1i2c – Album Review: “Lockdown Made Me Do It!”

1i2c

Electronic music seems to be a genre that’s alive and flourishing, as there are lots of artists around the world still making it in all its myriad forms. I’ve featured a fair number of them on this blog, and one of the more interesting – and eccentric – is British composer and producer 1i2c (one eye to see). Based in Stevenage, a mid-size town north of London, 1i2c is the music project of John Whitaker.

Heavily influenced by the music of some of his favorite artists like Jean-Michel Jarre, Gary Numan, Kraftwerk, Tangerine Dream, Depeche Mode, The Prodigy and Royksopp, he’s an imaginative and innovative composer whose music spans across a wide range of styles within the electronica genre. He’s also quite prolific, having produced a tremendous output of music over the past five years, beginning with the release in January 2016 of his debut album The Great Distraction. Since then, he’s released an astonishing 11 albums, as well as numerous singles and EPs. I reviewed his December 2018 album Winter, (which you can read here), and am now pleased to feature his latest release Lockdown Made Me Do It!, which dropped July 27th. It’s a concept album obviously inspired by the COVID-19 lockdown that’s upended just about everyone’s life over the past five months.

All of his releases have essentially been concept albums based on an overriding theme, with the sounds and titles of each track reflecting an element of the album title. For example, Power Struggle contains industrial techno songs with titles like “Electron”, “Incandescent” and “High Tension”, Horror Show features songs with more of a psychedelic goth and darkwave vibe, titled “Monster”, “Lunatic Waltz” and “Doorway to Hell”, and Winter includes appropriately-named tracks like “Cold Season”, “Chill” and “Deep Freeze”. So too with the tracks on Lockdown Made Me Do It!, with titles like “Confusion”, “Virus” and “Keep Your Distance”. 1i2c states that he wants his album themes to paint visual pictures in our minds, further adding “My journey will continue until I run out of ideas.”

The album opens with “Spirit“, a rather enchanting yet mysterious composition with a galloping EDM beat overlain by lush, spacey synths that call to mind some of the late 70s music of European composers Giorgio Moroder and Cerrone. The song is really pretty in the beginning, but turns darker as the synths take on a harsher, more industrial tone, as if to indicate that something is amiss. The next track “Confusion” confirms that something is indeed amiss, as the melody becomes more urgent, with gnarly industrial synths and an almost chaotic percussive beat that give the song an ominous vibe. Still, there are bits of beauty to be found in the delicate piano keys as well as the almost cheerful sounding xylophone notes at the end.

Trauma” is an interesting track, as it starts off scary and harsh, but soon settles into a mesmerizing dance beat, accompanied by a mix of sharp industrial sounds combined with some lovely synths that make for a darkly beautiful song. As our journey through the extended lockdown continues, we find ourselves immersed in “A Dark Place“. To a repetitive whiplash beat and harsh psychedelic synths, a woman’s haunting voice repeatedly asks “Sometimes I wonder why?“, a question I suppose we’d all like some answers to.

Reality” sets in with a hypnotic EDM beat overlain by pulsating industrial synths that convey a continual state of ennui brought on by endless days of lockdown. Is this the new reality? By now, we’re left feeling like were “Sleepwalking” through life, unable to participate in the many activities involving social interaction that we once took for granted. Musically, the track has more of a rock feel, thanks to electric guitars and more aggressive percussion. The intense, buzzing synths are harsher as well, giving off a decidedly menacing vibe.

1i2c has produced a brilliant video for the song that’s at once funny and disturbing. The video starts off with scenes of bright blue sky with fluffy clouds, then transitions to black and white as he’s shown sitting in the middle of a country road, blindfolded with his hands tied and wearing a bad wig and a shirt on backwards like an improvised straightjacket. He then gets up and stumbles down the road in a sort of macabre dance, as if he’s losing his mind. Didn’t I say earlier that he’s eccentric? He eventually makes his way back to his car, gets in, and drives off. As he drives through the village in the rain, the color returns at the end, as if to possibly signify that all is not hopeless and brighter days lie ahead.

And speaking of disturbing and eccentric, 1i2c delivers both in a big way on “Virus“, coughing and hacking his way through the track, sirens wailing in the background. As to be expected, the instrumentals are deliciously dark, harsh and menacing. To try and avoid catching the virus, one must do our best to “Keep Your Distance“, and the message is delivered by a volley of cacophonous industrial synths and dark, skittering percussive beats, accompanied by creepy sounds of buzzing flies.

