Not a lot of changes on this week’s Top 30, with Twenty One Pilots holding the top spot for a second week with their beautiful and cinematic “The Line”, while Balu Brigada remain at #2 with “So Cold”. Two songs by powerhouse acts make their debut this week, the first of which is “luther” by rapper Kendrick Lamar and alternative R&B/hip hop singer-songwriter SZA (born Solána Imani Rowe). The two previously collaborated on “All The Stars” in 2018, one of my favorite songs of the 2010s. “luther”, which is currently #1 on the Billboard Hot 100, features a sample of “If This World Were Mine”, a 1982 song by the late, great Luther Vandross and Cheryl Lynn, and I Iove the beautiful strings. The second debut is “The Night Before” by always wonderful blues rock band The Black Keys. The song is the lead single from their forthcoming 13th album No Rain, No Flowers, to be released later in the year.
THE LINE – Twenty One Pilots (1)
SO COLD – Balu Brigada (2)
AUTUMN LEAVES – Secret Postal Society (5)
YOU’RE MY DRUG – Talk in Waves (6)
DETROIT – Badflower (7)
SAILOR SONG – Gigi Perez (8)
BAD DREAMS – Teddy Swims (10)
THE FAITHFUL HEART – Wons Phreely + The Horses (4)
SHE WANTS TO GO DANCING – Mt. Joy (9)
ARROW – The Head and The Heart (3)
DAY & NIGHT – Oli Barton (11)
PEOPLE WATCHING – Sam Fender (13)
IMPOSTER SYNDROME – Fake Empire (15)
AFTERLIFE – Sharon Van Etten (12)
TAKE THIS HEART – Brian Lambert (18)
RUSHMERE – Mumford & Sons (19)
HERE WE GO AGAIN – Set the Tone (17)
WHO’S A FRAUD? – Still Traffico (23)
METAVERSE – Cage the Elephant (24)
SAME OLD SONG – The Lumineers (25)
IN THE LIVING ROOM – Maggie Rogers (14)
SAD IN CAROLINA – Dexter and The Moonrocks (16)
WITHOUT A DOUBT – Charm School (27)
STRAIGHT TO THE GROUND – Unquiet Nights (29)
WALLS – Frank Joshua (30)
GILD THE LILY – Billy Strings (21)
BOBBY SOX – Green Day (20)
NEVERENDER – Justice & Tame Impala (22) 20th week on chart
As the United States – under the control of a brazenly corrupt administration headed by a team of cruel psychopaths and Russian sympathizers – quickly descends into an outright authoritarian oligarchy, at least we continue to have lots of great music to help keep us from going totally insane. February 28th appears to have been a big day for new releases, which means it’s time for another installment of my Fresh New Tracks series. Today I’m showcasing songs by English rock band Amongst Liars, American shoegaze/indie rock band Icarus Phoenix, British-Danish electronic rock duo Perpacity, and Australian indie pop-rock band Thunder Fox.
Amongst Liars – “The Insane Ones”
Photo by Vic Payne
I’m not normally a big fan of hard rock, but I sure do love English band Amongst Liars. Their aggressive yet melodic style of modern rock, fortified by fearsome vocals, have earned them a loyal and passionate following, me included. Based in the Brighton/Eastbourne area on the southern coast of England, the band consists of Ian George (lead vocals & guitar), Leo Burdett (guitar & backing vocals), Ross Towner (bass & backing vocals), Adam Oarton (drums), and James Brumeo (keyboards & piano). I first learned about them in early 2020 and was intantly blown away by their explosive debut single “Over and Over”. They’ve since released numerous outstanding hard-hitting singles (many of which I’ve reviewed on this blog) and two critically acclaimed albums, Amongst Liars in 2022 and By Design in 2024.
And speaking of trying to not go insane, Amongst Liars are back with a fiery new single “The Insane Ones“. As with all their music, the track was produced and mixed by David Radahd-Jones at Red City Recordings in Manchester, and mastered by Grant Berry at Fader Mastering. About the track, the band explains: “‘The Insane Ones’ was written and recorded in autumn 2024, in anticipation of the events currently unfolding in the U.S., but we believe it is now more relevant than ever. The song addresses fake news and propaganda that spread false narratives and brainwashing, encouraging people to bring out the worst versions of themselves and support extreme ideologies promoting unnecessary intolerance and hatred towards fellow human beings. It may be heavy subject matter, but someone needs to address the narrative – even a humble ‘lil rock band from Eastbourne.” Needless to say, given my political leanings the song deeply resonates with me, with biting lyrics calling out our duplicitous leaders: “We are the insane ones they try to blame, to blame. They set us up so we can fight for them. They set us up so we can die for them.” The dramatic cover artwork was designed by Adam Ingrams.
Icarus Phoenix – “Poor Sad Indie Everything”
Hailing from Baltimore, Maryland is Icarus Phoenix, a shoegaze/indie rock band comprised of frontman Drew Danburry (guitar & lead vocals), Eli Sims (drums), Leena Rhodes (guitar, vocals and synths), Brendan Russell (bass), Peyton Rodeffer (guitar & vocals), as well as Andrew Young (drums, percussion). Originally formed in 2020 in Missoula, Montana, the band has experienced multiple lineups. They’ve released quite a bit of music, starting with their self-titled debut album in 2021, followed by two more albums that year, another in 2022 and their most recent, I Should Have Known the Things You Never Said, last August (2024), along with numerous singles at what appears to be at a rate of one every three weeks. Danburry has independently toured and released a staggering amount of solo music since 2002 , including over 400 songs on over 20 albums and 13 EPs, and has played more than 800 shows worldwide, all accomplished almost entirely DIY.
As I always do for an artist or band I’m writing about for the first time, I listened to quite a bit of their back music catalog, and I really like their pleasing sound and intelligent, poetic lyrics. Their latest single “Poor Sad Indie Everything“, is positively stunning, with a gorgeous mix of shimmery and chiming guitars accompanied by enchanting strings consisting of viola played by Kevin Nelson and cello by Alea Nelson. Danburry’s vocals are soothing and sweet as he sings “When the love we find, takes flight into a different corner. Loss of blind defines, that ducking, flowing stream when stars align.” The band provided a brief explanation about the song: “Sometimes a moment of beauty stays with us. A moment that shines through brilliantly and sears itself into our brain. We’re lucky to experience said moment. We recognize that. So we write it down. Document it. Save it for later. We go back in our memory when times are hard. Something that gives life meaning. Purpose. Joy. Well….times are hard.” Indeed they are, which is why we need uplifting and beautiful songs like this.
Perpacity – “The Void”
Perpacity is an electronic music act comprised of British singer-songwriter, composer and producer Ian Harling and Danish singer-songwriter, composer and producer Martin Nyrup. They’re both accomplished musicians with over 20 years of experience, and have been collaborating together for over a decade. Their sound is characterized by haunting melodies, lush electronic soundscapes and driving beats, with thoughtful and compelling lyrics. Since 2015, they’ve released five albums and scores of singles, two of which, “Granite” and it’s B-side “Never Let Go”, I reviewed in 2022. Those tracks were included on their fifth album Discordia, released in June 2023.
