It was inevitable that Two Feet’s darkly beautiful and mesmerizing “Don’t Bring Me Down” would ascend to the top of my Weekly Top 30. It’s his 4th song to reach #1 on my chart this year, and his 8th in total, beginning with his monster hit “I Feel Like I’m Drowning” in the summer of 2018. He’s one of the finest guitarists around today, with a soulful and sultry music style unlike anyone else, and highlighted by bluesy guitar work and deep floor-rattling bass grooves. I love every single recording he’s released, and have seen him perform live twice, in November 2018 and again this past May. He engages regularly with his followers on social media, which has earned him an incredibly loyal and passionate base of fans, me included. I deeply love and respect this man as both a musician and human, and he’s my favorite artist in the world right now.
In other chart highlights this week, Roadkeeper’s politically relevant “Take the L” moves up to #3, followed by Adele’s heartfelt “Easy on Me”. Glass Animals’ delightful “I Don’t Wanna Talk (I Just Wanna Dance)” moves up a notch to #6, and Måneskin’s saucy “Beggin'” enters the top 10. Leaping 10 spots each are The War on Drugs’ “I Don’t Live Here Anymore” and My Morning Jacket’s ebullient “Love Love Love”, which climb to #11 and #12, respectively. Debuting this week are “Time in Disguise” by Kings of Leon, “Smile” by Wolf Alice and “The Tipping Point” by the legendary Tears For Fears.
Fun fact: In addition to Two Feet, I’ve also seen three other acts on this list in concert: twenty øne piløts, Coldplay and Tears For Fears.
DON’T BRING ME DOWN – Two Feet (2)
NEVER LOOKED BACK – The Zangwills (1)
TAKE THE L – Roadkeeper (4)
EASY ON ME – Adele (6)
MINE FOREVER – Lord Huron (3)
I DON’T WANNA TALK (I JUST WANNA DANCE) – Glass Animals (7)
WRECKED – Imagine Dragons (5)
CAN YOU HANDLE MY LOVE?? – WALK THE MOON (8)
SURVIVOR – Nathaniel Rateliff & the Night Sweats (10)
BEGGIN’ – Måneskin (12)
I DON’T LIVE HERE ANYMORE – The War on Drugs ft. Lucius (21)
A little over a month ago, I featured British alternative psychedelic rock band Future Theory when I reviewed their marvelous single “Hang Your Hat”. I’ve been following this talented group since early 2017, and their incredible musicianship has never failed to blow me away on every one of their releases. I’ve written about them numerous times over the years (you can read some of my reviews by clicking on the links under ‘Related’ at the end of this post), and am happy to feature them yet again so soon, as I love their latest single “One and the Same“, which I’ve chosen as my New Song of the Week.
Blending elements of alternative and progressive rock, psychedelia, grunge, shoegaze and funk, Future Theory creates music characterized by lavish, complex instrumentation, intelligent lyrics and mesmerizing vocals. Like many bands, the Lincolnshire-based foursome has experienced some changes in lineup over time, and now consists of Max Sander on rhythm guitar and vocals, Chris Moore on lead guitar, Jacob Brookes on bass and Tom Paton on drums, although as with “Hang Your Hat”, former band members Rex Helley played bass and Rohan Parrett played drums on “One and the Same”. The track was recorded at 2fly Studios by Alan Smith, mixed and produced by Koncide (aka Chris Hengmith), Max and Chris, and mastered by Yves Altana and Chris Ree.
“One and the Same” is magnificent, and quite possibly one of their best songs yet. It starts off slowly and rather introspectively with shimmery strummed guitars, accompanied by gentle bass and crisp drumbeats as Max sings in his distinctive sultry croon that I love so much. Around 45 seconds, the music erupts in the first chorus into a glorious cinematic soundscape, highlighted by a glittery cascade of chiming guitars and fiercely crashing cymbals, instantly covering me with goosebumps. The music calms back down for the second verse, only to return to an even more dramatic crescendo in the final chorus, with Max’s vocals now more impassioned than ever, before the song ends in a trail of reverby distortion.
The official video, produced by Lewis Carter of 3Link Media, is as breathtaking as the song, with beautiful footage of marine life and outer space, combined with images of the band performing, overlain by kaleidoscopic explosions of color.