The terrific video for this song was actually conceived by Nicolai Kornum. He pitched the concept to Whitaker, then shot some footage for Whitaker to compose the music around. The video stars Whitaker and M. W. Daniels, and was filmed, edited & directed by Kornum. Shot in black and white, it opens with a masked man played by Daniels standing on the sidewalk next to what appears to be a bus shelter, reading the newspaper. An ad for Chiquita bananas on the back of the shelter states “we are bananas”, a cheeky little nod to our current societal state. Whitaker walks up to the man from behind and coughs heavily, then turns and walks away. Incensed, the masked man then follows Whitaker through the streets of London, temporarily losing sight of him in a park. He soon sees him walking and resumes following him to a bridge across the Thames, where Whitaker has stopped to take in the view. The man taps him on the shoulder, and as Whitaker turns around, the man pushes him over the railing and into the river. It’s an extreme measure to rid himself of another potential virus carrier!

Those pesky buzzing flies are back in full force on the album closer and title track “Lockdown“. Once again, 1i2c uses razor-sharp industrial synths and sets them to a pulsating electronic beat to create a sense of foreboding and losing one’s mind. It’s the perfect ending to a brilliant album that beautifully captures the stress and emotional trauma inflicted on society by the COVID-19 lock down. He’s a talented and incredibly creative artist, and I strongly urge my readers to check out more of his works.

Connect with 1i2c on Facebook / TwitterInstagram
Stream his music on Spotify / Soundcloud / Reverbnation
Purchase on Bandcamp / iTunes

Top 30 Songs for August 2-8, 2020

1. HOW WILL I REST IN PEACE IF I’M BURIED BY A HIGHWAY?// – Kenny Hoopla (2)
2. IF NOT FOR THE FIRE – The Million Reasons (1)
3. HALLUCINOGENICS – Matt Maeson (7)
4. BLACK & WHITE LOVE – Beating Hearts Club (5)
5. HELL N BACK – Bakar (3)
6. HONEYBEE – The Head and the Heart (8)
7. LEVEL OF CONCERN – twenty one pilots (4)
8. PSYCH FILM – Strangely Alright (10)
9. SOMEONE ELSE – Rezz & Grabbitz (12)
10. LIVING IN A GHOST TOWN – The Rolling Stones (12)
11. MARIA – Two Feet (6)
12. STRANGERS – Mt. Joy (14)
13. FIRE – Black Pumas (15)
14. MONSTERS – All Time Low featuring blackbear (16)
15. HEAVEN IS HEART – Jaded Jane (17)
16. LEMON DROP – Absofacto (9)
17. REAL LONG TIME – White Reaper (18)
18. DON’T LET ME DOWN – Milky Chance featuring Jack Johnson (20)
19. NOT OK! – Chaz Cardigan (21)
20. SWIMMING CLOSER – HAZY (22)
21. IT’S YOU – The Frontier (23)
22. LAY YOUR HEAD ON ME – Major Lazer featuring Marcus Mumford (13)
23. MY OWN SOUL’S WARNING – The Killers (28)
24. MAYDAY!!! FIESTA FEVER – AWOLNATION featuring Alex Ebert (26)
25. WHEN THE WORLD FALLS APART – Terry Barber (27)
26. LOST IN YESTERDAY – Tame Impala (19) 26th week on list
27. CAN I CALL YOU TONIGHT? – Dayglow (29)
28. WOLVES – MISSIO (30)
29. CAUTION – The Killers (25)
30. DOWNS – Roadkeeper (N)

THE MAYAN FACTOR – Single Review: “Peace”

mayan factor collage names

Back in January of last year (2019), I was honored to introduce my readers to the extraordinary progressive rock band The Mayan Factor (you can read my article here). Originally formed in 2002, the Baltimore, Maryland-based band quickly built a huge following through the success of two critically acclaimed albums In Lake’ Ch and 44. One of their tracks “Warflower” has been streamed more than two million times on Spotify.

Tragically, their lead singer Ray Schuler died suddenly in 2011, leaving a void that sent the band and their fans reeling. They’d already been recording songs for a third album Yesterday’s Son, which they went ahead and released in 2012. After that album release, the remaining band members went on a hiatus and considered calling it quits, but the love and dedication of their fans persuaded them to soldier on. They eventually found a new lead vocalist in Lenny Cerzosie Jr., and reformed in 2015. Besides Lenny, who also plays rhythm guitar, the band lineup consists of Brian Scott (guitar), Kevin Baker (bass), Dan Angermaier (drums), and Jason Sage (percussion, backing vocals).

