Sexy-beautiful Italian rockers Måneskin remain in the top spot for a second week with “Beggin'”, while the War on Drugs’ “I Don’t Live Here Anymore”, featuring Lucius, closes in at #2. Otherwise, all the songs in last week’s top 10 remain in that rarefied group, with a bit of shuffling around of positions here and there. As we approach the end of 2021, two new songs debut this week: “The Hardest Cut” by veteran art-rock band Spoon, and “Until I Come Home”, a wonderful collaborative single by Two Feet and grandson.
BEGGIN’ – Måneskin (1)
I DON’T LIVE HERE ANYMORE – The War on Drugs ft. Lucius (3)
DON’T BRING ME DOWN – Two Feet (2)
I DON’T WANNA TALK (I JUST WANNA DANCE) – Glass Animals (4)
LOVE LOVE LOVE – My Morning Jacket (6)
ALL TOO WELL (10 Minute Version) – Taylor Swift (7)
LOVE IN OCTOBER – Ships Have Sailed (9)
GOOD FRIEND – dwi (10)
JUSTIFIED – Kacey Musgraves (8)
EASY ON ME – Adele (5)
SURVIVOR – Nathaniel Rateliff & the Night Sweats (11)
British singer/songwriter, multi-instrumentalist and producer Philip Morgan Lewis is one of the most creative and prolific artists I’ve encountered in my more than six years as a music blogger. Drawing from an eclectic range of music genres and influences, including alternative rock, blues, R&B, soul, garage rock, folk and EDM, the London East Ender crafts his own unique style of blues-soaked rock. That unique style, combined with his distinctive raspy singing voice that sounds like no one else, makes his music instantly recognizable as only his.
Over the past decade, Philip has released an impressive amount of music, including two albums – Grief Harbour in 2017 (which I reviewed) and Now + Then this past September – as well as two EPs and scores of singles. I’ve also reviewed several of those singles, most recently “I.O.U” this past August (you can read some of those reviews by clicking on the links under ‘Related’ at the end of this post). Now the hard-working musician returns with a fantastic new single “Redchurch Street Blues“. In addition to writing, singing and producing the track, Philip also played slide and electric guitars and organ. Drums were played by Jon Harris, bass by Ben Jones, additional electric guitar by Rob Updegraff, and backing vocals were sung by Philip, Vicky and Little A. The track was recorded at One Louder Studios London by Alan Emptage, and mastered at Fluid Mastering by Tim Debney.
I’ve stated previously that one of the things I like about Philip’s music is its unpredictability, and how no two songs of his ever sound alike. With every release, we’re treated to an entirely different sound and vibe than the song before, and “Redchurch Street Blues” is another fine example of that. The song is a raw and bluesy ode to the hardscrabble East London neighbourhood he once lived in, which in recent years has undergone gentrification, along with all the positive and negative changes that comes with it.
The song’s retro and bluesy vibe has one foot planted in late 1950s rock’n’roll, with noticeable shades of Buddy Holly, Gene Vincent and Elvis Presley. In fact, Philip seems to channel Vincent with his be-bop-a-lula-esque vocals in the bridge. The other foot is firmly planted in the present, with a contemporary blues rock sensibility similar to some of the music of two of my favorite bands, Cage the Elephant and The Black Keys. The dual intricate guitars of Philip and Rob Updegraff are outstanding, floating over Ben Jones’ pulsating bass groove and Jon Harris’ thumping drums keeping the tight rhythm.
About his inspiration behind the song, Philip elaborates: “Redchurch Street is set in Shoreditch. I used to live a couple streets down on Bethnal green which is rougher and saw a good deal of the riots; it’s part of the poorest borough of London, Tower hamlets. It’s the home of the colourful Bricklane market and of course the Cockneys which by the way my daughter is as she was born in Whitechapel. Gentrification started a while back as posh shops and franchises moved into the area and most of the little shops, tenants and businesses had a hard time surviving with rent rising and all. I guess this is the way of the world, but the contrast remains stunning from one street to the other, with the City of London and its billions looming over in the east end of London.”