Now they’re back with “The Void“, the second single (after “Racing With Flamingoes”) from their forthcoming sixth album Poverty Of The Flesh, due for release in August. Released through the Town And Towers Records label, the song has a dark, brooding vibe that calls to mind some of the songs by Depeche Mode. About the song, Perpacity explain: “’The Void’ grew out of a conversation about the uncertain state of today’s world, and how best to act in the face of impending doom. The track highlights the inevitability of destruction, and the many ways people cope – through belief, denial, or simply by embracing and venturing into the void.” The guys drive home their message with darkly beautiful yet almost menacing industrial synths set to a hypnotic beat, overlain by their droning vocals backed by an otherwordly ethereal chorus. The accompanying video, featuring a mix of actual disaster footage and AI-generated imagery of hellish landscapes, provides an unsettling and fitting visual for their song.
Thunder Fox – “Never Got That Far”
Photo by Del Brown
Mere words cannot express how much I adore Australian band Thunder Fox. The Sydney-based five-piece is one of the most creative, wickedly funny and insanely talented – not to mention sexiest – acts around, and I’ve gushed about them and their music numerous times on this blog over the past five and a half years. Comprised of the charismatic and silky-voiced Sam Dawes (lead vocals & guitar), Travers Keirle (Sax, vocals & rhymes), Jesse Tachibana (trumpet, vocals & synths), Max Vallentine (drums), and Jarrah Murray (bass), they skillfully blend funk, soul, blues rock, hip hop, jazz and pop into their delectable music stew. In addition to sounding great, their music has a stylish and jazzy sophistication, thanks to their outstanding songwriting and musicianship, including having both a saxophone and trumpet player in their lineup. They’ve released a tremendous amount of music since 2016, including three marvelous albums, two of which – Love at First Sniff (2019) and Sanctuary (2021) – I reviewed.
Their latest single “Never Got That Far” was inspired by Sam’s coming to terms with his drinking problem and taking responsibility for any hurt and misunderstandings he may have caused. He elaborates: “’Never Got That Far’ is our apology on behalf of all those who didn’t know themselves well enough to do right by our friends. For all the fumblers and fuckpeople who wish they did better when they had the chance – perhaps for a time machine to take us back, to try it again. We’ve been there. Let’s cry about it real quick then grow and learn together!” Though somewhat melancholy, the song is also enchanting and lovely, with great guitar work and organ accompanied by Jesse’s wonderful trumpet and some fine harmonica. Sam’s soulful, plaintive vocals are vulnerable and filled with regret as he apologizes to someone with whom he could have had a romantic relationship: “So you’ll know, I often wonder who we’d be if I had met you there. Guess we’ll never know. But you don’t have to forgive me. Never made no one love me when they didn’t. Just know that I’m sorry we never got that far.”
One of the most imaginative, creative and intelligent artists I’ve come across in my nearly ten years of writing about music for this blog is Kristian Møller-Munar, a singer-songwriter, composer and animation artist of Danish and Spanish heritage. Born in Copenhagen, Denmark, but raised primarily on the Mediterranean island of Palma De Mallorca until the age of 12, when he moved with his family back to Copenhagen, Kristian had the good fortune to experience two rich cultures, which I think imbues him with a perspective and worldliness beyond his years. He later moved to London to attend university, but when the Covid pandamic hit, he left London and split his time between Copenhagen and Mallorca. For the past few years, he’s been living in Spain.
I first learned about Kristian in 2017 when he was based in London and a member of alternative indie pop/rock band From the Cave. I featured them and their delightfully eclectic music several times on my blog between November 2017 and April 2019, shortly after which they split up, much to my chagrin. Fortunately, he’s continued to record music as a solo artist, and over the past six years has released an astonishing eight albums, all of them ambitious works featuring anywhere from 10 to 23 tracks in a variety of genres, but primarily sung in Spanish. Exactly four years ago today, I reviewed his magnificent fourth album Caldo, an exquisite and loving tribute to his Spanish heritage, specifically, his mother’s homeland of Mallorca. That album contains an impressive 18 tracks.
Kristian’s latest endeavor is his solo music project Perro del Kaos (Spanish for “chaos dog”), under which he’s just released an album Ghost Town Riders. A truly monumental work, the album features a mind-boggling 27 tracks, nine of which run over five minutes in length! I normally dislike reviewing full albums on a good day, so when Kristian reached out to me about possibly reviewing Ghost Town Riders, needless to say I was a bit overwhelmed! My initial gut reaction was “how or where do I even begin to tackle such a massive work as this?” After giving it some thought, I decided to first have Kristian provide a little background about his inspiration for creating the album. Secondly, so as not to make myself crazy or bore my readers, I would only touch on a handful of tracks that are either my favorites or those I feel are important to the album’s overall narrative.
Here’s some of what Kristian provided about how Ghost Town Riders came to be: “Musically the album has been crucially influenced by an amazing group of collaborators I’ve had the pleasure of working with and alongside during 2024. I want to give a special mention to my friends Jo Hedegaard, Ekin Torner and Dilan Bohorquez, a group of kick-ass artists. Back in March 2024, Jo invited me to come alongside his self-funded punk-tour across Spain and Portugal to promote his film ‘The Great Grand Greatness Awards’. We travelled together for two weeks and I had the pleasure of listening to his awesome CD collection in the car. For hours every day we listened to records on the road, and in my opinion a car is one of the best places to listen to music. I think that experience instilled the idea of doing a “road trip friendly” album, something with a blend of rock and roll, blues, folk and music from the 60’s and 70’s.
In between the drives we spontaneously began doing some experimental film recordings on my phone, where Jo improvised a fictional alter ego character named “Palmer”. These raw recordings became the starting point for the punk/western “Peacehammer On The Flower Road”.As a side resuIt, I decided to launch myself completely into a new song project, with a key track (“Ghost Town Riders”) having its breakthrough moment on Ekin’s kitchen table. We were both drinking coffee and listening to random musical samples that I was putting together. The idea was to do a sort of unusual collage of sounds. A heavy metal riff, a bit of jazz double bass, some trap inspired beats, etc. A few hours later the same day I recorded the lead vocals in my bedroom. By the time the vocals were done I felt certain that this was something special. Particularly the lyrics “we sang the night away”, referencing my memory of many enjoyable nights with Jo at Copenhagen’s late night bodegas.