Since reforming, they’ve release a number of singles, starting in 2016 with the epic track “Ascension”, followed in 2018 with “Whispers” and “Hope”. Now, after a break of two years, they’re back with a dark new single “Peace“, and it was worth the wait. The song opens tentatively with what sounds like a slowly building fuzz-covered synth accompanied by gently crashing cymbals. Eventually it bursts forth with pulsating riffs of gnarly guitars, becoming a dramatic progressive rock song with elements that call to my mind the music of such greats as Tool and Pink Floyd, among others. The intricate guitar work is spectacular, and I love the interplay between the heavier fuzz-coated riffs and more delicate chiming guitars. Kevin’s deep, throbbing bass line provides the song’s beating heart, while Dan’s insistent drums add powerful strength and depth. Lenny’s haunting vocals are chilling as he snarls the lyrics that seem to speak of a relationship broken beyond repair, and seeking peace by moving on from a toxic situation:

The truth is it was all a suit I never fit into
Please hold on, don’t let go
I, I cannot live inside a lie
Please hold on, don’t let go
I, I cannot live inside your lies

Though nearly six minutes long, “Peace” is so good that it seems over in an instant. The fascinating and dramatic video, filmed in time-lapse and black and white, is a front-seat view from a car as it backs out of a suburban driveway, then drives through a subdivision and beyond. We’re a passenger in the car, watching the view as it speeds through a town and surrounding countryside, as if the driver is trying to run away. The car goes through a car wash at one point, possibly symbolizing a cleansing of not only the car but one’s soul. A small hula girl figure holding a ukelele that’s attached to the dash is in the center of our view as we speed down the road. She’s eventually joined by a witch doctor figure also holding a ukelele as day turns to night and we continue on our journey. After seemingly driving all night, morning returns as we make our way back home and pull into the driveway, having gone full circle. We’re left to ponder whether anything has really changed at all?

Watch the video and decide for yourself.

Connect with The Mayan Factor on Facebook / Twitter / Instagram
Stream their music on Spotify / Apple Music
Purchase on Bandcamp / iTunes / Google Play

CALLUM PITT – Single Review: “Fault Lines”

Callum Pitt single art

As a music blogger, I’m sent a continuous flood of music by artists, bands, labels and PR reps for my consideration for possible reviews. While a lot of it is decent or even quite good, I cannot possibly write about all that comes my way. But every now and then, a submission stands out among the rest, grabbing my attention or resonating with me in such a way that makes me want to share it with my readers. Such was the case when young British singer-songwriter Callum Pitt reached out to me with his powerful new single “Fault Lines“. I was not familiar with Callum, but after listening to it and his previous songs, I became an instant fan, as I love his music.

Based in Newcastle Upon Tyne in northeast England, Callum writes folk-inspired alternative and dream rock songs influenced by such acts as The War on Drugs, Bon Iver and Fleet Foxes. With his soft, pleasing vocals, rich harmonies, beautiful melodies and meaningful lyrics, he’s captured industry attention and built a growing fan base since the release in 2017 of his gorgeous first single “You’d Better Sell It While You Can.” His equally beautiful second single “Least He’s Happy” has been streamed nearly two million times on Spotify, an astonishing feat for an indie artist. He’s followed those two singles with several more over the past three years, as well as a four-song EP Poisoned Reveries in 2019. Also in 2019, Callum won the Alan Hull Award for songwriting. The award, named for the Newcastle-born songwriter and founding member of Lindisfarne Alan Hull, recognizes song-writers living and working in the North East.

Callum dropped his latest single “Fault Lines” on July 24th, which was released via Humble Angel Records. Although he’s addressed social and political issues on previous songs, with “Fault Lines” he takes a more direct and outspoken approach. He explains: “‘Fault Lines’ is about polarization. It is directed at the British government and right-wing press who have incited hatred and division in the public through their rhetoric over the past few years in particular, splitting us down the middle as ‘leavers’ or ‘remainers’, demonising immigrants and refugees, and allowing the stain of white supremacy to spread. It encourages ignorance and prejudice to be met with education and conversation.”