I’ve been following British psychedelic garage/punk band DENSE pretty much since their beginnings nearly five years ago, and it’s been gratifying to watch them grow and mature as artists. Based in Leeds, the wickedly talented trio – comprised of Charlie Fossick (Guitar/Vocals), Dylan Metcalf (Bass) and Sam Heffer (Drums) – live up to their moniker by combining thick, fuzz-coated grooves with progressive elements and fierce instrumentation to create music that’s electrifying, innovative and intense.
I’ve written about them numerous times over the past four and a half years, most recently in August 2020 when I reviewed their debut EP Abjection, which I described as “four combustible sticks of dynamite packed into 14 explosive minutes” (you can read some of my previous reviews by clicking on the links under ‘Related’ at the end of this post). Now the guys are back with a new single “Reckoning“, which they refer to as “a desperately needed release of energy“. After listening to the track, I’d say that’s almost an understatement, as it’s a furious eruption of wailing distortion and sonic mayhem.
The guys have gained a reputation for their electrifying live performances, and they’ve somehow managed to capture that energy and inject it into their songs. As MC (who goes by @LeedsGigs_ on Twitter and writes about shows in and around Leeds) commented on my review of Abjection, “Seeing them live is a visceral experience and their music demands your attention. Charlie contorting primeval sounds from both mic and guitar through his pedal board, Dylan prowling the stage with adrenaline-fueled rockstar stances, riffing on a parody of every bedroom axeman, and Sam, limbs akimbo, thrashing his drumkit into quivering submission.”
According to their press release, “‘Reckoning’ is an abstract journey through anguish, capturing the frustrations of modern day life through utilisation of melodic dissonance alongside a focus on rhythm and groove-led songwriting, conveying what the lyrics represent. The track boasts a mix from Ross Orton, who has worked with the likes of Arctic Monkeys, Drenge, God Damn, Pulled Apart by Horses and Working Men’s Club. This was the first track we wrote together in 12 months post-lockdown, and it feels like the track absorbed and channeled a lot of our pent-up energy and frustration that the three of us individually experienced during isolation.”
That pent-up energy and frustration is manifested in an explosive barrage of super-gnarly guitars, grinding bass and bombastic percussion. Dylan drives the chaotic rhythm forward with a deep, chest-thumping bassline while Sam smashes his drumkit like a man possessed, the two of them somehow bringing order to the madness. Charlie unleashes the full fury of his double-barreled arsenal of gritty guitars and savage vocals, thrashing the airwaves with frantic, reverb-drenched psychedelic riffs, punctuated here and there by flourishes of screaming distortion, while sending shivers up and down our spines with his signature demonic wails and screams. The song is so intense, I’m left in a quivering heap by the end. It’s good to hear that DENSE have not lost one bit of their fearsome edge in the 12 months they’ve been quiet.
The guys pull no punches with their bitter lyrics that speak to a sense of hopelessness and despair, a reckoning with the terrible state of things:
When I get inside I never feel dry the rain it constantly pours and I’ll ask for more
I feel a nervous pulse men riding on horse been dropped in the tank shot, point blank
residing I’m torn providing I’m born declining I’m torn reclining I’m born
I’m formed we’re scorned No future And no past
and it sails, to the core sailing down to the core, to the core, to the core
Reliving Past lives and I’m always Terrified
The ends are looking frayed Cause it tore me Fired under No cause
residing I’m torn providing I’m born declining I’m torn reclining I’m born
Reckon now? Reckon now? Re, Reckoning, Reckoning
I’m formed we’re scorned No future And no past
and it sails, to the core sailing down to the core, to the core, to the core
DENSE will be launching “Reckoning” at a show tonight at the Castle Hotel in Manchester. They’ll perform again on the 13th at Royal Park Cellars in Leeds.
Sam Rappaport is an engaging, tousle-haired singer-songwriter based in Brooklyn, New York, and he’s just released a wonderful new single “Journeyman’s Ballet“. It’s his second single as a solo artist, following the release this past February of his debut single “Till the Morning Comes”. Sam is also a founding member of Brooklyn indie R&B/blues rock band Gooseberry, who’ve released a number of terrific singles over the past couple of years.
