I still don’t fully understand, but when it came to writing the words, I tried my best to be viscerally honest with myself.

I grew up going to punk shows and raves, and wanted to merge my love for both sounds, which inherently allowed me to push my musical boundaries while I was being inspired by nostalgia. It was definitely a weird formula, but it worked. Also, I had just opened my recording studio, MachineHouse Audio, so I had the privilege to experiment in all capacities with the sound, which I believe helped me get where I wanted to go. With starting the studio and dealing with lockdown, the economy and the world were flipped on their ass in all dimensions, and having trouble in my personal life, the message came back in full circle. The only thing that really stood out to me was that weird ambivalent type of loneliness that wasn’t negative nor positive. It was just filled with anxiety and equanimity, and I just happen to document where I was at the time.” 

As previously noted, the opening track “In March of Nothing” describes Rojas’ feelings of ennui and loneliness, as well as setting the overall tone for the album. The song starts off with ominous pulsating synths, portending rough times ahead. The music is gradually joined by a strong synth-bass beat as Rojas sings in a seductive, yet menacing voice “I am Jack’s lonely heart club band. Info news feeds me shit on high demand. The common clutch for the plastic adults. Programmed into the culture of cults. Hit me where it hurts. Enough to feel the burn.” As the song progresses, the music and vocals grow harsher and more intense, finally erupting into a bone-crushing maelstrom of dystopian madness as Rojas screams “They want my fun! They can have my fun! But the party is over!”

And speaking of dystopian madness, “LoveFuck” is a two-minute, 56-second-long psychedelic trip into hell. Machinekit unleash their sonic weaponry with a furious barrage of raging guitars, tortured industrial synths, crushing bass and explosive percussion. Rojas channels his inner beast as he savagely rails of his disillusionment over romantic love: “Young adults have all the fun. Pop-stars with fake luck. Click-bait when you’re done. Is it better than a morning fuck? Oh, What I wear fits. Oh, What I fear hits. Fear of missing out throughout those years. I don’t know where the feeling lives!” His vocals are so intensely feral, he’s left panting by song’s end, while I’m covered with goosebumps!

“Distressor” sees Rojas questioning our belief systems and why we follow leaders who don’t seem to know what they’re doing either: “Who’s your modern angel of death? Aren’t you fuckin’ bored to death with picking someone to reform your thoughts? Public figures conduct chess fights. Do you really know wrong from right? I want a sign in full-form.” And on “Divebomb“, he ponders the soul-crushing impacts of the covid lockdowns: “Are you bored of staying in? Is your air getting thin inside your head, your home? Your head is a dead home.” In listening to the song, as well as the entire album, I was struck by its strong Nine Inch Nails vibe, and in fact, Rojas told me he’s a huge NIN fan. He really seems to channel Trent Reznor on this track, as his vocals go from seductive breathy whispers to brutal screams.

One of my favorite tracks is “Purge“, with its frantic, hard-driving techno/dance groove and glitchy industrial synths creating an intense, otherworldly soundscape. In a similar vein, “Glue” features loads of spacey distortion, glitches and blips layered over a hypnotic dance beat, punctuated with jagged, gnarly guitar riffs. Everything erupts into a bone-crushing crescendo in the choruses as Rojas wails “Your bloody thoughts have bloody clots. I can sense your dirty thoughts. Our bloody clogs have bloody spots. I can feel them when I’m not.” On the moody and psychedelic “Anti Anti“, Rojas seems to question his faith, acknowledging the sobering thought that whatever he or any of us believe, we’re all going to end up the same at the end: “And I’ll make my own damn bed at the very end. Cause the dirt is my home. I’m all alone, and I will belong to the worms.” I really like the haunting piano and trippy synths on this song.

One of the standouts is “Whore On The Floor“, a very dark song about the inner conflict between using our guile and physical beauty to get what we want, but also willingly submitting ourselves to those who take advantage of us. Rojas elaborates: “The song and the video for “Whore on The Floor” are intentionally explicit. As the first lyrics says, “Am I a whore on the floor? When I want to,” I have a conversation with myself of how I feel like a whore in many forms. The video portrays me being submissive to a beautiful woman, so I use my sexuality or sexuality in general to illustrate that concept. That song is very literal but can be associated with many things, ie: sex, love, life, money, power, friendship, etc. This again is tied to how the act of being submissive makes me feel like shit and lonely.” The ominous glitchy industrial synths, combined with Rojas’ menacing vocals – which culminate with his screams of “And what you want from me, won’t come for free!” – creates a dangerously sexy vibe.

