Tag: Acoustic

RICK SABATINI – Album Review: “There Goes the Van Man”

On By EclecticMusicLoverIn Reviews7 Comments

I recently learned about Philadelphia-based singer-songwriter Rick Sabatini when he reached out to me on Facebook about his album There Goes the Van Man. Released on New Year’s Day, the album features nine wonderful tracks with lighthearted relatable lyrics addressing the emotional minefields of romantic entanglements and responsibilities of young adulthood. It’s his second album, marking an eight-year span since the his first release Album 1 Demos back in November 2013. A delightful collection of lo-fi acoustic songs, Album 1 Demos is available for free download on his Bandcamp account.

Rick, who’s also been a member of The Band Sheep for the past several years, told me he composed most of the the songs for There Goes the Van Man five or six years ago on his iPad, but didn’t have the money to properly record it in a studio at the time. So, he started his own business doing painting and carpentry to earn money to fund the record, as well as earn a living, since he’d gotten married and had a child along the way. He finally recorded the album in a studio with the help of session musicians, and the result is a really enjoyable and well-crafted work.

Rick’s pleasing, highly accessible music can generally be described as indie pop with elements of folk, rock and jazz, and characterized by catchy melodies, lots of great guitar work and his endearing laid back vocals. The album opens with “At Your Service“, a sweet song about finding romance while working at a shoe store: “Just another day at the shoe store, the meet and greet, the fit your feet and send you out the door. Some of them I know by first name, and last name too. / If there’s anything that I can do for you baby, I’m at your service like a god at your church while you’re preachin’.”

Next up is “Van Man“, a terrific auto-biographical song about Rick that also serves at the de-facto title track, given its refrain “There goes the van man.” He croons about his workday routine “I was the van man today, I took the van real far away. I did stuff and got paid. I brought something that I made. I blasted sports radio. That’s just the way that I go when I’m driving down the open road.” The song is fantastic, with a wonderful, breezy melody and lots of cool instruments like organ, banjo and exuberant sax, adding nice Americana and jazz elements, as well as incredible texture to the overall sound. If all that’s not enough, there’s also a great guitar solo in the bridge too.

“The Office” is a fun Americana song with a lively piano-driven melody and more of that great banjo. The cheeky lyrics speak to the drudgery of working at a dead-end office job: “I don’t like to drive when it’s dangerous. Roads are pretty treacherous, but the boss man, he doesn’t give a shit. He says ‘I want you in’, well if I crash would you pay for it? I’m desperate, strapped for cash, and I can’t afford another accident. It’s a lot to risk, just to waste my day away in the office.“

On the bouncy “Tax Return“, Rick sings of the joys of finally being able to treat his girl to a nice evening out, now that he’s gotten his tax refund: “Baby relax I got my tax return. Girl let’s go out, I got some cash to burn. We’re gonna find somewhere nice to eat. The government paid me real good this week.” The musical highlights of the track are the great bassline, guitars, organ and piano keys, and I love the vocal harmonies.

One of my favorite tracks is “Talk to Me“, with its smooth and sophisticated jazzy vibe. I love the intricate, funky guitars, cool keyboards and subtle snare drums, but for me the biggest highlight are Rick’s lovely soothing vocals, backed by gorgeous Beach Boys-esque harmonies. This song really showcases his strong songwriting, musicianship and vocal abilities. “Colleen” is another great song, opening with a gospel-like organ riff and Rick’s voiceover speaking as an airline pilot to a plane full of passengers. That wonderful organ riff continues throughout the song, serving as its driving force and overlain with guitar, strings, sax and crisp percussion. Rick sings to a woman named Colleen of his desires for her affection: “Colleen, I might not be your man right now, but someday I will.“

“Devils” is a fascinating track, and much darker than the other songs on the album. Musically, it has a languid trip hop beat, with spooky synths, somber piano keys and skittering drumbeats, and in the background can be heard a man’s voiceover, speaking about LSD. It all serves to create an unsettling vibe. Rick’s vocals, which remind me of Mark Foster of Foster the People on this track, have a sense of sad resignation as he laments about trying to overcome drug addiction, or possibly a relationship that’s falling apart because of a partner who’s either addicted to drugs or cheating on him: “I’m trying to quit the devil, but he’s got his grip so tight on me it’s hard not be deceived and made of fool of. Well I’m wrestling with the devil. It’s not something that I’m proud of, but do you have to be so loud in the restaurant? I’m just trying to get back to normal. Well I caught you with the devil. You smelled like his cologne. All those moments you were alone, his smoky breath, the telephone. I thought we were getting back to normal.“

On the upbeat “Principal Problems“, Rick sings from the perspective a high school kid frustrated with his principal, who’s trying to make him quit his aggressive behavior that’s earned him a reputation as a tough guy on campus: “I’m gonna punch my principal in the face, if he tries to stop my fight with Tony Robinson./ You’ve got an occupation, I’ve got a reputation to hold up.” And on the delightful album closer “Tel Aviv Blues“, he sings of a woman he loves and how her ambivalence is making him crazy: “At night I’m wonderin’, about what you’re doing. You’re my baby, but only in my dreams. Only kissing me when I fall asleep. I told my best friend, a real good Christian, he said ‘You don’t need her love, you need the Lord’. But the Lord ain’t never kissed me good before. I’m back to drinkin’, I’m tryin’ hard to rid you from my mind.” The song has a lively Southern rock feel, with a colorful mix of twangy guitars and banjo, accompanied by swirling organ, sax and a great toe-tapping rhythm.

There Goes the Van Man is a marvelous album, and I’m so glad Rick reached out to me about it. He’s a talented guy who knows his way around a song, and here he delivers nine superb tracks. Each one is different from the next, a testament to his eclectic sound and the quality of his songwriting. This album needs to be heard by as many people as possible, and I hope some of my readers will enjoy it as much as I do.