Builders aren’t building
Landlords evicting
The rent is trebling
No signs of easing
Cars are burning
While my baby is sleeping
The streets are a-blazing
And the bonfire grinsI’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood
We toil everyday
For a misery pay
Ain’t got too much to lose
When you’re down with that blues
Now shops they are closing
And the malls keep on thriving
Got a bag full of nothing
And the pawnbroker’s spleen
I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood
Now the tables are turning
Heads are consulting
Inflation is rising
And my blood pressure steams
I’m just a dead man walking
Lord I’m up to my chin
I’ve been played now I spin
And the banker still grins I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood
It seems like yesterday
Will never fade away
No matter what you hear
No matter what they say
You’re on your own
I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood
Here’s a video of Philip’s acoustic performance of the song:
Holly Rees is a talented and thoughtful singer-songwriter based in Newcastle, England who’s been writing and recording exceptional indie folk songs for the past five years or so. Like many songwriters, her poetic lyrics are inspired by personal experiences that make them highly relatable to us listeners. She then delivers them wrapped in beautiful, understated melodies, fine guitar work and lovely, heartfelt vocals, all of which have earned her critical acclaim and a loyal following, with flattering comparisons to artists like Laura Marling and Courtney Barnett.
Holly released her debut EP Ilex in 2017, garnering airplay on BBC 6 Music and a feature on Tom Robinson’s BBC Introducing Mixtape. In 2018, she performed at the Hit The North and Evolution Emerging music festivals, and released her excellent second EP Slow Down. She followed with “Text Me When You Get There”: The Live EP in May 2019, and that September, dropped her single “Getting By“, which I reviewed. On December 10th, she surprised us with release of The Lost Songs, an all-acoustic EP originally recorded in isolation exclusively for her Patreon supporters (patreon.com/hollyrees) that she’s now gifted to the world.
She explains: “Here are the lost songs – songs I’ve written over the past three years that have fallen down the gaps. I never really intended these sad soft songs to see the light of day, but coming towards the end of another year I thought it might be nice to share them now, as a gentle winter gift before we draw a line under the year and start fresh in 2022. As some of you know, I’ve had to shield for a lot of the past two years, which is where this project started, in isolation. Every part of this project I’ve done by myself – writing, playing, recording, mixing, mastering, even the artwork – and I’m really proud of that. I hope that in listening you might find some of the joy, peace or escape that I found in making it.”
It’s a gentle EP, featuring five melancholy but lovely acoustic folk songs addressing conflicting emotions stemming from lost loves, missed connections, and the passage of time. With only her beautifully strummed guitar notes and clear, soothing vocals, Holly has created exquisite little gems that are simple yet profound, with a quiet intensity that touches the soul. The opening track “heather” is a kind of love song to her home of North East England (she told me that she actually got a heather tattoo right before leaving for her Canada tour in 2019, as an homage to the heather on the moors where she grew up): “I could be anywhere, except that the rain is making me homesick. Cry at your records, you were always such a sensitive soul. I tried to wear my heart on my sleeve but I must have got cold. And I feel open for the first time in a year.“
Likewise, the enchanting “victoria” is a heartbreak song to the British Columbia capital city: “Oh Victoria, I think you always knew that I would fall for her. Victoria. She broke my heart for a year, god was I trying. But first came Victoria, Vancouver Island.” On the bittersweet song of unrequited love “i justwant you“, Holly softly laments about being hopelessly in love with someone who just doesn’t feel the same about her: “Tell me about your family and living with your brothers. Tell me all your favourite streets, your heartbreaks and lovers. Tell me everything except the one thing I won’t ask. You don’t tell me if you feel the same. I know that you can’t do. I know it’s all on me, but I’m sick of writing about things that I can’t change. But I can’t change. I just want you.”
She touches on how shyness and fear of rejection sometimes hold us back, possibly losing out on opportunities for love on “seattle“. She sings of seeing a woman she’s attracted to on a bus in Seattle, but being too afraid to make contact: “Don’t know why I still hide like I’m seventeen. Smile and I won’t meet your eyes. You take down your bike. This must be your stop and we’re out of time. Go to Seattle maybe you were the one.” The serene “glad it’s you” has a bit of a Joni Mitchell vibe, and finds Holly content in a loving and trusting relationship: “Been singing with my all exposed. Been listening with my eyes closed, but my heart’s open. No I haven’t felt like this in a long time a long time, but I’m glad it’s you.“
The Lost Songs is a wonderful little EP that beautifully showcases Holly’s strong songwriting, singing, recording and production talents. I’m confident she’ll continue to impress us with more outstanding music in 2022.