The instrumental track “__X__” features a repeat of the glitchy synths heard in “Whore On The Floor”, accompanied by hauntingly beautiful sounds that serve as lead-in to the gorgeous closing track “Stressor“. Nearly six minutes long, the song is a magnificent tour de force, with a glorious kaleidoscope of shimmery guitars, spooky industrial synths, grinding bass and thunderous percussion, all of which blend in perfect alchemy to create a darkly cinematic wall of sound that’s at turns both breathtaking and terrifying. Rojas defiantly calls out those who threaten our individuality and identities with their judgemental, soul-killing influencer bullshit: “And then these gatekeepers intervene. They kill our dream with their social scenes. And I stare off in disbelief. So called decent motherfuckers just act like thieves./ And press the stress into my voice. I hear my name inside the noise. Outgrow each god and their brands. I am still Jack’s lonely heart club band.“

Like many albums I’ve reviewed, it took a couple of listens for me to fully appreciate I AM JACK’S LONELY HEART CLUB BAND. With each successive listen, I heard more nuances in the myriad sounds and textures of its instrumentation, as well as the complex rhythms and melodies that give the songs such incredible impact and depth. Besides, who doesn’t need some brutally intense music to work out those aggressions now and then! Rojas and company have much to be proud of here, as they’ve created an exceptional, beautifully-crafted record. If you’re a fan of bands like Nine Inch Nails or Daughters, you will enjoy this album.

Follow MACHINEKIT: Facebook / Twitter / Instagram

Stream their music:  Spotify / Apple Music / Soundcloud

Purchase on Bandcamp  

Top 30 Songs for March 27-April 2, 2022

On By EclecticMusicLoverIn Weekly Top 30's4 Comments

Well, it was only a matter of time until my favorite artist Two Feet landed atop my Weekly Top 30 again. This week, his hauntingly beautiful song of a futile unrequited love “Caviar” becomes his ninth single to reach #1 on my weekly chart. I love the song’s smoldering trip hop groove, captivating Latin-style guitars, cinematic synths, and his vocals that transition from seductive purr in the verses to vulnerable falsetto in the choruses. Like many of his recent videos, this one was also created by Allison Michael, and features vintage black and white film noir footage that nicely captures the song’s moody vibes. Two Feet is currently on tour in South America.

On a very sad note, like millions of others I’m shocked and heartbroken over the untimely death of Foo Fighters‘ beloved drummer Taylor Hawkins, which happened while the band was also on tour in South America. It’s a terrible and tragic loss not only for the Foos and Taylor’s family, but also the entire music world. Their latest – and rather prophetically-titled song “Love Dies Young” moves up a notch to #13.

In other chart developments, Portugal. The Man‘s “What, Me Worry?” leaps 10 spots to #3, and the enchanting “B-Side” by the amazing Texas duo Khruangbin, with silky vocals by equally incredible fellow Texan Leon Bridges, enters the top 10. “Deception”, by British producer/composer Noodle Beard, with dramatic vocals by Hannah Reem, continues its rapid ascent, climbing six spots to #14. The lone debut this week is the lovely and mellow “La Cienega” by British post-rock band Chief Springs, one of the many acts I discovered as a guest moderator for Fresh On The Net.