Stream/purchase Rick’s music: Bandcamp / Spotify / Apple Music / YouTube

YOU’RE AMONG FRIENDS – Album Review: “Good Enough Sometimes”

On By EclecticMusicLoverIn Reviews9 Comments

Aptly-named Cleveland, Ohio-based indie band You’re Among Friends want us to feel welcome when hearing their music or watching them perform. With their laid-back style of funky, blues-infused folk rock reminiscent of the music of Steely Dan and The Grateful Dead, with touches of Randy Newman and Elvis Costello, listening to their music is like spending time with a good friend. That comforting, low-key vibe, combined with relatable lyrics touching on everyday aspects of life in this crazy, mixed-up world of ours, has a way of making us feel that everything’s gonna be alright at the end of the day.

The band was formed in 2007 by founding members and long-time friends Anthony Doran (lead vocals and guitars) and Kevin Trask (bass, keyboards and backing vocals). And like too many bands, they’ve struggled to find and keep drummers, but their current (and seventh) drummer Mike Janowitz, who came on board in late 2019, has turned out to be a perfect fit.

You’re Among Friends released their debut self-titled album in 2007, followed by an EP and double single, but the demands of life, work and starting families took so much of their time, they went on a hiatus in 2011 lasting four years. They reconnected in 2015, and the following year, released their second album As We Watch the Years Go…, with songs inspired by their life experiences, as well as the passage of time and how it affects friendships and relationships. They followed in late 2017 with an EP One Day You’ll Look Back, then dropped their third album Start Making Sense in May 2020. (I’ve reviewed their last three releases, which you can read by clicking on the links under “Related” at the bottom of this page.) Now the guys are back with their fourth album, Good Enough Sometimes, which dropped January 10th.

One of the many things I like about their songs is that the titles let us know exactly what they’re about, as well as the conversational flow of their down-to-earth lyrics that make us feel like we’re speaking with a friend. Kicking things off is “Don’t Borrow Trouble“, a mellow, upbeat song advising us to not overthink or worry over things we can’t change or that haven’t even happened yet: “Don’t borrow trouble, why worry about something before it’s here. By the time the dust settles, and the moving parts stop, don’t you know it may not be as bad as you fear.” These simple but wise words could be directed at me, as I’m frequently guilty of obsessing over a lot of shit.

Several tracks address the theme set forth in the album’s title, starting with “Here in the Middle of the Pack“. The lyrics advise us that it’s okay to be average, so long as we do our best and feel contentment with ourselves: “Don’t have to be the best. Just strive to be consistent./ It all works out eventually.” I like Anthony’s guitar noodling and endearing vocals that remind me of Randy Newman. On a similar vein, “Okay is Good Enough Sometimes” urges us not to expect everything in life to be perfect or the way we want them to be: “Got to let some things go, to preserve your mind and soul. Not everything is worth your peace, try not to lose too much sleep, because okay is good enough sometimes.” Anthony’s bluesy guitars and Kevin’s funky bassline are terrific.

The guys take a somewhat different tack on “You Know What You Want“, with lyrics about not giving up on your dreams and aspirations, “When you set your mind on something, you don’t stop til you’re done. It’s one of those things that I love about you. Someday your chance will come. Cause you know what you want.” I like the quirky and cool instrumental flourish in the bridge. And on the sweet “Accompanied“, Anthony sings his praises to a loved one who’s always there for him: “Sometimes life brings me down. That’s when I’m glad you’re around to pull me through. It’s tried and true.”

But sometimes, even friends need a bit of tough love. On the catchy “Toxic Positivity“, with its bluesy Grateful Dead vibe, Anthony calls out those who spout meaningless positive adages like “What doesn’t kill us makes us stronger”: “Spare me your toxic positivity. When the world’s pissing in my face, I don’t have to pretend it’s refreshing rain.” On “Learn to Leave Well Enough Alone“, he admonishes someone to get off his back and mind their own business: “You’ll be the first to know when I want to hear opinions from folks who don’t understand a thing about my business.” The song has an interesting sound, with a repetitive bluesy groove, and delightful jazzy organ and percussion at the end.

Though You’re Among Friends don’t get political very often, there are times you just need to call out corporations, politicians and the media for their duplicitous actions too. The dark “Bad Karma and a Special Place in Hell” decries those who promote fear to keep the masses fired up and their profits soaring, while “This is Unsustainable” speaks to corporate greed and income inequality: “Don’t expect them to understand, how they’re living off our backs.”

With a breezy, upbeat groove that hovers in a sweet spot between Steely Dan and the Grateful Dead, album closer “Plan Cancellation Chicken” is one of my favorite tracks from a musical standpoint. Anthony’s guitar riffs are really wonderful, nicely layered over Kevin and Mike’s jazzy, thumping rhythm. The song circles back to the album’s overall theme of just calming down and going with the flow, with lighthearted lyrics that describe a romance in a cheeky, backhanded way: “It’s all a big game of plan cancellation chicken. I’m so glad you caved and canceled before I did. It’s looks like I won this round. Let’s keep each other around, so we’ll have someone to cancel plans with.”

With Good Enough Sometimes, You’re Among Friends serves up 30 minutes of pleasing songs – with a few edgier ones thrown in for variety – we’ve come to expect and enjoy from them. Like I’ve mentioned previously, it’s like the return of an old friend with whom we’re able to pick right back up from where we left off.

Connect with You’re Among Friends:  Blog / Facebook / Twitter
Stream their music:  Spotify / Apple Music / Napster / Tidal / YouTube
Purchase:  Bandcamp / iTunes / Amazon

HOLLY REES – EP Review: “The Lost Songs”

On By EclecticMusicLoverIn Reviews12 Comments

Holly Rees is a talented and thoughtful singer-songwriter based in Newcastle, England who’s been writing and recording exceptional indie folk songs for the past five years or so. Like many songwriters, her poetic lyrics are inspired by personal experiences that make them highly relatable to us listeners. She then delivers them wrapped in beautiful, understated melodies, fine guitar work and lovely, heartfelt vocals, all of which have earned her critical acclaim and a loyal following, with flattering comparisons to artists like Laura Marling and Courtney Barnett.