Growing up in the San Fernando Valley of Southern California, Sam began playing piano at the tender age of five, however, he never considered himself good enough to be a “musician”. Throughout his youth and well into his years at Vassar College, basketball was his first love. But as he told NYS MUSIC earlier this year for their article about his debut single: “I held onto the NBA dreams as long as I could, but once I hit college it was pretty clear that those dreams were out of reach. Still, I spent the first three years of college thinking that I’d end up overseas playing in some Euro league. I remember finishing a practice my senior year, running to the bathroom, heaving all the liquid in my body into a trash can, and thinking–I don’t want to do this anymore. So I quit.“
After college, Sam worked at a variety of jobs, including as a case manager at a welfare office, a reporter for local newspapers and a bartender at a Sichuan restaurant. But through it all, he never lost his passion for music. He settled for a few years in Chicago, where he played keyboards for R&B singer Brandon James, then relocated to Brooklyn, where he honed his music skills by playing at open mics, house parties and comedy shows. Through those performances, as well as his live shows with Gooseberry – not to mention both his and Gooseberry’s fine music releases – he’s garnered a growing base of loyal fans and followers. I was amazed by the outpouring of love and support for Sam and his single on Instagram today.
“Journeyman’s Ballet” was written and sung by Sam, who also played piano. The remaining instruments were played by Daniel Alvarez and Jordan Dunn-Pilz of the band Toledo, who also produced the track. Mastering was done by Mike Kalajian of Rogue Planet Mastering. The song has a pleasing jazzy soft-rock vibe reminiscent of late 70s/early 80s Steely Dan. Sam’s sparkling piano keys are nicely complemented by Daniel and Jordan’s lilting guitar notes and gentle percussion that enhance, rather than overpower, allowing his lovely piano to really shine. Sam’s smooth, understated vocals are soothing and lovely, and perfectly suited to the song’s languid melody.
About the song’s title, Sam explained it’s “about the dance of someone who is avoidant, always on the move, always looking to escape, to outrun the monsters within. This dance does welcome isolation.” The lyrics speak to those operating under the delusion that they can escape their problems or outrun their personal demons, hoping for a desired outcome simply by changing jobs, romantic partners or where they live, without directly addressing their inherent issues first. (I hate to admit that I’ve been guilty of this myself more than once.) In the song’s chorus, he ponders “Who are we for the mile we walk alone? Who are we when the lies become our home? Who are we when the night turns day, and the monsters still remain.“
For the song’s video, Sam enlisted the help of Cassandra Angelini-Vazquez, who dressed him in a tutu and filmed him at Coney Island. Unfortunately, the video won’t be ready for several more days, so for now we’ll have to settle for this audio and a still of Sam standing in New York Bay.
After a three-week run on top with “Mine Forever”, Lord Huron have been supplanted by British indie pop-rock band The Zangwills, whose gorgeous and cinematic “Never Looked Back” takes over the #1 spot. I featured them and their song a few months ago, and immediately recognized it as a future number-one hit. They’re definitely a band with a bright future if they continue putting out such quality music.
Closing in fast is my favorite artist Two Feet, with his smoldering “Don’t Bring Me Down” rising three spots to #2. Texas alt-rock band Roadkeeper holds at #4 with their politically-charged “Take the L”, and Adele’s poignant “Easy on Me” is #6 for a second week. The lone entry into the top 10 this week is “Survivor” by Nathaniel Rateliff & the Night Sweats. Canadian rockers Bealby Point continue their climb up my chart with “Talk to Me”. The Strokes-esque gem with a killer bassline lands at #14 this week. The War on Drugs’ beautiful “I Don’t Live Here Anymore” debuts at #21, while silky-voiced Australian singer-songwriter G. Samedi enters at #30 with his sensual track “Rearview”.
NEVER LOOKED BACK – The Zangwills (3)
DON’T BRING ME DOWN – Two Feet (5)
MINE FOREVER – Lord Huron (1)
TAKE THE L – Roadkeeper (4)
WRECKED – Imagine Dragons (2)
EASY ON ME – Adele (6)
I DON’T WANNA TALK (I JUST WANNA DANCE) – Glass Animals (8)
CAN YOU HANDLE MY LOVE?? – WALK THE MOON (10)
DISTORTED LIGHT BEAM – Bastille (9)
SURVIVOR – Nathaniel Rateliff & the Night Sweats (16)
This past August, I featured the marvelously trippy single “Naked Monkey on a Spaceship” by British psychedelic pop/rock band Solar Eyes, which you can read here. Now the Birmingham trio, who are comprised of Glenn Smyth, Tom Ford and Sebastian Maynard-Francis, are back with a fantastic new single “I See the Sun“. “I See the Sun” is their third release in six months, with many more to come.