  1. CAVIAR – Two Feet (2)
  2. THE ONLY HEARTBREAKER – Mitski (1)
  3. WHAT, ME WORRY? – Portugal. The Man (13)
  4. HEAD IN THE CLOUDS – Thunder Fox (6)
  5. JUST LIKE ALWAYS – Oli Barton & the Movement (7)
  6. REDCHURCH STREET BLUES – Philip Morgan Lewis (8)
  7. I’LL CALL YOU MINE – girl in red (9)
  8. BROKEN HEARTS – Ships Have Sailed (10)
  9. CHAPSTICK – COIN (3)
  10. B-SIDE – Khruangbin & Leon Bridges (11)
  11. ONE AND THE SAME – Future Theory (4)
  12. TWO CAR FAMILY – Apollo Junction (5)
  13. LOVE DIES YOUNG – Foo Fighters (14)
  14. DECEPTION – Noodle Beard featuring Hannah Reem (20)
  15. GIVE A LITTLE LOVIN’ – Jamie Alimorad (17)
  16. BLACK SUMMER – Red Hot Chili Peppers (18)
  17. LOVE BRAND NEW – Bob Moses (19)
  18. SOMETHING FROM NOTHING/POINTS OF LIGHT – Secret Postal Society (15)
  19. OH MY GOD – Adele (12)
  20. BROKEN HORSES – Brandi Carlisle (24)
  21. ONCE TWICE MELODY – Beach House (25)
  22. CHEER UP BABY – Inhaler (26)
  23. I LOVE YOU – Fontaines D.C. (27)
  24. SLEEP – Gooseberry (28)
  25. CHASING TRAINS – HULLAH (29)
  26. THE HARDEST CUT – Spoon (16)
  27. WAKE ME UP – Foals (21)
  28. IF YOU EVER LEAVE, I’M COMING WITH YOU – The Wombats (23)
  29. I SEE THE SUN – Solar Eyes (22) 18th week on list
  30. LA CIENEGA – Chief Springs (N)

Fresh New Tracks, Vol 13 – The Orphan The Poet, Gooseberry, Brian Lambert & Marc Schuster

On By EclecticMusicLoverIn Reviews6 Comments

After devoting my previous two Fresh New Tracks posts to artists and bands from the UK, I’m back in America to shine my spotlight on three great new singles by four acts I’m particularly fond of – The Orphan The Poet, Gooseberry and Brian Lambert & Marc Schuster. So, without further ado…

THE ORPHAN THE POET – “Feelin’ Good (Could Be Better)”

Alternative pop-rock duo The Orphan The Poet are one of the most delightful acts I’ve come across in a while. Based in Columbus, Ohio, they consist of vocalist and guitarist David Eselgroth and bassist Jake Floyd, both lifelong friends. With a winning combination of irrepressible charm, high energy and zany playfulness, they leave a trail of joy and color in their wake. Plus they make some pretty terrific music too! I first featured them on a previous Fresh New Tracks post in February 2021 when I reviewed their electrifying single “The Moxie”. Now they’re back with a new single “Feelin’ Good (Could Be Better)“, and it’s catchy, upbeat and fun, which is what their music is all about.

Written and recorded by David and Jake, with assistance from their producer and long-time collaborator Matthew Bach Squire, and musician Jacob Virgil, the song is about feeling generally okay about your life, but not allowing yourself to settle, instead always striving to do and be better: “Don’t stop, now or never / Call up my fortune teller / On top, but it’s whatever / Feelin’ good, but could be better.” Musically, the song is an exuberant stomper, with bouncy riffs, driving bass and snappy drums, accompanied throughout by a jaunty organ riff that adds some great texture. David’s fervent vocals, backed by his and Jake’s soaring harmonies, dial up the song’s overall energy.

The guys will soon be embarking on a national U.S. tour with Weathers and Moontower, so click here for dates and cities.

Follow The Orphan The Poet:  Facebook / Twitter / Instagram

GOOSEBERRY – “Broken Dance”

And speaking of irrepressible charm, Brooklyn, New York-based Gooseberry have it in spades. Formed in 2019, and comprised of Asa Daniels (guitar/vocals), Sam Rappaport (keyboards/vocals), Will Hammond (bass) and Evin Rossington (drums), together they blend indie rock, R&B and light jazz to create their own distinctive sound that’s both incredibly pleasing and sophisticated. And having two lead singers is another big plus, as both Asa and Sam have wonderful voices. I first learned about them late last summer when Sam followed me on Instagram, and I quickly became a fan of both him and Gooseberry. Their immense talent, strong charisma and playful sense of humor won me over. Besides, how can you not love these guys after seeing this photo of them with their heads together?