One of the hottest acts to burst onto the global music scene in 2021 has been Italian rock band Måneskin. Though they’ve been around since 2016, it was their win this past May of the 2021 Eurovision Song Contest for their song “ZITTI E BUONI” that catapulted the exciting and sexy band into superstardom. That song entered my Weekly Top 30 in mid-June, and they’ve remained on my chart every single week since with a run of singles – “ZITTI E BUONI”, “I WANNA BE YOUR SLAVE” and “Beggin'”. “Beggin'”, their fiery remake of the 1967 Four Seasons song, takes over the #1 spot this week, dethroning Two Feet’s “Don’t Bring Me Down” after a four-week run. “Beggin'” was a top 20 hit for the Four Seasons, and was reimagined 40 years later by Norwegian hip-hop duo Madcon, who had a #1 hit with it in several European countries. As I write this, Måneskin’s version has been #1 on the Billboard Alternative Airplay chart for 10 weeks.
In other chart developments, the War on Drugs climb to #3 with their beautiful “I Don’t Live Here Anymore”, featuring added vocals by Lucius. Entering the top 10 are “Love in October” by the immensely talented L.A. duo Ships Have Sailed, and “Good Friend” by Canadian artist dwi, whose marvelous album Mild Fantasy Violence I reviewed in October. The lone debut this week is “Wake Me Up” by British band Foals, currently one of my top 10 favorite bands in the world.
BEGGIN’ – Måneskin (4)
DON’T BRING ME DOWN – Two Feet (1)
I DON’T LIVE HERE ANYMORE – The War on Drugs featuring Lucius (5)
I DON’T WANNA TALK (I JUST WANNA DANCE) – Glass Animals (3)
EASY ON ME – Adele (2)
LOVE LOVE LOVE – My Morning Jacket (6)
ALL TOO WELL (10 Minute Version) – Taylor Swift (7)
JUSTIFIED – Kacey Musgraves (10)
LOVE IN OCTOBER – Ships Have Sailed (11)
GOOD FRIEND – dwi (12)
SURVIVOR – Nathaniel Rateliff & the Night Sweats (13)
Leeds, England-based singer-songwriter Liam Sullivan has become a favorite artist of mine ever since I first learned about him in Spring of 2020. He’s a thoughtful and talented songwriter and guitarist who pens lyrics addressing the oft-covered topics of life, love and loss, but in a way that really speaks to our souls. He then delivers them with a vibrant and warm singing voice that’s both beautiful and comforting, accompanied by his exceptional guitar work and superb arrangements. Liam’s been writing and performing music for well over a decade, both as a member of various bands and, more recently, as a solo artist with a back-up band of musicians he assembled to help bring his poetic lyrics to life.
Last year, Liam set himself with an ambitious goal to release a new single roughly every 6-8 weeks. While he hasn’t quite met that frantic schedule, he has released eight singles over the past year and a half, the latest of which is “Rodion’s Poem“. (I’ve reviewed four of his previous singles, most recently his beautiful song “Jerusalem” this past July. You can read some of those reviews by clicking on the links under ‘Related’ at the end of this post.)
As its title suggests, “Rodion’s Poem” was originally a poem written by Liam about Rodion Raskolnikov, a fictional character and protagonist of the 1866 novel Crime and Punishment by Fyodor Dostoyevsky. Liam decided to turn the poem into a song that he planned on releasing some time next year, but worried he wasn’t moving forward quite fast enough, he ended up recording the track for a late 2021 release. The words of the poem, which are now lyrics to the song, are Liam’s take on Rodion’s life, reflecting on the love that is bestowed on the character despite his wayward actions. He felt the melancholy vibe of the song made it an ideal track for wintertime.
There’s another poignant aspect to the song as well. The nylon string guitar Liam used in the recording of the song was once owned by the father of a close family friend. After the father passed away, Liam was helping his friend clean out his father’s house and came across the guitar. He instantly fell in love with it, and his friend kindly gave it to him.