Holly released her debut EP Ilex in 2017, garnering airplay on BBC 6 Music and a feature on Tom Robinson’s BBC Introducing Mixtape. In 2018, she performed at the Hit The North and Evolution Emerging music festivals, and released her excellent second EP Slow Down. She followed with “Text Me When You Get There”: The Live EP in May 2019, and that September, dropped her single “Getting By“, which I reviewed. On December 10th, she surprised us with release of The Lost Songs, an all-acoustic EP originally recorded in isolation exclusively for her Patreon supporters (patreon.com/hollyrees) that she’s now gifted to the world. 

She explains: “Here are the lost songs – songs I’ve written over the past three years that have fallen down the gaps. I never really intended these sad soft songs to see the light of day, but coming towards the end of another year I thought it might be nice to share them now, as a gentle winter gift before we draw a line under the year and start fresh in 2022. As some of you know, I’ve had to shield for a lot of the past two years, which is where this project started, in isolation. Every part of this project I’ve done by myself – writing, playing, recording, mixing, mastering, even the artwork – and I’m really proud of that. I hope that in listening you might find some of the joy, peace or escape that I found in making it.”

It’s a gentle EP, featuring five melancholy but lovely acoustic folk songs addressing conflicting emotions stemming from lost loves, missed connections, and the passage of time. With only her beautifully strummed guitar notes and clear, soothing vocals, Holly has created exquisite little gems that are simple yet profound, with a quiet intensity that touches the soul. The opening track “heather” is a kind of love song to her home of North East England (she told me that she actually got a heather tattoo right before leaving for her Canada tour in 2019, as an homage to the heather on the moors where she grew up): “I could be anywhere, except that the rain is making me homesick. Cry at your records, you were always such a sensitive soul. I tried to wear my heart on my sleeve but I must have got cold. And I feel open for the first time in a year.“

Likewise, the enchanting “victoria” is a heartbreak song to the British Columbia capital city: “Oh Victoria, I think you always knew that I would fall for her. Victoria. She broke my heart for a year, god was I trying. But first came Victoria, Vancouver Island.” On the bittersweet song of unrequited love “i just want you“, Holly softly laments about being hopelessly in love with someone who just doesn’t feel the same about her: “Tell me about your family and living with your brothers. Tell me all your favourite streets, your heartbreaks and lovers. Tell me everything except the one thing I won’t ask. You don’t tell me if you feel the same. I know that you can’t do. I know it’s all on me, but I’m sick of writing about things that I can’t change. But I can’t change. I just want you.”

She touches on how shyness and fear of rejection sometimes hold us back, possibly losing out on opportunities for love on “seattle“. She sings of seeing a woman she’s attracted to on a bus in Seattle, but being too afraid to make contact: “Don’t know why I still hide like I’m seventeen. Smile and I won’t meet your eyes. You take down your bike. This must be your stop and we’re out of time. Go to Seattle maybe you were the one.” The serene “glad it’s you” has a bit of a Joni Mitchell vibe, and finds Holly content in a loving and trusting relationship: “Been singing with my all exposed. Been listening with my eyes closed, but my heart’s open. No I haven’t felt like this in a long time a long time, but I’m glad it’s you.“

The Lost Songs is a wonderful little EP that beautifully showcases Holly’s strong songwriting, singing, recording and production talents. I’m confident she’ll continue to impress us with more outstanding music in 2022.

Connect with Holly:  Facebook / Twitter / Instagram
Stream her music: Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp 

New Song of the Week – “Georgia” by Novus Cantus

On By EclecticMusicLoverIn Reviews5 Comments

Novus Cantus is an innovative music act comprised of brothers Alexander (vocals and guitar) and Christian Herasimtschuk (drums and percussion). Based in the Hudson River Valley roughly halfway between Albany and New York City, the duo draw from a broad and eclectic mix of influences ranging from traditional ethnic music like flamenco and Hungarian folk, to classical Medieval, Renaissance and Baroque, to alternative rock, to create their uniquely enchanting and exotic sound. They’ve been performing and recording together since 2010, and have released a fair amount of music. I’ve written about them three times over the past three and a half years, and you can find those reviews under “Related” at the bottom of this post.

On November 16th, they released their latest single “Georgia“, along with a darkly beautiful video that nicely captures the song’s brooding essence. The song was recorded and produced by Novus Cantus, with assistance from Scott Apicelli of Blue Sky Music Studios, who mixed and mastered the track. The video, which starts off with historical images and realistic sounds of battle, features footage made available by pexels.com, as well as Civil War images from the Library of Congress Image Archives. Live footage of Novus Cantus performing the song were taken by Alex and Christian, as well as A. Delgado.

Though the music consists primarily of Alex’s gorgeous strummed guitars and Christian’s layered percussion, accompanied here and there by spare synths, the haunting song has a lush fullness of sound. Alex’s guitar work is truly stunning, with a vibrant blend of acoustic and electric guitars. The strummed acoustic guitars lend a soothing Americana/folk vibe to the song, but when he plays those chiming electric guitar notes, the song takes on a richer, more cinematic feel, especially when combined with Christian’s dramatic percussion. Alex’s heartfelt vocals beautifully convey the feelings of loss and despair expressed in the lyrics, and when his backing harmonies are added to the mix, the song becomes even more impactful. It’s another stellar release by these amazing brothers, and I’m happy to choose it as my new song of the week.

About the song, Christian told Albany-based The Capital Underground podcast that “Georgia” deals with a character in the post Civil War era struggling to return to the only place he knew. Only it’s no longer really home, but rather a place of suffering and loss. In his heart, he’s conflicted, because it’s the only home he’s ever known. 