Though the lyrics are rather scathing, Callum delivers them with beautiful instrumentation and sublime vocals. His strummed guitar work is really wonderful, and complemented by lovely keyboards and crisp percussion that create a resounding backdrop for his fervent vocals lamenting the current socio-political divide afflicting Britain. The lyrics also describe the situation in the U.S. pretty well, which is why the song resonates so deeply with me. The large ceramic pitcher Callum holds in the photo that’s been broken and glued back together symbolizes our fractured society that can still be repaired if we have the will to come together in open and honest conversation.

Seems like all you do is fight and see the world in black and white
Spinning truths like you can move our minds as wind upon a kite
And we feel so small, like we can’t stem the tide at all
As papers sow the seeds of anger, setting off like a snowball

Well we got lies making divides from these soothsayers
Setting fires between two sides and I feel jaded
I push my head above the water
Pull away from the disorder, as the tides polarise

We got fault lines running through our bones
The division grows and leaves these empty holes

We rise and fall under the weight of words that fan the flames of hatred
When we demonise, we form a mind that will not be persuaded
Well I am so small and I can’t change too much at all
I’ve got no answers to these fractures, other than breaking these walls

Well we got lies making divides from these soothsayers
Setting fires between two sides and I feel jaded
I push my head above the water
Pull away from the disorder, as the tides polarise

We got fault lines running through our bones
The division grows and leaves these empty holes

Follow Callum:  FacebookTwitterInstagram
Stream his music:  SpotifyApple MusicSoundcloud
Purchase:  BandcampAmazon

SHIPS HAVE SAILED – Single Review: “Low”

Ships Have Sailed

Los Angeles-based duo Ships Have Sailed are one of my favorite indie acts, and I’ve featured them on this blog a number of times over the past two years. (You can read those reviews by clicking on the links under ‘Related’ at the end of this post.) Consisting of singer-songwriter and guitarist Will Carpenter and drummer Art Andranikyan, they can do no wrong as far as I’m concerned when it comes to producing outstanding songs. They play a pleasing style of alternative pop-rock characterized by beautiful melodies, thoughtful, uplifting lyrics, and sublime arrangements and instrumentation. I’ve had the pleasure of meeting Will twice, and his kindness and warmth shine through in his engaging vocals.

They’ve released quite a bit of music over the past eight years, and have been on a particularly creative streak since the beginning of 2019, beginning with their gorgeous single “Escape”. I love that song so much that it ended up at #19 on my Top 100 Songs of 2019 list. They’ve subsequently released several more great singles, their latest of which is “Low“, a beautiful song of hope that dropped July 22nd.

The song opens with Will’s sultry vocals accompanied by a somber piano riff, then the music expands to include heavier guitar, lush synths, and Art’s lively drums, all set to an infectious, pulsating melody. Will’s pleasing vocals become more impassioned along with the music as everything rises to a dramatic crescendo before calming down at song’s end.

The lyrics speak of not giving up when you feel you’ve hit bottom, instead remaining optimistic and hopeful, and cherishing those special people in your life who give you love and support in your goal of getting back up. Ships Have Sailed never fail to deliver superb songs, and “Low” is another winning tune.

Livin’ like there’s no tomorrow,
I had a dream and then I chased it,
But if I could I’d do it over,
For all the sweetness that I’ve tasted.

But sometimes livin’ don’t come easy,
It’s like you’re walking underwater,
One day you’re feeling like you’re close to the top, yeah…
And then you wake up at the bottom.

So pick me up I’m feeling low (oh),
I’m so afraid of letting go,
So pick me up again I’m feeling so low,
I’m just trying to live my life with no regret,
Trying to get to the top but I’m not there yet,
So baby can you pick me up again?

Meet me at the stroke of midnight?
Let’s find a fantasy and fake it…
So we’ll remember all the good and the bad times,
A memory is never wasted…

So pick me up I’m feeling low (oh),
I’m so afraid of letting go,
So pick me up again I’m feeling so low,
I’m just trying to live my life with no regret,
Trying to get to the top but I’m not there yet,
So baby can you pick me up again?