The following 10 days I wrote intensely from the bedroom in San Sebastian. Quickly songs like “Better Days”, ”Gold Fever” and “Poison” appeared. I remember doing the improvised vocal take on “Better Days” and shortly afterwards thinking, this might be one of the best songs I’ve ever written, but simultaneously feeling a bit careful of spoiling the magic. As the Christmas holiday closed in – I had to travel back to Mallorca to spend time with my family – I felt irritated because it seemed like this trip could potentially mess with the flow of the creative process. For the first time in a long time I felt like I might have a shot of completing a new album of songs. At one point, shortly after Christmas day, I had to accept the situation and the constant family plans, and almost mentally “let the album go”.
But then something unusual happened. One night I had a strange dream. I dreamt that I was suspended in the air surrounded by an intense white light. In the dream I received a sort of instruction or message that told me something like: “Don’t worry about the songs, your creativity, your ability or your inspiration. There is an infinite amount of songs that are contained within this light. And all the songs have already been written. They are all waiting here for you to use whenever you need them. They will be here in a day or in 10 years, the time doesn’t matter. You don’t have to struggle to get them. There is only one thing you need to do to access them.”
And then the dream followed with a simple but powerful realization: “All you have to do to access these songs is to let go of your skin. The idea of who you think you are.” In the dream it was like my skin fell off. And I felt an incredible amount of peace. The next day when I woke up I felt like all the irritation from the Christmas “interruption” was gone. And I no longer worried whether I was going to be able to channel something creatively. I felt as if everything would always be there waiting for me to be used.
From then on the songwriting picked up pace in an incredible way, and I was pretty much writing a new finished song a day. But most importantly, the process was so much fun. The last week of recording I spent shouting loud choir vocal stacks at my grandparents old village house. Singing “Rocket To Hell”, “Fire”, “Tunnel Lights” and “Canyon Of Dreams” in front of an old fireplace from the early 20th century.
I’m very proud of the album and I look forward to trying these songs live. I really feel they channel some powerful feelings. I’m grateful that I still get to write new music and to have had these powerful experiences. I want to reach out to anyone out there who feels like they are struggling with their artistic practice and I want you to know that you are not alone. I’m sure you will find a way forward and I hope you will find peace and discover your own way. Sometimes things turn out in unexpected ways, we get disappointed and discouraged. But there’s plenty of light out there and I hope that we all get to receive its beauty and power.“
I find it fascinating that a guy who grew up in Denmark and Mallorca, with a stint in London, would conceptualize an album with a theme partially set in the American Old West. But after all, Italian filmmaker Sergio Leone directed some of the finest Western films ever, including The Good, the Bad and the Ugly and Once Upon a Time in the West, so who am I to question? Kristian told me the American West concept was inspired by the “Peacehammer” movie universe, but also from listening to a lot of American music as a kid and watching Westerns with his grandparents.
Ghost Town Riders opens with the title track, a strange and sometimes chaotic five and a half-minute long fantasia that sets the overall tone for the album. Kristian’s mix of spoken word, chanted and sung vocals are accompanied by all sorts of sound effects and musical instruments ranging from guitars, horns and organ to gnarly industrial synths and tribal drumbeats. The lyrics cover a lot of ground, with him singing about friendships, familial and romantic relationships as the music and tempo continually change: “I was afraid to leave town, I was afraid to let you down. I thought you loved me before./ I’m not a fan of ghosts, ain’t never been a fan./ I’m sitting in the corner, and minding my own business. I don’t give a damn about any of your business./ Why don’t we call each other once in a while? I know you’ve been worried about the future and all the darkness in the world. But we can find a better way./ We sang the night away, and that’s a beautiful way to spend some time.”
One of my favorites is the second track “Gold Fever“, a cool song both musically and lyrically. I love the mysterious synths, twangy guitars, sharp percussion and tribal drums, all set to a hypnotic driving beat. The lyrics speak to man’s inherent greed and eternal quest for the precious metal of gold, which was a long-running theme that played out time and again in the development and exploitation of the American West: “The answer to the goal is always gold. Gold fever is always on your mind. And you cry at night because you’re out of cash./ Gold fever, it’s getting to your head./ We need gold to get more gold./Such a sexy type metal. It’s heavy metal.” Kristian does a pretty good job singing like an old man with a quirky mix of a Western and Southern accent.
He’s also a handsome guy, but he’s turned himself into a scowling and rather scary-looking old man in his videos.
“Poison” opens with the provocative line “All aboard the bullshit train. Next stop, poison, Jersey and killer sharks…” before launching into a The Who-esque flourish that then segues into a deep bass riff reminiscent of “Bad Guy” by Billie Eilish. The song eventually settles into a discordant foot-stomping rocker, highlighted by some terrific Spanish guitar, aggressive percussion and lots of abrasive sound effects.
“Better Days” is a poignant and lovely folk rock song that sees Kristian reflecting on his experiences growing up and living in different countries, meeting and making friends and also seeing loved ones pass away: “You know that it’s difficult to grow up. You know it’s difficult to move away from home. But along the trip, we made some beautiful memories. I know you’re worried on your own. It’s been a long time since we hanged out. And these busy times they get to my nerves. Makes me sad to see people go, to see people die. Tomorrow is a better day.” The beautiful twangy Western-flavored and shimmery guitars make this another of my favorites on the album.
One of the more interesting tracks is the 6:45-minute long “Junkyard Tower“, a dark and at times otherworldly song that would make it a great candidate for sci-fi movie soundtrack. Halfway through, the music transitions from an exotic Eastern-flavored vibe to a hip hop-infused alt-rock song. The lyrics seem to describe someone who’s so totally cynical about life that he’s fully checked out: “I see myself as bad parent to my kids. Abandoning them. I see myself as a selfish person, taking advantage of my friends for my own personal interest. Love is not real. Friendship, I guess you can call it a benefit. Time, my most valuable asset. I’m not going to share it with anyone, but you. Junkyard tower.It’s a beautiful place. It’s the place I know. It’s the place I love./ Getting me out of the goldmine. Getting me out of the tough times. Getting me out of the lockdown.“
Another track that especially resonated with me is “Spotify“, a denunciation of the unfair and predatory practicies of the music streaming behemoth. Accompanied by just a solemn piano riff, Kristian laments: “Spotify, doesn’t pay me for my music. It’s been a long time like this, I can’t take it anymore. You might think it’s funny to be a musician living with your parents. And do some hard work on the things no one listens to. And then you don’t get paid. Music doesn’t have any worth./ We can make a change right now. End Spotify somehow.” I’m sure virtially all independent artists and bands would relate to this song.
“Fire” is an exilarating, hard-driving track with super grungy riffs, a chugging bassline and lots of distortion. I’m not certain what the song’s about, but I like it, plus the chaotic video’s a trip. Kristian repeats the line “Before the future runs over your head, shake it, shake it“, so one guess is that the lyrics allude to the general chaos of life.
“Canyon of Dreams” is a meandering and trippy six and a half-minute long tour de force that nicely showcases Kristian’s wild imagination and knack for incorporating a mind-blowing array of musical styles, textures and sounds into a single track. And on “The Tracks“, he once again employs several change-ups in tempo and vibe to create a compelling soulful song. And for the wonderful video, he uses some older footage from his time in England, including a few images of him and his former From the Cave bandmembers.