“I See the Sun” was born from a conversation Glenn had with the band’s mixing engineer Jeff Knowler. After Glenn mentioned to Jeff that he’d written a cool ’60s-sounding Tarantino-esque track on his newly acquired 12 string guitar, Jeff suggested that he watch Tarantino’s film Once Upon A Time In Hollywood before recording the track. Glenn took Jeff’s advice, and went up to his sweltering attic studio, where he found inspiration in the resounding reverb and echo chambers of late 60s music. He presented his recording to Jeff, who then put Once Upon A Time In Hollywood on loop in the background while he mixed Glenn’s track. The result is a gorgeous, cinematic song, highlighted by twangy western-style guitars that would make Ennio Morricone proud.
Everything about this song is perfect, beginning with that jolting opening guitar note to the infectious, galloping drumbeat, the swirling cinematic synths, castanet-like percussive sounds, soaring harmonies and, most of all, those fabulous spaghetti-western guitars. Then there are Glenn’s beautiful, reverb-drenched vocals as he sings of his eternal love for another: “I see the sun. The light shines on you and me. And that’s the way it’s meant to be, for eternity.” What a great song this is, and I’m loving this band.
As with their previous videos, the colorful animated video for “I See the Sun” was created by Matt Watkins, a videographer, lighting and visual design producer who’s a frequent collaborator with Gorillaz.
British electro-funk collective WINACHI (formerly The Winachi Tribe) make some of the most deliciously catchy and dangerously sexy music of any band around today. Formed in 2015, and based in Warrington, which is situated roughly halfway between Liverpool and Manchester, the group has undergone a few line-up changes over the years, and now consists of founding members Liam Croker (lyrics and vocals) and Antony Egerton (keyboards, programming), Inder Goldfinger (percussion), Andy McKay (lead guitar), Richard Ritchie (bass) and Paul Lawrence (drums). Inspired by such legendary acts as Parliament-Funkadelic, Sly & The Family Stone, Primal Scream, Grandmaster Flash & The Furious Five, Massive Attack, The Stone Roses, Talking Heads, D’angelo, Prince and Daft Punk, their infectious blend of funk-infused electro dance/pop serves up more grooves than a jukebox full of vintage 45s.
They’ve collaborated over the years with musicians and producers in both the UK and Southern California, and released several critically acclaimed singles and remixes, a number of which I’ve reviewed (you can read some of them by clicking on the links under ‘Related’ at the end of this post). And while their songs touch on oft-covered topics like heartbreak, pain, mental health and even politics, their overriding message is always one of joy, positivity and love. WINACHI have built a growing fan base through their exciting live shows and touring with The Charlatans, Happy Mondays, The Sugarhill Gang & The Furious Five. They’ve also garnered airplay and press both at home and abroad on radio stations like BBC 6 Music and L.A. public ratio station KCRW, and publications such as The L.A Times, L.A Record, Manchester Evening News and Billboard China.
In anticipation of the upcoming release of their long awaited debut album, WINACHI have dropped “PARASITICAL ELIMINATION E.P.“, featuring four collaborative remixes of three of their previous songs by international artists and producers Howie B, Paolo Baldini, Jim Spencer, and Impey. Actually, some of the tracks should more accurately be considered as re-imaginings, rather than remixes, as they take on an entirely new vibe under the guidance of these producers.
First up is “PARASITES PARADISE ft. I Kong (Paolo Baldini Dubfiles Remix)“, the first of two re-imaginings of their 2019 single “Parasites Paradise featuring I Kong”. The original song, featuring guest vocals by legendary Jamaican reggae singer I Kong, is a bouncy electro-soul number about being true to yourself and living a life free from users and ‘parasites’ who want to suck the life out of you or try to dictate how you should live. For this remix, Italian dub producer Paolo Baldini gives the song a makeover by slowing things down a bit and adding a strong dubstep beat that actually enhances the reggae vibe. He then layers swirling industrial synths and funky guitar notes for a nice finish.