Since I published this review, Ships Have Sailed released a wonderful animated video for the song that was created by Ben Panfil:

Follow Ships Have Sailed: Facebook / Twitter / Instagram
Stream their music: Spotify / Soundcloud / Apple MusicPandora
Purchase:  iTunes  / Google Play / Amazon

EML’s Favorite Songs – SPENCER DAVIS GROUP: ” Gimme Some Lovin'”

Gimme Some Lovin' - LP

One of the most electrifying rock songs ever recorded has to be “Gimme Some Lovin‘” by British band Spencer Davis Group. After reading a recent post by fellow blogger Cincinnati Babyhead about Blind Faith, the short-lived supergroup of which Spencer Davis Group vocalist Steve Winwood was also a member, it reminded me of what an amazing talent he was, especially at such a young age. As a pre-teen who was only six years younger than Steve Winwood – he was 18 when he co-wrote and recorded “Gimme Some Lovin'”, I was blown away by his incredibly powerful and soulful vocals when I first heard the song back in late 1966.

Spencer Davis Group was formed in Birmingham, England in 1963, and consisted of Spencer Davis (rhythm guitar, backing vocals), brothers Steve Winwood (lead guitar, lead vocals, organ, piano) and Muff Winwood (bass) and Pete York (drums & percussion). Steve Winwood was only 14 at the time! They had two #1 singles in the UK with “Keep On Running” and “Somebody Help Me”, but their latest single “When I Come Home” had not performed well. Also, none of their singles up to that point had charted in the U.S. The band was under pressure to come up with another hit single but weren’t happy with songs submitted by Jackie Edwards, who’d written their previous singles. Finally, their manager Chris Blackwell took them to London, put them in a rehearsal room, and ordered them to come up with a new song. As quoted in the liner notes by John Bell for the 2-CD Island Records 1996 release Eight Gigs A Week: The Spencer David Group – The Steve Winwood Years, Muff Winwood recalled that “Gimme Some Lovin'” was conceived, arranged, and rehearsed in just half an hour. He elaborated about the song’s creation:

We started to mess about with riffs, and it must have been eleven o’clock in the morning. We hadn’t been there half an hour, and this idea just came. We thought, bloody hell, this sounds really good. We fitted it all together and by about twelve o’clock, we had the whole song. Steve had been singing ‘Gimme, gimme some loving’ – you know, just yelling anything, so we decided to call it that. We worked out the middle eight and then went to a cafe that’s still on the corner down the road. Blackwell came to see how we were going on, to find our equipment set up and us not there, and he storms into the cafe, absolutely screaming, ‘How can you do this?’ he screams. Don’t worry, we said. We were all really confident. We took him back, and said, how’s this for half an hour’s work, and we knocked off ‘Gimme Some Lovin’ and he couldn’t believe it. We cut it the following day and everything about it worked. That very night we played a North London club and tried it out on the public. It went down a storm. We knew we had another No. 1.

Well, they created quite an explosive banger of a tune! Opening with a heavy bass riff and ominously building percussion, Steve Winwood’s wailing organ arrives like an angry velociraptor, followed by his fiery, impassioned vocals that instantly cover me with goosebumps. The feral hunger in his vocals make us believe him when he practically screams “I’m so glad we made it, I’m so glad we made it! You’ve gotta gimme some lovin’!” From that point on, that sonic velociraptor rampages onward, laying waste to the airwaves and our eardrums. God, what a song!

“Gimme Some Lovin'” finally brought the Spencer Davis Group long-elusive success in the U.S. The song peaked at #7 on the Billboard Hot 100, becoming their highest-charting U.S. single (should have been #1). It reached #2 in UK, and is ranked #247 on Rolling Stone magazine’s list of The 500 Greatest Songs of All Time. It certainly ranks highly among my 500 favorite songs of all time.

In 1980, The Blues Brothers, who consisted of Dan Aykroyd and the late John Belushi, did a pretty good cover of “Gimme Some Lovin'”. The song was featured in their film The Blues Brothers, and was a sizable hit, reaching #18 on the U.S. Billboard Hot 100.