Kristian turns sentimental on the mellow, jazzy and poignant piano ballad “Someone New“, his vocals sounding world-weary as he plaintively croons to a former loved one now that their relationship has ended: “It’s just like we traveled through the darkest stars, the dark times. And you cannot keep up with that lack of trust./ It’s just like we belong in this world. And I know that you will find someone new.”
He closes out Ghost Town Riders on an upbeat note with “Dead or Alive“, a rousing, bass-driven romp with a garage rock feel, courtesy of frantic jangly guitars, insistent drums and even a bit of cowbell for good measure. The lyrics speak of a crazy woman who’ll stop at nothing to get what she wants: “She’s completely crazy, she’s out of her mind./ She wants to make out, dead or alive. And you might just as well be surprised. Be surprised. A tequila shot to the head, it’s a bloody mary massacre. You’re bleeding all over the bar. In Spain, there’s pain. Get it, get it, get me out of this place.”
Well, I think I’ve gone on long enough so in closing, all I can say is that Ghost Town Riders is an epic work showcasing Kristian’s vivid imagination, intelligent songwriting and masterful musicianship. I’ve long been impressed by his immense creativity and prodigious output, but he’s taken both to a whole new level here. While this album might not appeal to everyone, there’s no denying the incredible originality and thought that went into this thoroughly unique work. I’m quite fond of Kristian, and it’s been a joy to follow along with him on his musical journey over the past seven-plus years.
I’ve been a huge fan of American alternative rock/electropop/hip hop duo Twenty One Pilots since learning about them in early 2015, and they’ve remained my favorite musical act for the past 10 years. Still based in their hometown of Columbus, Ohio, the band is comprised of singer-songwriter and multi-instrumentalist Tyler Joseph and drummer/percussionist Josh Dun. I think they have one of the most unique sounds of any act in existence today, and with a few minor exceptions, virtually all of their musical output has been brilliant. Their 2015 masterpiece Blurryface is one of my all-time favorite albums, and spent 276 consecutive weeks – more than five years! – on the Billboard 200 Album chart. It ultimately racked up over 300 weeks on that chart.
Their beautiful and cinematic song “The Line”, from the Season 2 Soundtrack of the Netflix animated action-adventure series Arcane: League of Legends, ascends to the top of my chart this week. The song is about Viktor, one of the main protagonists of the Arcane series, and plays in the 8th episode of season 2. The song is thought to be about crossing “the line” by disappointing loved ones and turning them into enemies, represented by Viktor’s decision to give up his humanity to save humanity, while others think it’s essentially about crossing from life to death. Whatever it’s about, I love it, and it’s their 12th song to reach #1 on my chart, following “The Craving”, which spent three weeks on top this past August and September. “The Line” is also their second song from a film soundtrack, their previous being “Heathens”, which was included on the motion picture soundtrack to the DC Comics 2016 film Suicide Squad.
In other noteworthy chart news, the marvelous “So Cold” by Balu Brigada moves into second place, while “She Wants To Go Dancing” by Mt. Joy and “Bad Dreams” by Teddy Swims enter the top 10. There are two debuts again this week, the first of which is the powerful “Straight to the Ground” by Northern Ireland-based rock band Unquiet Nights (which I reviewed on January 31st), entering at #29, and “Walls”, a captivating track by English singer-songwriter Frank Joshua (which I featured in a Fresh New Tracks post on February 1st), coming in at #30.
THE LINE – Twenty One Pilots (4)
SO COLD – Balu Brigada (3)
ARROW – The Head and The Heart (1)
THE FAITHFUL HEART – Wons Phreely + The Horses (2)
For my latest edition of Fresh New Tracks, I’m showcasing terrific releases by four acts I’m especially fond of – Irish singer-songwriter Cormac O Caoimh, Philadelphia power pop band DelCobras, London alternative indie rock band The Kid and I, and Scottish singer-songwriter Ewan Patrick.
Cormac O Caoimh – “The Little Things”
Cormac O Caoimh is a talented singer-songwriter and musician from Cork, Ireland who writes incredibly pleasing indie folk/pop songs filled with sublime melodies and beautiful arrangements. His thoughtful, intelligent lyrics exploring the intricacies of life, love, hope and loss are delivered with fine instrumentation and warm, comforting vocals that remind me at times of Paul Simon. The prolific artist has released an impressive amount of music over the past 25 years or so (both with his previous band Citadels and as a solo artist), including seven outstanding albums, the most recent being 1999-2012 Vol. 1, an ambitious work released last May 2024 featuring 20 tracks, 10 of which were new recordings of older songs released between 1999 and 2012, whereas 10 were the original recordings of those same songs. I’ve previously reviewed three of his singles, most recently “There’s A Crack (Heart Attack)“ from that album that’s a reimagining of his song “Heart Attack”, from his 2012 album A New Season For Love. You can read that review here.
Now Cormac returns with a new single “The Little Things“, about which he explains: “Unlike many of my songs this is a true story and a happy one. It is about 2 people who have this massive soulful connection with each other but they do not tell each other. And they go through their lives savouring the small moments they connect – a chance meeting in town, a cup of coffee at work, etc. The happy ending is …they both die, and their ghosts hook up.” It’s a sweet and poignant song, with lovely instrumentals set to a gentle melody and accompanied by Cormac’s soothing vocals. The video features vintage footage of Fred Astaire and Eleanor Powell dancing in the film Broadway Melody of 1940.
The Bandcamp release also features two extra B-sides – “Does God Only Hear Sober Prayers” and “Sweet Sake” – both tracks from a country album that Cormac had planned to make but never did.
Delcobras – “The Turnaround”
Marc Schuster, Jim Lorino & Nick Cervini
Hailing from Philadelphia is recently-formed power pop trio DelCobras, comprised of Jim Lorino (lead vocals, guitar & synths), Marc Schuster (bass & vocals) and Nick Cervini (drums). All accomplished musicians, Jim is also frontman of indie power pop act Scoopski, now on hiatus, and drummer for indie alt-rock band Naive Nature. Marc records both as a solo artist and is also one-half of duo The Star Crumbles, as well as involved with several other musical acts, including Scoopski for a time. Nick is drummer for Philadelphia indie rock band Sacred Monsters and also played with Scoopski. In addition to their musical talents, they’re personable guys with a wicked sense of humor. Their name is a tribute to Delaware County, where Marc and Nick live. “We rehearse in Marc’s basement in Havertown, and Nick lives around the corner” Jim explains. “I’m from Northeast Philly, but they’ve accepted me as one of their own.”