I wrote about Sam last November when I reviewed his terrific solo single “Journeyman’s Ballet”, and am now thrilled to feature Gooseberry’s new single “Broken Dance“. Their fifth single, it follows “Sleep”, which they released only a month ago, and is the title track from their forthcoming debut EP Broken Dance. (“Sleep” recently debuted on my Weekly Top 30, and is assured to have a long run.) It’s beautiful and contemplative, with a languid, jazzy vibe, highlighted by Sam’s lovely, melancholic piano keys and pensive, beguiling vocals, and nicely complemented by Asa’s sparkling guitar notes, Will’s subtle bass and Evin’s perfect drumbeats. 

“Broken Dance” touches on ambition, failure and regret. Sam further elaborated to me: “The song is the tale of an idealistic young artist who sets off with a romantic partner to find success on the horizon. What unfolds is not only an account of the failure of those dreams (‘We tried to make it, but somehow time was taken away from me.’), but also an admission that the pursuit of those dreams came at the expense of someone else (“….and I never let you breathe…This dance, let’s break it. The dreams we shared were all mine anyway.”). [It’s basically] a song about the man who sets out to be someone, and the woman who finds herself but a prop on which to lean.” It’s another superb song from this great band on the rise.

Follow Gooseberry:  Facebook / Instagram

Brian Lambert & Marc Schuster – “Kids”

Brian Lambert is an engaging, thoughtful and prolific singer-songwriter and musician based in Denton, Texas. He’s been writing and recording music for many years, and according to his bio, he’s “reinvented himself more times than he can count.” He even tried his hand at country music for a while, but came to the realization that it just wasn’t for him. More recently, he’s been making indie rock music inspired by some of his favorite acts like Spoon, Gang of Youths and the Replacements. He used to play gigs all over the DFW metroplex, but beginning in 2021, he challenged himself to writing, recording and producing a new song every week for a year.

Marc Schuster is an insanely creative and multi-talented renaissance man. Not only is he an educator, author and literary critic, he’s also a prolific songwriter and musician, recording both as a solo artist and as part of multiple music projects and collaborations with other musicians. He’s also a pretty decent visual artist, and if all that wasn’t enough, he’s also incredibly generous, funny and kind. I first got to know him several years ago through blogging (he has a terrific WordPress blog called Abominations), and he’s been among the most consistently loyal supporters of me and my blog. I’ve featured him three times on my blog, most recently last month when I reviewed his wonderful EP There Is No Down.

Supportive of other artists in his own right, Brian was recently inspired to write his latest song “Kids“, after hearing “This Can’t Be It”, a moving song by Oklahoma country singer-songwriter Matt Moran, with spare lyrics addressing the struggles of trying to make it as a musician. “Kids” further explores those struggles, urging us to hold onto our youthful sense of innocence and wonder, expressed by the lyrics “And when everything went wrong, we sang a brand new song. I want y’all to sing along, like we did when we were kids.”

After writing the song, he felt something was missing, so he reached out to Marc, asking for advice and thoughts as to whether his song needed synthesizers or something else. Marc came up with a great synth accompaniment for Brian’s fine guitar work, as well as some backing vocals that enhance Brian’s plaintive vocals, nicely filling out the song and giving it a wonderful anthemic rock vibe. I think it’s one of Brian’s best songs yet.

Marc also created a fantastic poster for the song, which Brian used for its cover art. 

Follow Brian:  Facebook / Twitter / Instagram

Follow Marc:  Blog / Twitter / Instagram

Irish Singer-Songwriter Brí releases video for her beautiful song “Time”

On By EclecticMusicLoverIn Reviews4 Comments

It was almost exactly one year ago, on March 19, 2021, that I first introduced Dublin-based singer-songwriter Brí to my readers when I reviewed her hauntingly beautiful song “More Than”. Her pleasing style of indie pop features folk and electronic overtones which, combined with her heartfelt lyrics and lovely, resonant vocals, results in deeply compelling songs of incredible beauty and emotional depth. She followed “More Than” with two more singles, “If I Wasn’t Scared” and “In My Head”, then in October (2021), she released her debut full-length album Hide, an outstanding record that includes those three aforementioned singles, as well as the beautiful song “Time“, for which Brí has just released a new video.