The second remix of the song, “PARASITES PARADISE REVISITED ft. I Kong (Impey Remix)” is a re-imagining by young London dub electronica/neo-soul producer Impey. Impey really slows down the original song’s tempo to a languid, almost sensual groove, which also lengthens the track by more than two minutes. He essentially deconstructs the original song and refashions it into something completely different and new, and unlike anything WINACHI has ever done before. I Kong’s vocals are still recognizable as his, but WINACHI lead singer Liam Croker’s electronically-altered vocals sound totally different. The song is darkly beautiful, trippy and mesmerizing.
“A ROOM WITH A ZOO (Howie B Remix – Optimum Master)” was actually recorded and released in 2017, and is a remix of WINACHI’s very popular 2016 single “A Room With a Zoo”. I could be wrong, but my take on the song’s meaning is that it addresses the challenges of surviving as an artist in the crazy music business, and making music that’s honest and true. Liam croons “Give my soul back, give my soul back to me. I’ve been giving it up for too long, too long. Selling my heart and my soul.” Howie B is a renowned Scottish musician, producer and DJ who’s worked with a long list of artists, including Björk, U2, Tricky and Siouxsie and the Banshees, among others. On this optimum master of his remix, Howie B refashions the song into a pulsating trip hop extravaganza, with a strong, driving beat overlain with wobbly psychedelic synths and lots of sharp percussive textures and sounds, lending a dramatic new feel to the song.
The final track “SENSE OF DANGER (Spencers Revenge – Jim Spencer Edit)” is a re-imagining of WINACHI’s 2016 single “Sense of Danger”. As the title implies, the song is a dark, almost menacing track about obsessive love, and the original version has a trippy vibe, with a sort of dubstep beat, and highlighted by sinewy electronic synths, spooky organ and Liam’s rather menacing breathy vocals, backed with eerie choruses. The remix by Jim Spencer, a British producer and sound engineer who’s worked with such acts as New Order, Johnny Marr and The Charlatans, gives the song a more cinematic feel by greatly enhancing the dubstep beat, instrumentals and vocals. The dark synths and spooky organ now sound sharper and more well-defined, and the twangy guitar notes and piano are more pronounced as well, injecting added texture and drama into the track.
“PARASITICAL ELIMINATION E.P.” is a marvelous little bundle of energy that makes for a very fun listen. It’s always fascinating to hear how producers reimagine others’ songs, and I love what these have done with some of WINACHI’s best songs. The EP will only be available through Bandcamp.
Boy Called Killian is the new music project of Shane Radford, a singer-songwriter from Kansas City, Missouri who I’ve been following for more than five years. He’s also a member of Kansas City alt-rock band Lost in the City, who’s currently on hiatus. I reviewed their excellent albums, “Genesis” in 2016 and “Leaving Home” in 2018, and it’s hard to believe it was that long ago! At any rate, I’m happy that Shane is continuing to make new music, and he’s just released his debut single as Boy Called Killian, “What isTomorrow?“
Shane came up with the idea for his moniker ‘Boy Called Killian’ by combining his love of Peter Pan and middle name Killian. His sound is influenced by an eclectic range of genres ranging from 80s pop to 90s hip hop to modern rock. He felt compelled to write “What is Tomorrow?” as a way of expressing his feelings of exhaustion and numbness resulting from the pandemic, which hit close to home for Shane. Sadly, he lost his grandmother to Covid, and all the lies and false information some people were spreading about the virus, masking and vaccines made him frustrated and angry. He wrote, sang and played all instruments and programmed all synths on the track, which was recorded and mixed by Bret Liber at Red Roof Productions.
The song is darkly beautiful, with swirling otherworldly synths over a droning synth bass that create a rather ominous atmospheric soundscape. But he lightens the vibe with numerous musical touches like a skittering percussive beat and sparkling keyboards to provide glimmers of hope. His earnest vocals sound better than ever here, nicely backed by own lovely soaring harmonies as he laments “Everybody’s got somewhere to be. Everybody but me, me, me, me. So what is tomorrow? Will we ever be normal again?Everybody’s got an opinion. Everybody has got a wrong opinion./ What’s the point in spouting off? You look like an asshole./ Maybe you should shut your mouth.”