They’ve just dropped their debut single “The Turnaround“, a rousing anthem of self redemption celebrating the eternal promise of second chances. Jim wrote the song after experiencing a raft of disappointments, including his home team the Philadelphia Phillies losing to the New York Mets in last year’s National League Division Series, his band Scoopski falling apart, and backsliding in his ongoing efforts to lose weight (something I can sadly empathize with). Inspired by Phillies shortstop Trea Turner and the Netflix documentary The Turnaround, which chronicles the story of how Jim’s friend and YouTuber The Philly Captain (aka Jon McCann) spearheaded a movement to give Turner, who was struggling in his first season with the Phillies, a standing ovation at their August 4th game which resulted in a ten-game hitting streak for the player, “The Turnaround” is a marvelous post-punk infused rocker loaded with gnarly guitar chords fortified by a hard-driving rhythm of chugging bass and smashing drums. I love Jim’s exuberant vocals, nicely joined by Marc singing a few lines from the Frank Sinatra classic “High Hopes” (written by James Van Heusen and Sammy Cahn), in the bridge. I also love the charming carpool karaoke video.
The Kid and I – “Take My Hand”
Daniel Malek, Jacob Powell & Minky Très-vain
The Kid and I is a London, England-based alternative indie rock band comprised of singer-songwriter and multi-instrumentalist Jacob Powell, Minky Très-vain on guitar & backing vocals, and Daniel Malek on bass. (Très-vain is also front man of scratch rock band Brain Ape, who I’ve featured several times on this blog, and of which Powell was once a member.) Influenced by an eclectic mix of acts ranging from Biffy Clyro, Foo Fighters and Blink-182 to Tyler, the Creator, Sam Fender and Phoebe Bridgers, The Kid and I serve up a fresh blend of energetic rock and indie vibes, infused with heartfelt lyrics reflecting the struggles of modern life. Since 2020, they’ve dropped 13 singles, an EP and a live album. Last March, I reviewed a live version of their explosive banger “Good Times Go”, a song about toxic masculinity and taking accountability for oneself.
On February 20th, they released their latest single “Take My Hand“, a powerful song of perseverance in these troubling times. Jacob explains “I wrote this song back in 2021 – it’s been kicking about for a long time, but it feels more relevant now than ever. This song’s about trying to escape the hatred we find in the world right now through love, and hoping for a better future in the process.” Backed by a dynamic mix of grungy guitars, aggressive drums and soaring strings, he passionately sings “I’m scared of having children in this day and age. Where big money does what it wants, always gets it own way / Please just take my hand, and let’s run away before the devil rears his ugly face again.” In addition to the three The Kid and I members, drums were played by Elvis Quagliotto, additional guitar by Henry Avedian, and strings by Gavin Brooks. The wonderful photo and cover art design were created by Forest Smith.
Ewan Patrick – “Always With You”
Ewan Patrick is a thoughtful and talented singer-songwriter and multi-instrumentalist from Edinburgh, Scotland who’s had music in his blood for much of his life. He studied contemporary classical composition at Napier University in Edinburgh, then earned a graduate degree in Music Production at Leeds College of Music. He also played in many bands over the years, performing extensively across the UK, including at a number of major music festivals. In 2020 he began recording and releasing songs he’d written over the years that he says “never quite found their place in any of the bands I’ve played in.“ His songs range from pleasing acoustic, folk rock and piano ballads to stirring anthemic rock, all of which Ewan handles with ease, both musically and vocally with his strong, clear and beautiful singing voice. He also records, mixes and masters all his music by himself. Thus far, he’s released numerous singles and two excellent albums, Forever Love in 2021 (which I reviewed) and Keep On Coming Back For More in 2023.
On February 11th, Ewan dropped his latest single “Always With You” on Bandcamp, and will be available on all other major streaming platforms on February 25th. It’s a beautiful, heartwarming song that starts off gently with only an acoustic guitar accompanying his plaintive vocals, eventually building into a soaring anthem with gorgeous layered guitars, powerful bass and tumultuous percussion. The poignant lyrics speak to the overwhelming feelings of grief that envelop us after losing a loved one. Ewan elaborates: “The inspiration for this track has come from my work with children and young people that have experienced a bereavement. Losing someone who is so close to you is the hardest thing any of us will experience in our lives. I hope this song captures even an ounce of the rollercoaster of emotions we experience when dealing with some of the toughest times in our lives. It’s one that means a lot and I’m really proud of. I hope it resonates with many. ” Well, it most definitely resonates with me!
Jesse Daniel Edwards is a singer-songwriter and musician I recently learned about when his PR rep reached out to me about his new self-titled album. Upon giving Jesse Daniel Edwards – an exquisite collection of songs sung by Jesse with just a piano accompanying his beautiful voice – a listen, I was instantly enchanted, and eager to share it with my readers.
Born and raised in rural eastern San Diego County in Southern California, where he had no exposure to TV or the internet, Jesse left home at the age of 16 and spent the next few years busking on street corners around the U.S. and abroad. While singing outside of bars on Music Row in Nashville, Tennessee, he got to know the late Al Bunetta, the longtime manager for John Prine, who became Jesse’s mentor. He spent the next few years writing songs and honing his craft by touring and performing full time. In May 2020, he released his beautiful debut single “Secret of You”. Nearly three years would pass until his next release, the album American Dreaming in March 2023, featuring seven tracks with strong Southern rock and rock’n’roll elements.
As if wanting to make up for lost time, he quickly followed three months later with a second album Violensia. With a totally different pop sound and vibe that reminds me of the more flamboyant songs by artists like Billy Joel and Rufus Wainwright (Jesse’s vocals also sound like theirs at times), Violensia is highly entertaining both musically and lyrically. As its title suggests, the album touches on various aspects of violence and twisted relationships with a cheeky sophistication on songs like “Dream Where You Can’t Wake Up”, “Drop Dead and Die”, “Matches & Gasoline” and “Everything Makes You Sick”.
Last October (2024), Jesse dropped his next album Clap Trap Venus, this time featuring 11 outstanding colorful tracks showcasing his continued growth as a songwriter and musician. Through songs titled “Hell Called Earth”, “Occasionally Joy”, “Wrong About God” and “Jesus and Other Drugs”, he examines his faith and emotional well-being in this crazy and uncertain world we’re living in.
Now Jesse returns with his deeply personal and stripped-back self-titled album Jesse Daniel Edwards, released today via Cavity Search Records. Recorded last April (2024) at Memphis Magnetic Recording Co., a space he calls his “favorite tech lab in the galaxy, a butterfly-net-shaped place designed to catch dreams“, the album marks a new chapter in his ever-evolving musical journey. He performed his songs on a Chickering Grand Piano as the only musical instrument, which were then recorded on 2-track tape by recording engineer Scott McEwen. Capturing the raw emotions and vulnerability so beautifully expressed on each song, this pared-down approach contrasts with the more elaborate, rock-driven sounds of Jesse’s previous works.