About “Time”, Brí stated that it’s “the song I hold most dear from my album Hide. Written about a heart that’s taking too long to mend, ‘Time’ is what I thought that feeling would sound like.” For the recording of the song, which was mixed and mastered by Asta Kalapa, the understated but stunning piano was played by Jake Richardson, and the lovely cello by Kaitlin Cullen-Verhauz.

Brí’s beautiful but melancholy vocals powerfully convey her frustration and sadness as she laments to someone who cannot fully commit to a relationship: “Cause you told me you missed me, you want me back. And you smiled with your eyes as you held my hand. Now you’re saying you need time to think again. Oh, what am I to you, cause I’m not your friend. No, I’m not your friend. Do you need time, do you need time, you can have all mine.” 

The music video, filmed in black and white in a single take by Mark Doyle at Windmill Lane Studios, shows Brí singing the song in a dimly lit room. I like that the focus is on her, with soft backlighting against a blurry background, which makes for a more impactful visual.

Follow Brí:  Facebook / Twitter / Instagram

Stream/purchase her music: Spotify / Soundcloud / Apple Music / Bandcamp

Top 30 Songs for March 20-26, 2022

On By EclecticMusicLoverIn Weekly Top 30's10 Comments

Mitski‘s bouyant but lyrically compelling dance-pop single “The Only Heartbreaker” remains at #1 for a second week on my latest Top 30, while Two Feet‘s darkly beautiful and sultry “Caviar” closes in at #2. Entering the top 10 are “I’ll Call You Mine” by young Norwegian artist girl in red (aka Marie Ulven Ringheim) and “Broken Hearts” by L.A. pop-rock duo Ships Have Sailed, who’ve had numerous songs appear on my Weekly Top 30 lists over the past three years.

The biggest upward movers on this week’s chart are “What, Me Worry?” by Portland-based alt-rock band Portugal. The Man, which jumps seven spots to #13, and the haunting James Bond-esque “Deception”, by British producer/composer Noodle Beard, with captivating vocals by Hannah Reem, which climbs eight spots to #20. After 10 songs having made their debut over the previous three weeks, there are no new entries this week.

  1. THE ONLY HEARTBREAKER – Mitski (1)
  2. CAVIAR – Two Feet (5)
  3. CHAPSTICK – COIN (4)
  4. ONE AND THE SAME – Future Theory (3)
  5. TWO CAR FAMILY – Apollo Junction (2)
  6. HEAD IN THE CLOUDS – Thunder Fox (8)
  7. JUST LIKE ALWAYS – Oli Barton & the Movement (9)
  8. REDCHURCH STREET BLUES – Philip Morgan Lewis (10)
  9. I’LL CALL YOU MINE – girl in red (11)
  10. BROKEN HEARTS – Ships Have Sailed (12)
  11. B-SIDE – Khruangbin & Leon Bridges (13)
  12. OH MY GOD – Adele (7)
  13. WHAT, ME WORRY? – Portugal. The Man (20)
  14. LOVE DIES YOUNG – Foo Fighters (17)
  15. SOMETHING FROM NOTHING/POINTS OF LIGHT – Secret Postal Society (16)
  16. THE HARDEST CUT – Spoon (6)
  17. GIVE A LITTLE LOVIN’ – Jamie Alimorad (19)
  18. BLACK SUMMER – Red Hot Chili Peppers (21)
  19. LOVE BRAND NEW – Bob Moses (23)
  20. DECEPTION – Noodle Beard featuring Hannah Reem (28)
  21. WAKE ME UP – Foals (14)
  22. I SEE THE SUN – Solar Eyes (15)
  23. IF YOU EVER LEAVE, I’M COMING WITH YOU – The Wombats (22)
  24. BROKEN HORSES – Brandi Carlisle (24)
  25. ONCE TWICE MELODY – Beach House (25)
  26. CHEER UP BABY – Inhaler (26)
  27. I LOVE YOU – Fontaines D.C. (27)
  28. SLEEP – Gooseberry (29)
  29. CHASING TRAINS – HULLAH (30)
  30. THE OUTSIDE – twenty øne piløts (18)