Like many of Liam’s songs, “Rodion’s Poem” is a gentle and stunning track. But unlike most of his songs that are built around guitar, this one is built around the piano. And what beautiful piano notes they are, accompanied by gorgeous cello played by Christine Avis and Liam’s delicately strummed guitar. Then there’s his warm vocals, backed by lovely harmonies, all of which make for a truly exquisite track, and one of the most beautiful I’ve heard in a while. It’s the perfect song for sitting by the fire with a loved one on a cold winter’s night.
MMIV is the music project of young British singer-songwriter Max Rawdon. I actually first wrote about MMIV two years ago when it was a fledgling band comprised of Max and two other musicians he’d met while at the University of Leeds. Alas, they weren’t able to survive the challenges of the pandemic, and eventually went their separate ways. Now based in East London, Max has decided to continue MMIV as a solo artist, and has released his first single “The Drugs Are Running Out“.
Calling it “a sad indie ballad in pop song’s clothing“, Max wrote “The Drugs Are Running Out” to address his conflicting emotions about turning 22, and the realization he’s now fully into adulthood, with all the added responsibilities that entails. He explains “The song chronicles the creeping awareness that youth won’t last forever, and the moment that the party is peaking, but also, unfortunately, about to end, knowing that work is always there in the morning.” The track was written, performed and recorded by MMIV, and produced by George Murphy (Drug Store Romeos, The Specials, The Coronas).
It’s a charming pop tune, with a catchy toe-tapping beat and thumping bass groove, accompanied by snappy drum fills, ethereal synths and breezy guitars that gradually build to a joyous crescendo as the song progresses. Max’s clear, low-key vocals have a pleasing quality too, with just the right amount of emotional intensity that grows in tandem with the music.
I've not been agreeing with my food recently
Told me you know someone great that I can go and see
One day, we're caught in the rain
So we'll get off the street and back to your place
And open up a bottle of wine
Take our wet clothes off and hang them to dry
Then it's a party with all of your friends
But you know that the night will come to an end
And you're all laughing, but you don't know why
While clothes are hung to dry
I told you I was leaving for a new town, a new cityI thought that it was sad that I couldn't stick around or take you with me
You know that I adore some fun, so why don't we stay a little longer
You said in that case maybe we'll need something strongerSo the next day we do it againWe get off our jobs and back to your place
And open up a bottle of wine
Take our work clothes off, head into the night
Where it's a party with all of your friends
But you know that the night will come to an end
You're all laughing, but you don't know what about
Cause your friends are hung to dry and the drugs
The drugs are running out
Yeah, the drugs are running out
The drugs are running out
Yeah, the drugs are running out
“The Drugs Are Running Out” is a terrific song, and a fine debut effort from Max. I look forward to hearing more songs from this promising young artist.
As EclecticMusicLover, I enjoy listening to a broad range of music genres and styles. And while my tastes generally lean toward alternative rock, dream pop, folk rock, synth pop and R&B, I’m always open to expanding my musical horizons by venturing outside my comfort zone. With that in mind, I was intrigued when singer-songwriter and multi-instrumentalist Leah Al-Uqdah reached out to me about her band The Red Locks and their debut album Arena Dream Trap. Blending together elements of trap, hip hop, arena rock and dream pop, they create their own distinctly unique sound they’ve labeled ‘Arena Dream Trap’.
Based in Chicago, The Red Locks are also a rather unusual band, comprised of the aforementioned Leah Al-Uqdah, her husband DJ Privileged (aka David M Pospiech), and their 14-year-old son, percussion savant David Henry Pospiech. DJ Privileged has also been part of Chicago band Virga Trollyp, while Leah has played with bands Off The Radar and Another Pretty Lush. Both DJ Privileged and Leah play guitar, bass and keyboards, while their son David plays drums and keyboards. With a vocal range and timbre somewhat reminiscent of Björk, Leah sings lead vocals, and DJ Privileged sings back-up.
About their album, Leah confided to me: “So many years and tears have gone into these songs. I really feel the world needs these songs, to share a bottled remedy to aid in a hurtful world. I can help others grow from my pain and pensive notes from my very private spiritual journey. We titled the album ‘Arena Dream Trap’, because it’s the sum of our parts.”