Oh I'm going home to Georgia
Oh I'm going home to see 
That house of bondage in Georgia
That was the only home for me

Oh how I long for rest
This cross must rest upon my breast
But now I'm going back to Georgia
A war-torn refugee
Time's calling out in Georgia
The voices of my family

Winter has fallen and spring now has come
Let's go and see what Sherman has done

Oh how I long for rest
This dream is deep within my breast
That sweet wistful dream of Georgia
Is nothing but a dream for me
Where am I to go but Georgia
It was the only home for me

Follow Novus Cantus:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple Music / Soundcloud
Purchase:  Website / Reverbnation / iTunes

EWAN PATRICK – Album Review: “Forever Love”

On By EclecticMusicLoverIn Reviews11 Comments

Ewan Patrick is a talented and thoughtful singer-songwriter 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’s also played in many bands over the years, performing extensively across the UK, including at a number of major music festivals. More recently, Ewan has recorded some of the songs he’s written over the years that he says “never quite found their place in any of the bands I’ve played in.“

In October 2020, he released his first double A-side single “Retrospect/Hurricane”, then followed this past February with a second double A-side single “Feels Good To Be Alive/Two Hearts“, which I reviewed. Now he returns with his debut full-length album Forever Love, featuring 10 wonderful tracks touching on the universal subjects of life, love, loss, family and current affairs. The four previously-released singles are included on the album, along with six new songs, all of which beautifully showcase Ewan’s outstanding songwriting, performance and production skills, as he records, mixes and masters all his music by himself. 

His songs are a pleasing mix of acoustic, folk rock, piano ballads and anthemic rock, nicely sequenced in a way that gives the album a balanced, fresh-sounding flow. Ewan has a strong, clear and beautiful singing voice too, which sounds great on every style of song he sings. The album opens with “Feels Good To Be Alive“, an uplifting rock song about recognizing the things that really matter and that, despite one’s problems, life is still worth living: “Nothing’s working but I’m feeling carefree. I’m still hurting, yet it doesn’t bother me. Why? Because I’m still alive. It feels good to be alive.” The song starts off low-key, with his acoustic guitar accompanied by gentle percussion, then explodes into a torrent of electric guitar and crashing cymbals for a dramatic finish.

Next up is “Hurricane“, a rousing guitar-driven rock song about standing up against oppression: “No longer hiding in the shadows. No longer afraid of speaking up. The winds of change are gradually building, and we’re looking just like a hurricane.” Another politically topical song, and one of my favorites on the album, is “Not Invincible“, which Ewan says was written during the first lockdown, after the murder of George Floyd last year in Minneapolis. It’s a hauntingly beautiful track, with sweeping cinematic synths, highlighted by mournful piano keys and stunning guitars. 

Like the opening track “Feels Good To Be Alive”, several songs explore various aspects of making the most of our time on this planet, and successfully navigating through both good times and bad. “Law of Life“, which sounds like a song that could have been recorded by Tears For Fears, addresses the inevitability of change. Ewan gives us something to think about: “It’s a law of life. Can’t fight the changing tide. What will you sacrifice? Will you be left behind? Are you looking forward to a better past?” On the beautiful piano ballad “Be Strong“, he encourages us to remain steadfast and resilient in the face of those changes: “You wait a lifetime, and then one moment can change your life. So many questions, keep searching for answers that aren’t easy to find./ Be strong, you’re stronger than you’ll ever know.” And on the bittersweet folk-rock track “Retrospect“, he speaks to the heartache and pain of moving on from a relationship that’s ended. “To say goodbye is the hardest part, but like the continents we drifted apart. The broken promise brings a tear to our eyes as we kiss for the very last time.”

Then there are the songs that are the most deeply personal for Ewan. The title track “Forever Love” is a lovely piano ballad written for his young daughter, and expressing the joy she brings him: “And every day you give me is a little miracle. Cause you’re my forever love.” Along a similar theme, the poignant “You Don’t Get A Second Chance At Life” is a conversation between a parent and child, in which the parent offers advice for living their best life: “So fall in love. Try to be kind. But speak the words that are on your mind./ Spread your love and share your time. Leave all your dark thoughts far behind. You don’t get a second chance at life.” The hard-driving rocker “The Call of Home” is a heartwarming ode to his beloved home town of Edinburgh: “Around every corner, another vista to break your heart. We’ve been apart far too long. I feel the call of home.” His guitar work is particularly good, a colorful mix of shimmery notes and thunderous riffs.

Perhaps the most personal song of all is album closer “Two Hearts“, which Ewan composed while writing his own wedding speech. He recalls “I was not for a minute trying to contrive a love song for my future wife but it just kind of happened.” The song is appropriately beautiful and heartfelt, with him singing of his love and devotion, and how his bride has made him a better man. “You took my hand. Made me a man. You’ve made me better than I’ve ever been. Come walk with me through hopes and dreams, and together we’ll take the world head on. Two hearts will beat as one.” It’s a fitting song with which to end this wonderful, uplifting album.

Forever Love is a first-rate, meticulously-crafted work, and a very impressive debut by this talented musician. I hope we’ll be hearing more great music from Mr. Patrick soon.

Connect with Ewan:  Facebook / Twitter / Instagram

Stream his music: Spotify / Soundcloud / Apple Music / YouTube

Purchase:  Bandcamp / Amazon

Artist Spotlight – Ivor Game

On By EclecticMusicLoverIn Artist Spotlight7 Comments

Ivor Game is a British singer-songwriter from Middlesex who’s been making music for most of his life. He began playing guitar and singing at the age of ten, and in his teens, played with a number of bands. When he entered his 20s, he began performing as a solo artist in small clubs and venues around London, and later toured throughout the UK and Ireland, parts of Europe and all the way to America, where he performed in Los Angeles and Nashville.

His music is a pleasing, laid back style of indie pop with strong folk undercurrents and intelligent, straightforward lyrics touching on life, love and relationships. His songs are also quite economical, both instrumentally and length-wise. Generally, the only sounds we hear are his acoustic guitar and gentle, understated vocals, though some tracks may also feature subtle piano, strings and/or percussion. Most of Ivor’s songs are under three minutes in length, with a fair number clocking in at under two minutes, but whatever their length, each song sounds complete and as long or short as it needs to be to get his message across. As the old adage goes, sometimes less is more.