It’s a wonderful, expertly-crafted song that really strikes a nerve, as well as an excellent beginning for his new Boy Called Killian project.
Click here to watch the special animated video Boy Called Killian created for the song.
One of the best acts making music today is indie folk-rock band Lord Huron. Regular followers of my blog know I’m a huge fan of theirs, and their gorgeous single “Mine Forever” is currently enjoying a long stay atop my Weekly Top 30. The song recently peaked at #2 on the Billboard Adult Alternative Airplay (AAA) chart. For those still unaware of Lord Huron’s music, “Mine Forever” is a perfect introduction, as the song is both breathtaking and catchy. Those twangy, borderline surf guitars are gorgeous, and together with the soaring strings, captivating vocal harmonies and infectious toe-tapping groove, it all comes together to create a truly phenomenal track.
Their uniquely beautiful music is a glorious mash-up of folk, western, rock and roll, pop, surf rock and new age, and has been described by a few music writers as evoking the ‘high-lonesome’ sound of such legendary acts as The Band and Neil Young, as well as newer acts like Fleet Foxes and My Morning Jacket. The most striking features of their sound are the lush twangy and shimmery guitars, backed by stirring orchestral strings, and lead singer Ben Schneider’s achingly beautiful vocals, which have an arresting and heartfelt vulnerability. For me, listening to their music is an almost religious experience, transporting me to a dreamy, faraway place somewhere out in the open West. The cinematic quality of their music makes many of their songs perfect candidates for the soundtrack of a sweeping Western epic.
Lord Huron was formed by singer-songwriter and guitarist Ben Schneider as a solo act in 2010, after he relocated from Michigan to Los Angeles. The name was inspired by Lake Huron, one of the Great Lakes that border Michigan. The band eventually grew into a four-piece, and now includes Miguel Briseño on bass, keyboards & theremin, Tom Renaud on guitar, and Mark Barry on drums & percussion. They released their debut album Lonesome Dreams in 2012, but I didn’t learn about them until 2017, when I heard their beautiful ballad “The Night We Met”, from their second album Strange Trails. Their biggest hit thus far, the song has been streamed more than 857 million times on Spotify, and is one of my favorites of 2017.
“Mine Forever” is from their critically acclaimed fourth album Long Lost, an ambitious and stunning work released this past May, and featuring 13 songs plus three brief interludes. Every one of the 13 tracks is outstanding, and I think it’s hands down one of the best albums of 2021. Another one of the album’s singles, “Not Dead Yet”, topped both my Weekly Top 30 and the Billboard AAA chart this past June. I strongly urge everyone to set aside some time to listen to the album, because you’ll be glad you did. Even a few friends of mine who aren’t that much into music have remarked on how good it is.
The song’s lyrics seem to describe an obsessive and dysfunctional love-hate relationship, in which the singer feels he can’t live with nor without his lover. Lord Huron tends to make quirky entertaining story videos featuring a mix of newly-filmed and vintage B-movie footage, and the one for “Mine Forever” is no exception. The song ends with blurry images of a couple embracing as a woman speaks words in French. I love it!
Here’s the Spotify link of Long Lost for those who wish to check out the full album:
I just love Lord Huron’s music, and their beautiful “Mine Forever” remains at the pinnacle of my Weekly Top 30 for a 3rd week. Imagine Dragons’ “Wrecked” and The Zangwills’ “Never Looked Back” hold at #2 and #3, and Roadkeeper’s “Take the L” climbs a notch to #4. Four songs enter the top 10 this week: Two Feet’s “Don’t Bring Me Down” and Adele’s “Easy on Me”, both of which leap nine spots to #5 and #6, respectively, Glass Animals “I Don’t Wanna Talk (I Just Wanna Dance)” and WALK THE MOON’s “Can You Handle My Love??” The jolting and raw “Survivor” by Nathaniel Rateliff & the Night Sweats took a while to grow on me but now I love it, and it jumps eight spots to #16. Debuting this week are three great new songs: “Love Love Love” by My Morning Jacket, “Good Friend” by dwi, and “Starts With You” by Shimmer Johnson.
ECLECTIC MUSIC LOVER 