Well, let me say that the instant I pressed play and heard the opening track “Our Father“, I was taken aback by it’s trippy vibes and explicit lyrics. I was not expecting to hear “The Lord’s Prayer” and the words “You know,eating pussy cures cancer” together in the same song, but I get it. My guess is that the song is a statement on the nature of what constitutes as ‘sin’ in our rather hypocritical Judeo-Christian culture. To drive home their message, The Red Locks layer spooky ethereal synths over a throbbing trap bass groove as Leah talk-sings the lyrics in her breathy echoed vocals.
That deep, pulsating trap bass groove continues on the next track “$I4R“, short for “$o Impractical For Real”, only this time overlain by DJ Privileged’s jarringly beautiful psychedelic guitar chords that hover in a sweet spot between distorted and jangly, accompanied by recurring hand claps. I have no clue as to the song’s meaning, but I really like those resonant guitars. The curiously titled “Helen Keller” is even trippier, with spacey synths, otherworldly male voices and a discordant melody. But the most notable aspect of the song are Leah’s amazing vocal gymnastics, which go from oddly seductive baby-like croons to reverb-soaked menacing wails.
“Overrated” is more melodic and upbeat than the previous tracks, with swirling, almost carnival-like synths and cheerful drumbeats, accompanied by Leah’s lilting vocals. I think it’s the prettiest song on the album. But “Spinning to Survive” has a harsher lo-fi sound, with grungy guitars and David’s assertive and marvelously intricate drumbeats. Leah’s colorful vocals sound almost like another instrument in themselves, adding to the song’s rich texture and enchanting vibe.
Perhaps the most unusual track on the album, both musically and lyrically, is “This Semester“. The song has a fairly simple trap beat, but features an exotic and complex blend of spacey instrumentals and sounds. My interpretation of the lyrics is that they seem address pregnancy and sex, however, Leah told me they’re actually conceptual, and meant to explore an abusive one-sided relationship an artist develops with music. Leah starts off with a series of la-la-las in a sing-song manner, then sings in a baby-like voice “I think I really fucked up this semester, ’cause I think I know what’s best for her. A new way of expressing her true temperature. For an even cure, believe in her ability to grow that seed in her, the need to know that she’s for sure I’m keeping her, close to my heart. Because it’s not about pain. We’ll make sure no one gets fucked, but like everyone came.” Later in the song, DJ Privilege gets even more explicit, speaking lyrics I won’t repeat here.
“I Don’t Recall” is tasty little psychedelic acid rock trip, while “It Takes Like” is an acid trip on steroids. The eerie industrial synths, discordant percussion, gnarly distorted guitars and Leah’s almost maniacal vocals create a deeply unsettling vibe. I didn’t think the songs could get any more strange, but “1000 Words” proved me wrong. Not that that’s necessarily a bad thing, as despite the very discordant triphop melody, skittering chirpy synths and Leah’s starkly contrasting blend of tortured and sing-song vocals, followed by DJ Privilege’s rapped verses, the song has a certain bizarre appeal. They close the album with “StrungAlong“, a fairly mellow and gauzy rock track, featuring grainy distorted guitars, restrained percussion and Leah’s quirky warbling vocals. The song ends with her saying “thank you”, in humble appreciation for our having listened to their album.
While Arena Dream Trap won’t be everyone’s cup of tea, it’s a unique and utterly fascinating work that deserves attention. I applaud The Red Locks’ strong originality, imagination and musicianship, and if you like quirky trap music that pushes the envelope, you will enjoy this record.
I’m still in southern coastal England, as I’m now writing about my third consecutive British act in the form of Tarraska, a talented rock duo based in Bournemouth. Formed in 2014, Tarraska consists of lifelong friends Jack Lande and Ben Parker, who’ve had music in their blood since early childhood, as evidenced in this sweet photo of themselves they recently shared on Twitter.
Tarraska started out as a mostly acoustic cover band, but within a few years the guys began writing their own songs, and incorporating more electric guitars and heavier bass into their dynamic blend of classic and modern hard rock. Influenced by some of their favorite acts like Myles Kennedy, Tremonti, John Mayer, Slash, Aerosmith, Van Halen, Whitesnake, Iron Maiden, Five Finger Death Punch, Alter Bridge and Foo Fighters, their music took on a harder rock edge, characterized by heavy riffs, hard-driving rhythms and aggressive vocals. Jack plays rhythm and acoustic guitar and sings vocals, Ben plays lead, rhythm and bass guitar.