Beginning with his debut album Hit the Big Time in 1996, the prolific musician has released a total of 12 albums at the rate of one every two years, his most recent work being Be Good to Yourself in 2018, as well as numerous singles along the way. Several of his songs have garnered airplay on radio stations across the UK and around the world. A highlight for Ivor was having his song “Highbury” played at half time during the Arsenal vs. Tottenham North London Derby at The Emirates Stadium on November 18, 2017.

One could spend many hours listening to Ivor’s extensive discography. I’ve listened to quite a bit of it to prepare for this article, and there are so many wonderful songs to choose from. But I’ve selected a few I especially like that I feel give a good representation of his sound. One of his most recent singles, from May 2020, is “I’m Not Sure”, a poignant folk song about not yet having come to terms with a restless romantic partner you fear may leave you for good: “It’s easy to hang on to the past, and try to make the whole thing last. But things are always moving on. One day I might wake up with you really gone. I’m remembering the time that you walked out my door. But you’re still in my sights, how long for I’m not sure.”

The song received airplay on Readifolk, Deal Radio, Hayes FM and Marlow FM in England, Acoustic Routes in Wales and the RTE in Ireland, as well as in Australia, Germany, The Netherlands, New Zealand and New York, USA.

“It Ain’t You and Me” is a track that originally appeared on his 2010 album Then. The song was recently played on Tom Robinson’s show on BBC6 Music, and the response was so positive that Robinson asked Ivor if the song could be made more easily accessible for people to listen to or download. Accordingly, Ivor made it available as a stand alone track on both Bandcamp and YouTube.

A particularly lovely song is his 2017 single “Water and Wine”, which is both longer (3.47 minutes) and features ethereal keyboard synths and gentle percussive textures, creating an enchanting backdrop for his soothing vocals.

His most recent single, released in May, is “You Lovely You”, a comforting song about those special friendships in our lives that endure despite distances apart or the passage of time: “I only see you once in a blue moon. But it feels like yesterday that I was here with you. Oh, oh, oh, you lovely you. We seem to pick up where we left off. But we’ll always be the ones that time forgot. Everyone gets old, but we do not.” The song has a breezy, vintage feel like it could have been written in the 1920s.

While I’m a huge fan of alternative rock, dream pop, R&B and dance music, it’s also nice to indulge in a little easy-listening folk pop once in a while to relax and gather my thoughts. Ivor Games’ soothing tunes fit the bill nicely, and I hope my readers will enjoy them as much as I do.

Connect with Ivor: Facebook / Twitter

Stream his music: Spotify / Apple Music / Soundcloud / YouTube

Purchase on Bandcamp

ERIN INCOHERENT – Album Review: “Déjà Vu”

On By EclecticMusicLoverIn Reviews2 Comments

I’ve featured scores of artists on this blog over the past five years, and one of the more interesting and unique among them is singer-songwriter Erin Cookman, who goes by the wonderful artistic moniker Erin Incoherent. Originally from Fort Collins, Colorado and now based in Philadelphia since late 2017, the self-described “singer, musician, poet, writer, mental health advocate, model, artist, makeup junkie, loudmouth and strong woman” is a hyper-talented songwriter, vocalist and guitarist. She’s also a fiercely passionate and outspoken champion for mental health and issues like domestic violence and sexual abuse, topics that often appear in her powerful songs. Erin’s music style tends mostly toward folk/indie rock with strong punk and grunge elements.

I last wrote about Erin two years ago, in December 2018, when I reviewed her album Medusa, a brilliant 11-song manifesto addressing anxiety, trauma and pain. Now she returns with her new album Déjà Vu, which dropped November 30th. The album was co-produced by Erin and Bill Nobes, and recorded and mixed by Nobes at The House of Robot studio in Wrightstown, New Jersey with assistance from Vincent Troyani. Erin sang all vocals and played guitar and bass, with help from a number of musicians, including Chris Olsen on drums and additional percussion, Nikki Nailbomb on cello for “Of Roaches & Roommates” and bass on “25” and “The Fog”, Skelly on upright bass for “Harvestman”, and Joe Falcey on drums for “Of Roaches & Roomates”. The album was mastered by Jason Livermore at The Blasting Room in Fort Collins. Bill Nobes also did the photography and cover art for the album.

With Déjà Vu, Erin continues to explore themes of disillusionment and pain stemming from emotional trauma, the loss of loved ones, and relationships gone bad. She’s a very fine singer and acoustic guitarist, but it’s her unflinching and profound lyrics that impress me the most. Each song is laid out like a deeply personal story told though a lengthy poem, and her lyrics are so good I’d like to quote them all for every song, but will control myself. The opening title track “Déjà Vu“ is a shining example of how she skillfully uses tempo and melodic changeups to reflect the different moods expressed by her lyrics. The song starts off with Erin’s gently-strummed acoustic guitar and soft breathy vocals, then both turn more aggressive and harsh as she coldly proclaims that she’s done with the relationship: “I never wanted all of this / Neglect is cold as snow / And now I don’t care where you went because I’d rather be alone.” 

On the bluesy “The Fog“, Erin bitterly laments to a lover whose drug addiction has destroyed their relationship. I like how she uses the words ‘heroine’ and ‘heroin’ in the song to great effect. In one stanza, she sings “And I will never be your heroine / Not for my lack of, lack of trying / You left me, I was broken / No longer, your trophy / Why would I wanna be the habit you’re always kicking?“, then in another almost identical stanza, she sings “And I will never be your heroin…” “The Storm” is a great kiss-off song, with Erin telling the man who broke her heart that he’ll be facing dark times ahead: “And I hope that when the rain comes for you, you’re a little too late, just a little too late to find your way back home / And away you are swept with the hurt, and the pain, and the grief, and the shame that you left me.“