Many of the tracks on Jesse Daniel Edwards are reworkings of previously-released songs, reflecting particularly meaningful moments and memories Jesse chose to revisit. He explains “Life itself is a process of overwriting information, a moment can feel like forever, and yet a life so short.” Further elaborating on the unique nature of each of his prior albums, he adds “Every one is different, simply because they occur at different junctures in your life.” In a sense, Jesse Daniel Edwards feels like both a culmination and a new beginning, a sort of love letter to the past and a way of re-examining his musical journey over the past 12 years.
The album opens with “I’m So Happy (I Think I Might Cry)“, which was released as the album’s lead single on January 24th. The original version of this song was released in May 2023, and included on Violensia which dropped the following month. The song starts off slowly, with gentle piano keys and Jesse’s tender croons, but gradually builds as his piano playing becomes more intense, his vocals rising to an emotional climax at the end. The honest lyrics speak to how popularity, money and material things don’t necessarily equate to a happy existence: “I’ve had so many flings, and been burned by so many flames. And guess what, a twin bed is plenty of space at the end of the day. And the money comes and goes, it’s kinda fun sometimes I suppose, when you forget it’s all just paper. And all the fine things and fancy clothes are just fine things and fancy clothes. Never forget they’re just dust collectors at the end of every day. And the truth is I lied, when I said I was fine. I’m so happy, I think I might cry.”
Listening to the album, what strikes me most is how rich and full each song sounds, despite the fact we’re hearing only a piano and Jesse’s vocals. Employing both instruments – the piano and his vibrant voice – to their fullest, he manages to create breathtaking soundscapes that fully envelop us in their lush and captivating warmth. And though most songs touch on sad or bittersweet topics related to love and loss, they’re always incredibly moving and pleasing to the ear.
On the melancholy but beautiful “This House Comes With A Ghost“, Jesse softly sings with a sense of sad resignation about lost loves and regret that have occured over time within a house: “These walls have seen it all, the stories they could tell. Of broken-hearted love affairs and bittersweet farewells. These walls have seen a lot, a lot more than most. This house comes with a ghost.”
Next up is the aforementioned “Everything Makes You Sick“, another song that was originally released on Violensia. I love Jesse’s dramatic piano trills and raw vocals as he sings “And to every broken heart that came before, I just called to let you know I don’t need you anymore. But I’m gonna be okay, even though everything makes you sick these days.” A third song from that album Jesse revisits here is “Nobody’s Got Me“, a bittersweet song in which he laments about having no one in his life to call his own: “Everyone’s got someone, everyone but me. Nobody’s got me.”
The tender piano ballad “Remember How To Love” has Jesse admitting his shortcomings in keeping up his part of the care and feeding of a romantic relationship: “If I could remember how to love you, maybe you’d remember how to smile. If I could remember how to love you, maybe you’d forget I need reminding once in a while.” On “Wrong About God“, a song that originally appeared on Clap Trap Venus, he plaintively sings from the perspective of a man filled with cynicism and regret resulting from his time serving as a chaplain in the army: “Learning to let go is just unlearning to hold on./I just wish I could see my friend, and tell him we were wrong. Wrong about the job, and I was wrong about God.”
With “Secret of You“, he revisits the beautiful love song that was his debut single, in which he sings his praises of a loved one whose attributes aren’t immediately apparent to those around her: “She’s a glass of wine in a paper cup. Proof that something fine can be something rough. Watching her’s like watching the sunset in the rain. You know it’s there, and you know it’s beautiful, but you know you’re gonna have to look through the gray./ Someday, everyone is going to feel exactly the same way about you as I do. Until then, I’m going to keep the secret of you.”
“Omaha” sees him looking back with bittersweet fondness on a relationship that didn’t survive, but harboring no regrets: “My oh my, what a sight you are for these sore eyes./ Be sorry for loving me, be sorry for leaving me. Be sorry for what you can’t take back. But those nights we spent in Omaha, spending tomorrows we didn’t have, baby don’t be sorry for that.”
“Left Your Coat Behind“, a reimagining of a song originally featured on American Dreaming, sounds a little like an early Elton John song with its urgent and intricate piano keys. The lyrics seem to be about a couple having a furtive affair: “The clock on the wall is screaming at the clock in the hall, and I know I’m running out of time. You’ve only just arrived, now you’re saying goodbye. It seems I wanted to tell you something, but it slipped my mind. Have you realized that you left your coat behind?“
Closing out the album is the Billy Joel-esque “So Passes the Light from the Eye“, a song I’m guessing is about the ephemeral nature of life: “So passes the sun from the sky. So passes the long day into that long black night with a flicker, and a whisper, then you die. So passed the light now from your eye.” His vocals rise from a soft croon to commanding along with his stirring piano. It’s a fitting and majestic end to this delicately beautiful, yet deeply affecting and powerful album.
The beautiful, uplifting song “Arrow”, by Seattle folk rock band The Head and The Heart, takes over the top spot on my latest Top 30 chart after a five-week-long run by Wons Phreely + The Horses’ “The Faithful Heart”. Formed in 2009 by Josiah Johnson and Jonathan Russell, The Head and The Heart currently consists of Russell (vocals, guitar, percussion), Charity Rose Thielen (violin, guitar, vocals), Chris Zasche (bass), Kenny Hensley (piano), Tyler Williams (drums), and Matt Gervais (guitar, vocals). Since 2011, they’ve released five albums and numerous singles, several of which have appeared on my chart. “Arrow” is their second song to reach #1 on my chart, their first being “All We Ever Knew” in 2016, and has spent the past nine weeks at #1 on the Billboard AAA (Adult Alternative Airplay) chart. The lyrics speak to feelings of restlessness, yet finding reassurance and peace of mind in oneself: “There’s times I need direction, there’s times I need to roam. I move station to station, I showed up here alone. I am my own arrow. I am my own home.”
In other notable chart developments, “So Cold” by Balu Brigada moves up two spots to #3, and “The Line” by twenty one pilots, from the Season 2 Soundtrack of the Netflix animated action-adventure series Arcane: League of Legends, jumps eight spots to #4, making it the biggest upward mover for a third week.
Two songs debut this week, the first of which is “Same Old Song” by Denver-based alternative folk band The Lumineers, which took a while to grow on me. The lead single from their fifth studio album Automatic, which dropped this past Friday, February 14th, “Same Old Song” is already in the top five on the various Alternative charts. The lyrics speak to the downsides of being a musician, struggling to pay rent, feeling insecure, getting your instruments stolen, and questioning the meaning of life while still holding onto dreams of making it big. The second debut, entering at #30, is “Without A Doubt” by Louisville, Kentucky-based post punk band Charm School, which I learned about from fellow blogger Christian in a recent post on his blog Christian’s Music Musings. The wonderful song is from their debut album Debt Forever, which dropped January 24th. I love those dramatic jangly guitars!