The guys released their debut single “Trailblazer” in May 2020, and followed that December with “Renegade”, which I featured on a Fresh New Tracks post this past February. Now they’re back with their third single “Prose“, which dropped December 3rd. All three singles will be included on their forthcoming self-titled album, due out in early 2022. A beautiful rock ballad that’s a departure from their typical harder rock sound, “Prose” became a fan favorite after Tarraska played it in their live shows. In response to the song’s positive reception, including even frequent requests for its lyrics, the guys felt it was the obvious choice for their next single release. They decided to record “Prose” with their full rock sound, and the result is a magnificent, deeply moving track that I think is their best release to date.
Jack reflects on his inspiration for writing the song: “The lyrics for ‘Prose’ were written to honour the many, many influences, artistic and familial, that have helped shape both my lifelong love for my art and who I am as a person. Of course, for me personally the lyrics refer to music, story and poetry as these are the mediums I resonate most strongly with, though for others it may be dance, painting or any number of other pursuits. I therefore see ‘Prose’, as I hope others will too, as a love song not for any one person, but for the ideas and emotions that so many have been able to express only through their dedication to, and love for, their craft.”
The track was recorded and mixed at Absolute Studios in Bournemouth by Gareth Matthews of GMMix, and mastered by Grammy-winning Brad Blackwood at Euphonic Masters in Memphis, Tennessee. Fellow musician Allan Varnfield played drums on “Prose”, as well as many of the songs on their forthcoming album, and will hopefully be joining the guys for live shows in 2022. About the recording process, Ben elaborates: “We knew the arrangement of ‘Prose’ was going to command our utmost attention; it was a delicate balance between a waltz and a rock ballad. Through its metamorphosis in the studio, the song unfolds from its acoustic roots to a powerful, yet melodic, ballad that hopefully captures you within its numerous dynamic shifts.”
As Ben alluded, “Prose” starts off with a beautifully-strummed acoustic guitar, as Jack tenderly sings “The songs and the stories of childhood, made me who I am today. And if I could thank you then I would, for lighting the path that I take. Expression committed to page…” As the song progresses, more guitars, bass and percussion enter, flowing and ebbing with each chorus and verse, becoming more intense in the choruses when Jack passionately sings “Your numinous prose, the verse and the line. The depths of your mind, slowly composed for you at the time. But the meaning implied, spoke to my soul, and taught me to hope, to love and to hold.” It all builds to a dramatic crescendo in the final chorus, highlighted by Ben’s gorgeous guitar solo and Jack’s fervent vocals at their emotional peak, after which the song fades out in a trail of serene strummed guitar notes.
To learn more about Tarraska, check out their Website
Not a lot of changes from last week’s chart, with the top four songs remaining in place. “Don’t Bring Me Down” by my favorite artist Two Feet is #1 for a fourth week, while Adele’s “Easy On Me” is #2 for a third week. Entering the top 10 are Taylor Swift’s “All Too Well (10 Minute Version)”, which jumps 12 spots from #19 to #7 (the song fell from #1 to #4 on the Billboard Hot 100), and Kacey Musgraves’ “Justified”, which nods at #10. The two new debut songs this week are both by British bands: “U&ME” by alt-J, which enters at #29, and “One and the Same” by Future Theory, which enters at #30.
DON’T BRING ME DOWN – Two Feet (1) 4th week at #1
EASY ON ME – Adele (2)
I DON’T WANNA TALK (I JUST WANNA DANCE) – Glass Animals (3)
BEGGIN’ – Måneskin (4)
I DON’T LIVE HERE ANYMORE – The War on Drugs ft. Lucius (7)
LOVE LOVE LOVE – My Morning Jacket (8)
ALL TOO WELL (10 Minute Version) – Taylor Swift (19)
NEVER LOOKED BACK – The Zangwills (6)
TAKE THE L – Roadkeeper (5)
JUSTIFIED – Kacey Musgraves (12)
LOVE IN OCTOBER – Ships Have Sailed (13)
GOOD FRIEND – dwi (14)
SURVIVOR – Nathaniel Rateliff & the Night Sweats (11)
I’ve commented more times than I can remember on this blog about the staggering amount of musical talent that continues to emanate from the United Kingdom. One of the many British acts I’ve been following for more than four years is the charismatic young rock band Wild Horse. Based in Heathfield, East Sussex, the talented trio consists of brothers Henry and Jack Baldwin, and their long-time friend Ed Barnes. Now in their early 20s, the guys are already 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.