“25“, with it’s chugging guitar-driven melody and Erin’s gentle, heartfelt vocals, has a haunting Americana vibe. The introspective lyrics seem to speak of being overwhelmed by anxiety and self-doubt: “I think I’ve bitten off more than I can chew / I’m scared of dying but I’m scared of living too / I’ve never really felt like I belonged / I don’t feel like people listen, or ever really wanna talk / So now I’m always dreaming of a life that feels like home / Somehow I must make it on my own.” She drastically changes the mood with “Aculeus (The Sting)” a provocative and sensual song that speaks to pansexual desires. First she seductively croons ” Hey, oh yeah, alright boy you’re looking like you want it. Cause I like it hot, I like it cold. Unpredictable and bold / And I think that part of who I am is part of what’s driving you mad.” But then she later sings “…alright girl you know I fucking want you. Cause I like it hot, I like it cold. Unpredictable and bold / My favorite part of who I am.“

Perhaps the most poignant track on the album is “Of Roaches & Roommates“, a heartfelt tribute originally written for her friend Bonnie who died of a drug overdose, but now dedicated to friends Erin has lost to addiction-related struggles, as well as those fighting to remain clean in recovery. “So now we’re smoking in the basement drinking Old Crow / And we tuned up the Ibanez so we could sing every song we know / Cause Bonnie didn’t have to die man but she shot up / Slug said he didn’t have the narcan but we can’t trust that fuck no, we can’t trust him.” With the help of videographer Shad Rhoades, Erin has produced a deeply moving video featuring interviews of people who’ve lost friends or loved ones to drugs, interspersed with footage of her and her fellow musicians Joe Falcey and Nikki Nailbomb performing the song.

The next several songs deal with emotional pain and the struggle to heal and feel ‘normal’. On “The Plan“, Erin resolves to learn to love herself, warts and all: “One day I’m gonna wake up in my someday / Cause if I don’t, I’d rather not wake up at all / The hardest thing that I’ve learned is to love me even though it hurts / Cause not being able to love me just seems worse.” Continuing on a similar vein, the rousing “The End of the World (again)” sees her feeling overwhelmed by self-doubt and wallowing in her emotional pain: “I can’t seem to live my life with consistency, no matter how hard I try, and I don’t know which is worse – Feeling like ‘I shouldn’t hurt’ or living so comfortably with pain, that it’s all I feel, and all I look for.” But then she resolves to not let it defeat her: “No, it’s my turn, give me time / Piss off, I’m gonna be fine Yeah, it’s my turn.” And on the hopeful and comforting “The Edge of September“, she vows to emerge from her mental breakdown as a stronger person: “I’m pinning my hope on the edge of September and praying the payoff’s not too far away / I’m trying to focus and change for the better / Breakdown’s cause breakthroughs, I’m reminded each day.”

“The Coal” seems to speak to the pain each partner in a dysfunctional relationship is going through, with each of them trying to heal without also hurting the other in the process. Erin sings “Maybe it’s your time. Time to fight, time to feel. To do not just what’s right, but what will help you heal / Cause now that the storm has lifted, it’s left you with this view / What the hell will you do?” But then she points out that their actions are detrimental to her own well-being: “And I think you try to make your words hurt. Yeah, I think you like knocking me down. You’re daft if you think that it’s working. You’re not an anchor, I’m not gonna drown. No, nobody ever held me back.”

The track “Harvestman” is a bit of an outlier on the album, both musically and lyrically. The song has more of an ethnic folk vibe, with a jaunty Latin guitar-driven melody and lyrics in both English and Spanish. I’m not certain as to the meaning of the spiritual lyrics, but I’m guessing that the harvestmen is a metaphor for death: “The harvestman comes now for me, as fire greets the stars / And I could not grieve, for silently, I knew just where we’d go.” The forest sounds and chirping birds at the beginning and end of the song are a nice touch. The album closes with “Déjà Vu (Reprise)“, a brief track featuring Erin’s lilting and rather haunting a cappella vocals pondering what it all means: “No, you’ll never get it back / Where you’ve been keeps what you’ve lost / Yeah, there is no real conclusion Are we memories, or thought?” To me, it serves to end things on a somewhat upbeat and optimistic tone, while acknowledging there’s not necessarily a ‘happily ever after’.

I’ll admit that it took me a couple of listens to fully grasp and appreciate this rather intense album, as the melodies aren’t immediately catchy, nor are the lyrics the kind you can quickly sing along to. But once I delved more deeply into those meaningful lyrics, as well as discovered the many nuances contained in the music and Erin’s emotive, wide-ranging vocals, I’ve come to realize that Déjà Vu is another brilliant work of musical art by this amazing storyteller.

Follow Erin on Facebook / Twitter / Instagram
Stream her music on Spotify / Apple Music / Soundcloud
Purchase on Bandcamp / iTunes

Jono McCleery – Single Review: “Call Me”

On By EclecticMusicLoverIn ReviewsLeave a comment

After more than five years of blogging about music – which enables me to learn about a least a few new artists or bands literally every day – I’m still surprised when I discover an artist who’s been putting out superb music for several years that I knew nothing about. Just goes to show how many talented artists and bands exist out there, making some really great music. One such artist is British singer-songwriter and guitarist Jono McCleery, who’s latest single “Call Me” – which dropped October 23rd – has captured my attention. He also released a beautiful accompanying video for the track on October 29th.

Based in London, McCleery was deaf until the age of four, unable to perceive any acoustic stimuli. But when he turned 11, he picked up a guitar for the first time and took to it immediately. He eventually became part of the lively London “underground” and a member of One Taste Collective (OTC), a project founded in 2004 to support musicians and poets of all styles. Some of the artists who emerged through the collective include Little Dragon, Jamie Woon, Kate Tempest and the Portico Quartet, all of whom McCleery has worked with.

As I do with all artists and bands I write about for the first time, I checked out McCleery’s back catalog of music – which is pretty extensive – to get a feel for his sound and style. After listening to quite a few of his songs, I can unequivocally state that I love his music. He plays an incredibly pleasing style of what I’d loosely call contemporary folk, though many songs feature elements of electronica, world music, shoegaze, dreampop, soul and jazz. His music is characterized by captivating melodies, lush but understated instrumentation and his warm, soothing vocals in a style that to my ears is reminiscent of such artists as Sufjan Stevens and James Blake.