ARROW – The Head and The Heart (2)
THE FAITHFUL HEART – Wons Phreely + The Horses (1)
Lots of new music means it’s time for another installment of my Fresh New Tracks series, and today I’m pleased to feature excellent songs released over the past week by four talented acts – New York-based singer-songwriter Asa Daniels, Welsh singer-songwriter, poet and author Evrah Rose, Spanish singer-songwriter and multi-instrumentalist John Serrano, and Nashville-based nautical rock’n’roll band Rusty Shipp. Each song couldn’t be more different than the others, but after all, I am EclecticMusicLover!
Asa Daniels – “Never Knew”
Asa Daniels is a charming and affable singer-songwriter and multi-instrumentalist from New York City who’s also guitarist and lead vocalist of alt-rock/blues band Gooseberry, who I’ve previously featured several times on this blog, He’s also front man and guitarist of jazz/rock/funk band Baked Goods, which he formed when he was 15. Now on hiatus, Baked Goods released three albums and an EP between 2013-2020. Ever the charismatic showman, Asa appeared on The Tonight Show Starring Jimmy Fallon in March 2022, where he competed in a Battle of the Instant Songwriters. In addition to his sparkling personality, intelligent songwriting and ace musicianship, I also love his vocal style, and have been a fan of his since learning about Gooseberry in late 2021.
Last March (2024), he released his debut single as a solo artist, “Historical Christ”, followed two months later with “Hello Barcelona”. On February 7th, he dropped his latest single “Never Knew“, and it was love at first listen. All three songs will be included on his forthcoming solo album I’ve Run Out of Boxes to Put Things In. Written and sung by Asa, “Never Knew” was recorded with the help of AJ Daye on drums, Guillermo Goldschmied on bass, and Dan Janis on the bluesy sax. I love the song’s sophisticated jazzy vibe, as well as the sweet photo of Asa as a young child sitting on the floor playing a guitar used for the single’s cover art. It’s proof of his lifelong love of music.
Evrah Rose – “Invisible Me”
I recently learned about Welsh artist Evrah Rose and her impactful spoken word song “Invisible Me” and its accompanying video from her fellow Welsh artist Secret Postal Society (the music project of singer-songwriter and musician Craig Mapstone, who I’ve also previously featured on this blog) when he shared it on his social media accounts. A street poet, rapper and author with two published books to her credit, Evrah has gained popularity and a loyal following for her hard hitting vocal delivery, compelling storytelling, and fearlessness in bringing attention to issues like social injustice and mental health.
Released on February 3rd, “Invisible Me” addresses how people struggling with depression often downplay or hide their real feelings so as not to bring attention to their problems out of fear of burdening others or inviting shame and scorn. Evrah elaborates: “[It’s] a spoken word film depicting the cruel nature of chronic illness. How we’re so often forced to ‘mask up’ to hide our pain, the continuous struggle to fit into society, and the impact that has on our emotional well-being and sense of identity.” As someone who suffers from occasional bouts of depression myself, I was deeply affected by her heart-wrenching words, as well as the images shown in the video. I know from experience that, while most family members, friends and co-workers may genuinely care that we’re suffering, they often don’t know how to respond, feel helpless to assist us in meaningful ways, or might even dismiss our feelings, instead encouraging us to simply “buck up”, “count our blessings”, and so on. The film was written, performed and directed by Evrah, and filmed and edited by Joey Edwards. The lovely piano music was played by Olexandr Ignatov.
John Serrano – “Granada”
Hailing from Málaga, Spain is John Serrano, a prolific singer-songwriter, multi-instrumentalist and producer who I cannot heap enough praise upon. Not only is he a versatile and enormously talented musician with a beautiful singing voice, he’s also thoughtful, kind, handsome and incredibly supportive of other independent artists. Drawing from a dizzying array of genres and influences ranging from alternative, progressive, punk and metal rock to blues, folk, electronica, synthwave and jazz, the man can play and sing just about anything, with vocals that run the gamut from achingly beautiful and tender to fearsome and savage. Over the past decade, he’s recorded and released an astonishing catalog of music as both a solo artist and in collaboration with other musicians. Every time I turn around, John’s dropped another new single or album, and it’s a challenge keeping up with him. He released three full albums in 2024 alone!
His latest release is the lovely single “Granada“, which dropped February 7th. Written and performed entirely by John, it’s the first single from his forthcoming album Still Alive, scheduled for release in May. On this track, he skillfully blends beguiling flamenco guitar notes and hand claps with jazz and folk elements to create an enchanting soundscape for his plaintive and arresting vocals. The bittersweet lyrics speak to feelings of regret and loss over a romantic affair he let slip through his fingers: “I really was the best version of me when I walked away to never look back. And just convince myself I don’t need you at all.” It’s a bit of a different sound from John, and I can’t wait to hear what he has in store.
Rusty Shipp – “All Aboard!”
Few acts I can think of have mined a novel theme as successfully and consistently over the years as has Nashville rock band Rusty Shipp. The brain child of front man Russ T. Shipp (his actual birth name is Russell Thomas Shipp), Rusty Shipp is a self-described “Nautical Rock’n’Roll” band, with a sound influenced by “the melodic chord progressions of The Beatles, the surf guitar of Dick Dale, the grunge rock of Nirvana, and the heavy metal of Led Zeppelin“. As their name suggests, their music features a dark, immersive sound, unforgettable melodies, electrifying guitar work, and Shipp’s vibrant tenor vocals. Like many bands, they’ve undergone numerous changes in lineup since forming in 2014, and now consist of the aforementioned Russ Shipp on guitar and vocals, AJ Newton on drums, Dave Gajda on lead guitar, and Doug Webster on bass.
Rusty Shipp have released three outstanding concept albums – Mortal Ghost in 2017, Liquid Exorcist in 2019, and Dark Side of the Ocean in 2022 – all built around nautical themes. (I reviewed the latter two albums, which you can read here and here.) Last October (2024), they released “Neck Breaker”, their first new song in two years and the lead single from their forthcoming fourth album Cosmic Innuendo, Vol. II. In keeping with the band’s nautical theme model, Cosmic Innuendo, Vol. II will tell a fictional story of an evil band of pirates who set sail on a sinister mission, dismissing the prophetic warnings of an old sailor on the pier who warns of a worse fate for them than the gallows if they stay on their course. The band states that the fictional story “is ultimately a masked philosophical message warning of people living their lives in a self-inflicted apocalypse.”
“All Aboard!“, released as the second single from the album on February 7th, is also Rusty Shipp’s first theme song, as well as the first song to include voices of some of Rusty Shipp fans known as Shippmates. The song is a wonderful hard-driving rocker, with a roiling torrent of grungy guitars joined by some blistering surf guitar solos in the second half, and nicely accompanied by AJ’s aggressive drums, a terrific organ and Russ’s dynamic spine-tingling vocals. Given the quality of both “Neck Breaker” and “All Aboard!”, the new album is sure to be another winner. On a side note, I also love that their more recent music is published via “Shipp Wreckords”.