Top 30 Songs for July 26-August 1, 2020

1. IF NOT FOR THE FIRE – The Million Reasons (1)
2. HOW WILL I REST IN PEACE IF I’M BURIED BY A HIGHWAY?// – Kenny Hoopla (3)
3. HELL N BACK – Bakar (2)
4. LEVEL OF CONCERN – twenty one pilots (5)
5. BLACK & WHITE LOVE – Beating Hearts Club (8)
6. MARIA – Two Feet (4)
7. HALLUCINOGENICS – Matt Maeson (9)
8. HONEYBEE – The Head and the Heart (10)
9. LEMON DROP – Absofacto (6)
10. PSYCH FILM – Strangely Alright (12)
11. SOMEONE ELSE – Rezz & Grabbitz (13)
12. LIVING IN A GHOST TOWN – The Rolling Stones (11)
13. LAY YOUR HEAD ON ME – Major Lazer featuring Marcus Mumford (7)
14. STRANGERS – Mt. Joy (15)
15. FIRE – Black Pumas (16)
16. MONSTERS – All Time Low featuring blackbear (22)
17. HEAVEN IS HEART – Jaded Jane (19)
18. REAL LONG TIME – White Reaper (20)
19. LOST IN YESTERDAY – Tame Impala (18) 25th week on list
20. DON’T LET ME DOWN – Milky Chance featuring Jack Johnson (21)
21. NOT OK! – Chaz Cardigan (23)
22. SWIMMING CLOSER – HAZY (24)
23. IT’S YOU – The Frontier (25)
24. YOUR LOVE (DÉJÀ VU) – Glass Animals (14)
25. CAUTION – The Killers (17)
26. MAYDAY!!! FIESTA FEVER – AWOLNATION featuring Alex Ebert (27)
27. WHEN THE WORLD FALLS APART – Terry Barber (28)
28. MY OWN SOUL’S WARNING – The Killers (29)
29. CAN I CALL YOU TONIGHT? – Dayglow (30)
30. WOLVES – MISSIO (N)

WAITING FOR SMITH – Single Review: “Lines of Love”

Waiting for Smith Lines of Love

Waiting For Smith is the music project of London-based singer/songwriter Harry Lloyd. His music career was born from adversity; while working as a ski instructor in the French Alps, Harry broke his back in two places during avalanche training. Fighting for his life as he was airlifted to the hospital in a helicopter, he had an epiphany that he should dedicate his life to music. He spent a year in bed recuperating and learning to play guitar, eventually naming his music act Waiting For Smith after a drummer named Smith who always failed to show up for recording sessions.

He quickly got to work writing and recording songs, and since late 2017 he’s released 12 outstanding singles that collectively have been streamed over 345,000 times on Spotify. Given his own life experiences, Lloyd is fascinated by change, which has inspired him to write songs that reflect our innate ability to evolve for the better. He says “I’m also a hopeless romantic, so a lot of my songs focus on the different angles on love. My music is like a free form of therapy and hopes that he can bring a similar liberating feeling of comfort and emotion, to make listeners smile and sometimes cry.” His sincere, accessible lyrics are delivered with upbeat, pleasing melodies, beautiful guitar work and his warm, soothing vocals.

Waiting for Smith

Following up on his previous single “Long Life”, a bouncy and heartwarming Americana-infused song he wrote during his recovery, Waiting for Smith released his latest single “Lines of Love” on June 26th. Produced by Andy Wright and Gavin Goldberg (Eurythmics, Annie Lennox, Massive Attack, Natalie Imbruglia, Jeff Beck), the song was inspired by a long-distance phone call from a friend Lloyd had one night while walking around King Cross. The song is a plea for someone to keep the faith and persevere through a difficult time in their life, an assurance that a loved one or friend will always be there for them no matter what, and that everything, even the most trying times, will pass eventually. Lloyd states “I want people to feel hopeful when listening to ‘Lines of Love’, to dance carefree and even raise their hands in an almost tribal sense of unity. We can overcome the speed bumps in the road, our lives and our relationships and that is surely where the good stuff comes from – out of the struggle.

“Lines of Love” has a pleasing folk vibe, opening with Waiting for Smith’s soothing vocals accompanied by his gently strummed acoustic guitar. A kick drum enters as he croons “It’s often difficult to over speculate. One minute you’re up and then you’re down, and that’s your day.  It’ll be alright, it’ll be just fine, it’ll be OK. But I guess we’ll never know. So please hold on to my lines of love, they are strong. And I promise that it won’t be too long now, before we have our house down by the sea in the sun.” As the song progresses, soft percussion is added along with his own backing vocal harmonies, giving the track a fullness of sound and a comforting sense of warmth reflected in the hopeful lyrics. It’s a wonderful song, and another winning single from this very talented young artist.