His first release, in 2008, was his self-produced debut album Darkest Light, a collection of eight lovely acoustic folk tracks. He followed in 2011 with There Is, a stunning, more experimental work with a greater emphasis on world, electronic and jazzy elements, and featuring collaborations with renowned artists Fink and Vashti Bunyon. One of the album’s tracks, a mesmerizing cover of Black’s 1986 hit “Wonderful Life”, has been streamed more than 3.6 million times on Spotify.

2015 saw the release of his third album Pagodes, another beautiful work that received widespread acclaim. Deutschland Funk called it “a stroke of genius”, while Rolling Stone described it as a “flawless album”. And in 2018, he released Seeds of a Dandelion, a marvelous album of covers in which McCleery re-interpreted songs like Roy Davis Jr.’s dance classic “Gabriel”, the Cocteau Twins’ “Know Who You Are at Every Age”, Atoms For Peace’s “Ingenue” and Beyonce’s “Halo”, an enchanting track which has been streamed over 8.8 million times on Spotify. Webzine Line of Best Fit called the album “a strong collection of songs, made with the upmost respect for its inspirations.”

Now he returns with “Call Me”, the second single from his forthcoming fifth album Here I Am and There You Are, set for release on November 20th via the Ninety Days Records label. The album, which McCleery recorded in just four days with the help of a few musician friends, is an homage to the Afro-American jazz musician Terry Callier, who died in 2012. I’ve had an advance listen of the album, and it’s every bit as stunning as his previous works. “Call Me” was written and sung by McCleery, who also played guitar. Supporting musicians include Steve Pringle on keyboards, Milo Fitzpatrick on bass and Dan See on drums. Production and mixing was done by Brett Cox, and mastering by Emil Van Steenswijk.

The song touches on the struggles of separation and finding inner strength. McCleery explained his inspiration for the song: “When I revisited the song before recording the album, I decided to dedicate a verse to Terry Callier’s song ‘Dancing Girl’, and these are his lyrics: ‘I saw a dream last night, bright like a falling star, and the sources of light seemed so near, yet so far. I thought I was in flight out where the planets are, moving between day and night. Here I am, and there you are.’ And then more recently whilst listening to the album recordings as quietly as possible, that line ‘here I am and there you are’ stood out. And I decided to use it for the album title.“

The song has an enchanting, almost jazzy vibe that’s at once melancholy and beautiful. McCleery’s gently strummed guitar, accompanied by subtle bass and the softest of toe-tapping beats, immediately draws us in, and once he begins singing the poetic lyrics in his soothing vocals, we’re more than eager to follow along. The instrumentals become more lively and his vocals more earnest in the choruses, and I love the haunting little piano chords that enter halfway into the track.

The gorgeous video was produced by France-based screenwriter and videographer Giovanni Di Legami, and features clips from his movie Idem, starring actors Roxane Colson and Jean Yann Verton.

Connect with Jono:  Facebook / Twitter / Instagram

Stream his music:  Spotify / Apple Music /  Soundcloud / Napster

Purchase:  Bandcamp 

THE PUSS PUSS BAND – Album Review: “Life Cycles”

On By EclecticMusicLoverIn Reviews1 Comment

Puss Puss Band Life Cycles

There’s a lot of musical talent in Wales, and I’ve written about several artists and bands from that fair British Isles nation: David Oakes, Dying Habit, Revolution Rabbit Deluxe, GG Fearn, Dunkie, Head Noise and, most recently, Kidsmoke. Another Welsh act I’m especially fond of is The Puss Puss Band, who I’ve featured a few times on this blog over the past four years. Based in Cardiff, they started out as a duo consisting of multi-instrumentalists Asa Galeozzie and Lee Pugh (the band is named for Asa’s cat Puss Puss). Both are accomplished musicians who’ve worked with numerous artists and bands in the UK and Welsh music industry for nearly 15 years as writers & session musicians. Asa plays guitar, bass, percussion, piano and melodica, while Lee plays lead guitar, bass and piano, as well as sings lead vocals. Their relaxed music style is a pleasing mix of jazz and folk-infused indie pop that just makes you feel good.

In April 2017, with help from seasoned musician and producer John ‘Rabbit’ Bundrick (who’s best known for his work with The Who, as well as on the soundtracks for the films The Rocky Horror Picture Show and Almost Famous), the guys released their beautiful debut album Echoes Across the Cruel Sea. (I reviewed that album along with an interview with Lee, which you can read here.) On July 3rd, they dropped their second album Life Cycles, featuring ten wonderful tracks addressing the subjects of life, love, loss and the passage of time. Once again, the recordings were all written, arranged, performed and engineered by Asa, Lee and Rabbit. Post-production, mixing and mastering was done by Richard Digby Smith at TQ1 Studios. The Puss Puss Band has now expanded to include six members, including Asa, Lee, Steven Stanley, Joel Rees, Luke Moore, and Nigel Hodge. Only Nigel is featured on the new album, as he played flute and alto sax on the track “Losing The Rain”.

The opening track “We Should Be” is a bittersweet song about missing someone you’d had a love affair with who now seems to have lost her feelings for you, and wishing she was back in love with you so you could be together. Gently strummed guitars, crisp percussion and delicate synths create a warm backdrop for Lee’s soothing, breathy vocals that convey a sense of sad resignation as he sings the poignant lyrics “The way you see the world is just the same. It’s just the way you feel about me that’s changed. But we should be…. We should be in love.”

The delightful video shows a man in a cat suit (played by Lee) standing in downtown Cardiff, holding a large flip chart printed with words that are directed at his love interest. In various scenes, he’s shown chasing pigeons, riding the merry-go-round, and sitting on the bench offering some of his food to a man who politely turns him down, then proceeding to eat it out of the bowl. By and by, he walks past a busking musician (played by Asa) and throws a few pieces of dry cat food into his guitar case. At the end, the busker sees him sitting forlornly on the ground next to the merry-go-round, offers his hand, and they walk off together down the street holding hands.