“The Faithful Heart” by Wons Phreely + The Horses continues to enthrall me with its gorgeous chiming guitars, soaring harmonies and heartwarming vocals, thus remains my favorite song for a fifth consecutive week. The last time a song spent this many weeks at #1 on my top 30 was in September 2017, when “The Man” by The Killers also topped my chart for five weeks. The charming video is also one of the best I’ve seen in years, and deserves millions of streams.
The beautiful, uplifting song “Arrow” by Seattle folk rock band The Head and The Heart, which has spent the past eight weeks at #1 on the Billboard AAA (Adult Alternative Airplay) chart, moves into second place on my chart. Three songs enter the top 10 this week: “You’re My Drug” by northern Virginia indie pop-rock artist Talk in Waves, “Detroit” by L.A.-based rock band Badflower, and “Sailor Song” by American singer-songwriter Gigi Perez, at #s 8, 9 & 10, respectively. The biggest upward mover again this week is “The Line” by twenty one pilots, leaping 11 spots to #12. Making their debut are songs by two of music’s biggest acts who’ve had numerous songs appear on my chart – “Rushmere” by English folk rock band Mumford & Sons, at #29, and “Metaverse”, the latest single by Nashville-based alt-rock band Cage the Elephant from their album Neon Pill, at #30.
THE FAITHFUL HEART – Wons Phreely + The Horses (1) 5th week at #1
ARROW – The Head and The Heart (3)
BOBBY SOX – Green Day (2)
IN THE LIVING ROOM – Maggie Rogers (5)
SO COLD – Balu Brigada (6)
SAD IN CAROLINA – Dexter and The Moonrocks (4)
AUTUMN LEAVES – Secret Postal Society (8)
YOU’RE MY DRUG – Talk in Waves (12)
DETROIT – Badflower (13)
SAILOR SONG – Gigi Perez (14)
GILD THE LILY – Billy Strings (7)
THE LINE – twenty one pilots (23)
ROUTINES IN THE NIGHT – twenty one pilots (10)
SHE WANTS TO GO DANCING – Mt. Joy (17)
A TEAR IN SPACE (AIRLOCK) – Glass Animals (7)
NEVERENDER – Justice & Tame Impala (11)
DAY & NIGHT – Oli Barton (18)
AFTERLIFE – Sharon Van Etten (20)
BAD DREAMS – Teddy Swims (21)
PEOPLE WATCHING – Sam Fender (22)
A FRAGILE THING – The Cure (15)
DARKERSIDE – David Kushner (16)
IMPOSTER SYNDROME – Fake Empire (26)
HERE WE GO AGAIN – Set the Tone (25)
ROCKMAN – Mk.gee (24)
TAKE THIS HEART – Brian Lambert (27)
DIE WITH A SMILE – Lady Gaga & Bruno Mars (19) 20th week on chart
One of my favorite English acts over the past three and a half years has been psychedelic pop/rock band Solar Eyes. Their music is an arresting style of alternative pop/rock awash in dramatic psychedelic grooves, twangy Western-style guitars and dreamy cinematic synths, giving them a distinctly unique sound. Based in Birmingham, they now consist primarily of singer-songwriter, musician and producer Glenn Smyth and drummer Sebastian Maynard-Francis (former member, guitarist/producer Tom Ford, moved out of the area and no longer performs live with them, but still helps with the production of some of their music).
They’ve released three EPs, numerous singles and a self-titled debut album Solar Eyes last February (2024). One of their songs, “I See the Sun”, went all the way to #1 on my Weekly Top 30 and ended up ranking #18 on my 100 Best Songs of 2022 list. I’ve featured them many times on this blog, and you can read some of those reviews by clicking on the ‘Related’ links at the end of this post.
Sebastian Maynard-Francis and Glenn Smyth
Now they return with a new EP Crooked Orbit, released via Fierce Panda Records and featuring remixes of five of the tracks from their album Solar Eyes. Smyth explains his impetus for doing the EP: “I’d had this idea of doing a remix EP, as I’d always loved remixes of Primal Scream, UNKLE and Death in Vegas, The ‘She Kissed The Gun’ remix sounds like it’s from something off ‘XTRMNTR’, which is my favourite Primals album. Then it all sort of fell into shape, and it’s even given the songs a new slant. It’s been joyous hearing the remixes coming in.”
Each of the remixes were done by musicians and/or producers who’ve previously worked with or collaborated with Solar Eyes. The first track, “She Kissed the Gun (Hibs Mix)” was remixed by London-based mix engineer and composer Jeff Knowler, who also mixed all the songs on Solar Eyes. The original, which features backing vocals by Melissa Severn, is a brooding and sultry psychedelic affair. For his remix, Knowler dials up the energy by speeding up the tempo and adding more aggressive percussion and all sorts of wild and otherworldly spacy synths that take the song to a whole new level.
So too with “Bulldozer (Hibs Mix)“, in which Knowler adds a lot of dynamism to the track, mainly through a heavier, more assertive beat, rumbling bass, edgier synths and a fantastic twangy guitar solo in the bridge. I actually like this remix better than the original. “Acid Test (The Walls Are Closing In On Me) (Looking Glass Alice Remix)” is a marvelous reimagining of the original by London-based psychedelic pop band Looking Glass Alice. Though most of the lyrics have been removed, the track is brimming with unbridled energy, wobbly psychedelic synths and pulse-pounding tribal beats. Reminiscent of some of the great disco songs of the 70s and beyond, the track is the perfect vehicle for losing yourself on the dance floor.
“Alcatraz (Tom Ford Remix)” is probably the most different-sounding from the original of all the remixes. Former band guitarist Tom Ford completely deconstructs and reimagines the original “Alcatraz” to create an incredibly trippy and futuristic-sounding fantasia of rapid trip hop beats, gnarly industrial synths and distorted otherworldly vocals. Once again, many of the original vocals have been stripped away, and amidst all the discordant sounds he injects enchanting little piano trills and jazzy drum fills that provide an interesting textural contrast.
“Take Me to the Man (Liam McKeown x Liam Connolly Remix)” is a languid and sexy remix by Birmingham musician Liam McKeown, who played additional guitar and keyboards on three of the Solar Eyes tracks, and English electronic/deep house musician Liam Connolly. Whereas the original is pure psychedelic rock, highlighted by a strong driving bassline and gnarly guitars, the remix is a mesmerizing deep house beauty. I love the sultry pulsating beat fortified by assertive hand claps and stabbing synth chords, backed by a plethora of spacey atmospheric sounds. Once again, many of the lyrics of the original have been removed, leaving Smyth repeatedly singing the opening line “I have the keys to the earth“, followed by “And put your faith in the man, he will take you from this land“, ending with “And take me to the man” over and over in the final third of the song.
Crooked Orbit is quite frankly one of the finest collection of remixes I’ve heard in a long while, as each of the five tracks is a total reconstruction and reimagining of the original recordings so that they sound completely new and fresh, not merely rehashed takes.
ECLECTIC MUSIC LOVER 