While presenting a fun, lighthearted image with their high-energy and eclectic punk-infused style of blues rock, the guys take their music very seriously. Their dedication and drive, fortified with thoughtful lyricism, ace musicianship and a mature approach towards the music business, have taken them far and brought them both critical acclaim and a loyal and growing fan base. The Baldwin brothers are also prolific songwriters who’ve penned hundreds of songs over the years, and now have five albums to their credit.
Their debut album It’s Begun, featuring songs recorded when their average age was only 14, was released in January 2016 by a New York-based record label they were signed with at the time. (Henry sang lead vocals on that album, where he sounded alarmingly like a young Mick Jagger.) Working independently since 2017, the guys subsequently released three EPs from late 2017 to early 2018, then followed that June with their second album Songs About Last Night. They’ve continued to drop a new album every year since then. In April 2019, they released their third album DANCE!! Like An Animal, which I reviewed, then followed up in July 2020 with their fourth album WE ARE IN AN IDENTITY CRISES…BUT WE LOVE IT, featuring 16 tracks. Now they’re back with their fifth album When The Pool Is Occupied, which dropped November 18th. Their most ambitious work yet, the album contains a whopping 18 tracks!
Before I get to my review, I want to include a few thoughts about the album the guys shared in an interview for Brighton and Hove webzine BN1. “The album name ‘When the Pool is Occupied’ is actually a metaphor for self-love. We realised that this was the theme of the album quite late into the making of it. When we started writing the album, we were not in the best place personally, with lockdown giving us anxieties about the future and the direction we were going in our lives. As we neared the end of making the album we were in a much better place, as the whole process actually taught us a lot about ourselves, and we decided to make it our most honest record. So the album has become a musical imprint of our journey to self-love and happiness, which we hope everyone who listens will be able to relate to!
This album is definitely more mellow and that is down to a few things. Firstly, we didn’t want to be perceived as just a rock band anymore, and wanted to push the boundaries as much as we possibly could. We wanted our first record back after covid to be one that would make people dance, hence the strong disco and 80’s influence. Also, we took a new approach to writing and creating music in not only taking the reins on production, but also because Jack (our main songwriter) taught himself piano over lockdown and began writing songs on [piano], which gave us a whole new feel. From there, synths became a much more integral part of our sound, and we became really obsessed with creating an atmosphere in our music. Our previous albums were all recorded quite quickly, whereas this one took us over a year. The main difference is that every single tiny note and lyric on this album had so much thought put into it, which is why we’re so proud of it.”
Well, let me say that Wild Horse has created a near-epic album running just over an hour in length, and featuring 18 wonderful tracks that span across genres from rousing post-punk bangers to angst-filled piano ballads to bouncy dance-pop gems. The songs explore issues related to growing up in the modern world, relationships, struggles with addiction and mental health, and the long journey towards self-acceptance and self-love.
Opening track “Happy Love Songs” is a short and bittersweet piano-driven tune that sets the tone for the album. In his quirky endearing vocals, Jack plaintively laments “Why are there never happy love songs anymore? It takes two to fall in love, but it only takes one to fall apart. And then there’s never.” The song immediately segues into “Freaky Together“, a catchy, lighthearted earworm celebrating the liberating freedom of a no-strings-attached approach to relationships and life (ah, the joys of youth). The guys layer jangly guitars and woozy synths over a delightfully funky bassline and thumping drumbeats to create a fun and sexy dance beat that aims straight for the hips. Jack croons “Baby, I know that you could never need me. But come on let’s get down and dirty. Oh yeah, Oh, give it to me.” The sweet video nicely showcases the guys’ youthful charm and charisma.