Follow Waiting for Smith:  FacebookTwitterInstagram
Stream/purchase his music:  SpotifyApple MusicSoundcloud/ Google Play 

New Song of the Week – US3R: “Oasis”

Us3r pic

US3R (pronounced ‘user’, and the artistic moniker of a very nice guy named Kristian Alexander) has been making a name for himself over the past year through his prolific output of great synthwave-inspired electronic pop music and dazzling live performances. Last year the Seattle-based singer-songwriter and composer dropped two albums, beginning in May 2019 with his debut 1985 (named for the year of his birth), then followed in December with INFLUENCE, a brilliant work addressing modern influencer culture and the loss of intimacy in the digital age. Both are outstanding, and I urge my readers to check them out on one of the music streaming platforms listed at the end of this review. So far this year, he’s released several new singles, some of them collaborations with other artists. In March, I featured his beautiful song “Forever Blue”, a collaboration with Minneapolis composer Jasper Mitchell (you can read that review here). Now US3R returns with a sunny new single “Oasis“, which I’ve chosen as my New Song of the Week.

A highly creative and talented guy, Kristian came up with the name US3R for his music project through his work in the IT industry. “In computer terminology/operating systems, there are references to “user” in a million different forms. It felt like an archetypal term that represented computer culture… and also in hacker culture, we have a tendency to talk in “leet speak” (where you swap numbers for letters), so, ‘US3R’ is a reference to the hacky nature of my music.“ There are a lot of artists and producers out there making various kinds of electronic music, and US3R seeks to fill a gap by creating his own style of what he calls “electronic grunge that borders on R&B”.

US3R was inspired to write “Oasis” while visiting his mom in Palm Springs earlier this summer. He grew up in the Coachella Valley, where I now live. He explains “I grew up in Palm Springs. Swimming pools, sand everywhere, burning hot sun, a thriving diverse community, and teenage romance. I’ve wanted to write a song that felt this way. During quarantine I flew home and wrote this. This song was FUN to record. I layered my voice like old 90s house tracks. I played my us3r-style vocoders, I threw down some brass synths. Its all of the stuff I love about writing synth music.

And what a great job he does on “Oasis”. Starting with an infectious dance beat that aims straight for the hips, he layers sparkling keyboards, thumping synth bass and those smooth brass synths that give the track a sultry, summery vibe. US3R has a silky-smooth vocal style that’s both pleasing and seductive, and he turns up the heat when he croons “You got me walking through the desert. You got my heart and soul. And I can’t go. Move through the desert, got me craving your oasis.” It’s the perfect song for summer romance and hot pool parties. Makes me wish I was 29 again!

Connect with Us3r:  Facebook / Twitter / Instagram
Stream his music:  Spotify / Apple Music /  Soundcloud  / YouTube
Purchase:  Google Play / Bandcamp

A BLUE FLAME – Album Review: “The Secret Breeze”

British singer/songwriter and musician Richard Stone – who goes by the artistic name A Blue Flame – tells compelling stories about life, love, heartache and loss through poetic, thoughtful lyrics and sublime melodies. His music reflects an eclectic range of influences from doo-wop and old-school pop to easy listening ballads, folk, jazz and rock, delivered with sophisticated and utterly pleasing instrumentals and his smooth, clear vocals. The passage of time and the challenge of keeping the faith – both in God and oneself – are recurring themes in his songs, and while a lot of his lyrics are sad or bittersweet, they’re also lovely to listen to and rarely depressing, offering glimmers of optimism and hope. Stone also has a wry sense of humor that shines through on some of his songs.

A Blue Flame2

I first featured Leicester-based A Blue Flame on this blog back in October 2016, when I reviewed his beautiful debut album What We’ve Become is All That Now Remains. In January 2018, I reviewed his equally superb follow-up album When Your Whole World Turns to Dust, which he released in September 2017. (You can read those reviews by clicking on the “Related” links at the bottom of this page.) Now he’s about to drop his third album The Secret Breeze, set for release on August 17th, and which I’m previewing today.

Stone writes all his songs, sings vocals and plays guitar, and arranges them with assistance from Adam Ellis, who co-produces and also plays guitar. Other session musicians adding their skills to the album included Damon Claridge on drums, Tony Robinson on horns, Glenn Hughes on piano and Hammond organ, Tom Bull on upright bass and Jo Preston on flute. Though some of the songs were written prior to the outbreak of the pandemic, others reflect these trying times, as he explains: “One of the album themes (as ever) is loss, as I suppose that’s what I feel so keenly. I think the brightness of the 1960’s casts a long shadow to mix metaphors somehow. All that hope and positive change seems like it almost never happened.”

The Secret Breeze features 12 tracks, all of them very good to excellent, but I’ll touch on the ones that resonate with me. The opening track and first single released in advance of the album is “With Love from a Friend“, a bewitching song that beautifully showcases A Blue Flame’s superb songwriting and arrangement skills. The delicately strummed acoustic and chiming electric guitars, sparkling piano keys and jazzy upright bass notes are exquisite, and when combined with the languid tempo and lovely vocals, the song has a dreamy, atmospheric quality. The lyrics seem to be about an inability or fear to fully act on one’s true feelings: “I’m writing a letter that I’ll never send. From the edge of my memory, time without end. And I’ll write at the bottom, ‘with love from a friend’.” It’s a gorgeous song, and instantly one of my favorites on the album.

It’s Raining All Over the World” speaks to the sorry state of current events the world over, what with a global pandemic, rising authoritarianism and social unrest causing anxiety just about everywhere. A Blue Flame fervently laments “What have we done my friends? Looks like the end. Now it’s raining all over the world.” Despite the rather depressing lyrics, the music is great, especially the infectious doo wop melody, terrific guitar work and vibrant piano keys.

Another favorite of mine is “Too Fast“, both for its wonderful instrumentals and relatable lyrics. The song starts off with a gentle acoustic guitar, then a marching drumbeat ensues along with Spanish-style guitar notes as A Blue Flame sings of the rapid passage of time (something that freaks me out on an almost daily basis anymore): “We were too young to know what we were doing. Its just how it is. It’s how we all live…way too fast.” Eventually, the music expands to a carnival-like vibe, with exuberant flutes, horns, and more of those lively marching drumbeats that contrast with the pessimistic and timely lyrics: “The world’s a great big mess. It’s mad. And we can’t catch the truth as it rushes by. So, so, so, so sad.”

The bittersweet “The Moon Obscured the Sun” sounds like a song Harry Chapin and Burt Bacharach could have written together. The lyrics speak to a love that might have been, except that the two never had the courage to act on their feelings: “I remember you from a lifetime long ago. We were frightened into silence, by the things we didn’t know. We couldn’t find the words to say a love we should have spoken yesterday.”

Tiny Little Thing” is a poignant anthem about not allowing others to bring you down with their negative thoughts and hurtful words, causing you to curl up into a ‘tiny little thing’ a kinder and gentler metaphor for the fetal position: “These could be the good old days, if you decide to make them so. Don’t turn yourself into a tiny little thing. It doesn’t matter what you’ve done, who hurt you, or who you hurt. Don’t turn yourself into a tiny little thing.” I like the jangly guitars and crisp percussion, but the highlights for me are Hughes’ wonderful piano and organ work. And it goes without saying that I love A Blue Flame’s highly emotive vocals.

The standout track for me is the dark and sultry “Your Mother Said Everything Was Beautiful“. It’s a brilliant song, with an edgier vibe than many A Blue Flame’s songs, and I love it. The lush instrumentals are absolutely fantastic, especially the gnarly surf guitars, Hughes’ mournful organ and Robinson’s blaring wah wah trumpet that brings chills. The lyrics seem to speak to the conundrum of how people with the most wealth and power are often the most unhappy in life: “Your mother said everything was beautiful. Everyone had everything. They saw themselves as queens and kings. They had the keys to the secret breeze. They owned the wind in the trees. So please now tell me why, did all the people cry?

Album closer “If Tomorrow Ever Comes” is an interesting and dramatic song about contemplating the end of the world. It has a complex melody and powerful, varied instrumentation that make for a fascinating listen. It starts off like a folk tune, with sounds of waves crashing onto a beach, accompanied by a gently strummed acoustic guitar and reverb-heavy electric guitar chords. An organ soon enters as Stone croons “If tomorrow ever comes, I’ll be waiting there for you. You can take my hand and say ‘we did all that we could do’.” The music continues to build with jangly and distorted guitars, bass, heavier percussion, tambourine and glittery synths, while his vocals become more impassioned: “And if our sorrow ever leaves. We’ll dance into the sky. Looking down upon the earth, we’ll hold each other tight./ But we’re stuck inside a clock, wishing it would stop./ And you can’t tell what is real, when you’re turning on a wheel./ For if the world should end. We’ll not be there my friend./ If tomorrow never comes.” The music rises to a powerful crescendo, then fades as the song ends with the same crashing waves we heard at the beginning. It’s a fine finish to an outstanding and thoroughly satisfying album.

Connect with A Blue Flame:  Facebook / Twitter / Instagram
Stream his music:  Spotify / Soundcloud / Apple Music
Purchase:  Google Play