The guys keep the lively vibes going with the delectable “Pornstar Martini“, an irresistibly bouncy mashup of punk, disco and funk, then later slow things down with “Coffee In The Morning“, the first of several romantic piano ballads. Jack’s heartfelt vocals are raspy and vulnerable as he sings of his ardor and desire to a potential romantic partner: “I’m sitting in my dirty University room. Haven’t slept for days now. And I was hoping that you could come around and stay, for 17 days.” But once they’ve become a couple, cracks appear in their relationship, which are explored on the lovely but bittersweet “Feel“: “I wanna talk to you about last night. You know I hate it how we always fight. But if you saw the world through my eyes, then you would understand about the way I feel.” And on “Symphony of Broken Hearts“, Jack sings of the pain he’s feeling over a broken relationship: “You said forever, and then you couldn’t stay. You said forever, until you walked away. And now I’m lying on my own, feeling sorry for myself.“
One of my favorites on the album is “Anxiety“, a joyful, upbeat song about the emotional roller-coaster ride we willingly take when attraction for another hits us like a ton of bricks, rendering us helpless in the throes of passionate longing. I love the exuberant synths, funky dance grooves and the guys’ beautiful vocal harmonies. Jack’s plaintive vocals sing of emotions we’ve all felt at some point in our lives, fearful we’ll make a fool of ourselves: “Petrified by the things you say (petrified). I only met you yesterday (yesterday). But really I’m fine. I’m just going with the groove. Only been preparing for like 24 hours through.”
Another favorite is the ebullient and sexy “Pray 89“, in which the guys sing the praises of a seemingly more innocent time (although those of us who were already adults in 1989 know it really wasn’t) and the freedom of living a life where self-love without emotional attachments is prioritized, but with an appreciation of the beauty in other people. The lyrics include the album’s title: “You bring the fire and sexy eyes. I bring the smoke to stay alight. When we go party we’ll do it right, like we belong in ‘89.Dance on the table to New Order’s new song. And we’ll be feeling alright when the pool is occupied.”
The guys’ willingness to venture out of their musical comfort zone is exemplified by the bluesy hip hop track “Confidence“, on which Henry’s backing vocals are more prominent. On the poignant “Just About Enough”, they turn tinkling piano keys into a true percussive instrument as they combine them with assertive strummed guitar notes and pounding drumbeats to become a powerful driving force, before finishing things off with gorgeous bluesy guitars, accompanied by Jack’s fervent vocals. And on “OneNight Robbery“, Jack does a decent job rapping some of the verses letting a former girlfriend know he doesn’t appreciate how she used him and only wanted his money after all the nice things he did for her.
Hands down the most charming track on the album is “Record Collection“, a delightful pop-rock song with a retro 60s power pop vibe. The sweet lyrics speak of connecting with someone you meet on a night out and taking them home, not because you want to have sex with them, but because you like their taste in music and want to share your record collection with them: “I don’t wanna be your lover. I just wanna show you my record collection. I don’t wanna get under the covers. I just wanna know if you like Mott the Hoople. I don’t wanna touch your hand. Just tell me your favourite band. Oh, the only thing I’m turning on is the record player.” I love the jangly guitars on this song.
“Kelsie” is a shining example of how a kiss-off song can still sound sweet. “Kelsie, you’re much happier on Twitter. But you want me back on tinder. And I just laugh and smile ‘cause I’m finally over you. Have you noticed I don’t care what you do? When you tell me you’re getting drinks bought for you. Shit, me too.” The track has a mellow, head-bopping melody with subtle hip hop elements, making for a really pleasing tune. The guys close the album on a positive note with “Thank You (It’s Gonna Be Alright)“, a minute-long piece with a church-like organ riff accompanied by Jack’s echoed vocal repeating the words “It’s gonna be alright“, followed by “The pool is occupied.” As the music abruptly ends, he says “And that was the album, thank you very much. Woo!”
Woo indeed! What a fun, delightful and brilliant album this is! With WhenThe Pool is Occupied, Wild Horse pushed themselves into expanding their songwriting and sound in the hopes of making their most honest record yet, and I think they’ve succeeded quite nicely. It showcases their continued growth and maturity as songwriters and musicians, while their sense of humor and playfulness remains fully intact.
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