Many tracks have a gentle folk-rock vibe, such as “About Time“, which touches on how a relationship built on love and respect endures over time: “It’s about time. It’s about all we got left. It’s about the way you walk. And the way that you still care about me.” The song has a mellow vibe and catchy melody, with a lovely mix of jangly and chiming guitars accompanied by snappy drums, and some nice keyboards and organ. I love Lee’s breathy vocals that hover in a sweet spot between raw and comforting, with an almost seductive quality. Another is “Holding Its Own“, a pretty but poignant song about the daily struggles of keeping one’s sanity in this crazy world: “Hopeful yet empty, Following rules. Blind to the life of a mind. Just holding its own.” The instrumentals are sublime, with what sounds like a mellotron being the highlight for me. The guitars, bass, keyboards and organ are all pretty terrific as well.

The Puss Puss Band channel their rock side on “Thank You“, thanks to a harder-driving beat, heavier electric guitars and more aggressive percussion. The lyrics seem to acknowledge a friend who saved the singer through tough love, brutal honesty and perseverance: “But thank you so much for saving me from me. Thank you so much. For friends who never sleep.” One of my favorite tracks is “Pretty Games“, as I love the horns, funky guitars and mellow instrumentals that give it a cool, jazzy vibe. The lyrics speak to the games we play at one time or another, unable to be honest to ourselves or others about how we feel, which keeps us treading water so to speak. I like how they give a nod to their previous album Echoes Across the Cruel Sea: “It’s all a pretty game. Another year and still the same. But I still hear echoes of that sea. Parts we play. Wasted days. Still the same. Pretty games.”

“On The Common” is an exquisite song, with beautiful acoustic and delicate chiming electric guitar notes, accompanied by the gentlest of synths, all creating a glittery, ethereal backdrop for Lee’s soft vocals. “Losing the Rain” is another favorite, with its sophisticated, jazzy feel thanks to Nigel’s wonderful flute and saxophone. The lyrics seem to be about trying to make a relationship work despite the many obstacles: “I’m losing the rain. These broken thoughts that roll around inside my brain. Maybe I’m too blind to see? I wasn’t meant for you and you were never meant for me.”

The guys deliver more stellar guitar work on “Junkie“, a song about trying and failing to save someone from addiction and the realization some people just can’t be saved. A standout track is the marvelous Pink Floyd-esque “Time and Tide“. The song starts off slowly, with only gentle acoustic guitars, but gradually builds into a dramatic rock song with electric guitars, piano, sweeping synths and heavy percussion. The lyrics were inspired by the passing of Asa’s uncle, with whom he was close; his uncle took him to gigs and got him into music when he was young. “For all the glitter and gold. We all grow old. As the lights fade down. We still hold for applause. And the show moves on. But the feeling… Lingers on and on.”

They close out the album with “Missed“, a beautiful and very poignant song that nicely encapsulates the album’s overall theme of the cycles of life – how relationships and friendships come and go over time. The piano melody was written a while back by Rabbit, and the lyrics later written by Lee to address the loss of a loved one: “I’m losing you tonight. But I’m here by your side. There’s no more need to fight. / But time shows no kind of nostalgia for goodbyes.” Musically, the song is different from all the other songs, as it features only a haunting piano and Lee’s raw, yet comforting vocals.

Life Cycles is a really lovely album and a pleasurable listen from start to finish, without a single weak or throwaway track. The song arrangements and production values are flawless, and the guys’ musicianship is outstanding on every level. I love this band!

Connect with The Puss Puss Band:  Website / Facebook / Twitter / Instagram
Stream their music on Spotify / Apple Music / Soundcloud
Purchase on Bandcamp / Google Play

LIAM SULLIVAN – Single Review: “When This is Over”

On By EclecticMusicLoverIn Reviews8 Comments

Liam Sullivan When This is Over

I’ve been featuring a lot of British artists on this blog lately, and singer-songwriter Liam Sullivan is now the seventh in a row. The engaging musician from Leeds reached out to me a few days ago about his latest single “When This is Over“. He’s a fine songwriter and guitarist, and has a lovely and vibrant singing voice that’s quite pleasing. His music can generally be classified as alternative rock with strong folk overtones, and I’ve been listening to and really enjoying his back catalog of songs, which I strongly urge my readers to check out on one of the music platforms listed at the end of this review.

Liam Sullivan3

Liam has been writing and performing music for well over a decade, and released his first solo EP Restless in June 2017, featuring four stunning tracks. More recently, he teamed up with a group of musicians to form his own back up band, and released an equally beautiful second EP The News I Needed in December 2019. On May 1st, he released “Wasted Days”, a poignant single about depression and feelings of uselessness, and now follows with “When This is Over”, which dropped on May 25th. Written and recorded during the COVID-19 quarantine, the song is a hopeful look ahead toward happier times.

Like “Wasted Days”, “When This is Over” has a gentler folk vibe, with just Liam’s beautifully-strummed acoustic guitar, accompanied by soft percussion. His vocals are heartfelt yet comforting as he laments of the many things we’ve been unable to do socially with others during this unprecedented quarantine, while remaining optimistic that we will do them all again one day. He also admonishes us to take a look at ourselves, and not place blame or remain divisive about something that many have suffered from. It’s a wonderful song.

Maybe someday when this is over
We can sit out in the sun
Maybe someday when this is over
We will embrace everyone
Maybe someday when this is all over
We will share a beer
Maybe someday when this is all over
We will see what happened here

What’s in your heart, and your mind?
This is not the time for choosing sides
What’s in your heart, your mind?

Maybe someday when this is over
I can shake your hand
Maybe someday when this is over
We will understand more
Maybe someday when this is over
We can start again
Maybe someday when this is all over
It’s over, it’s over

What’s in your heart, and your mind?
This is not the time for choosing sides
What’s in your heart, your mind?

Follow Liam:  Facebook / Twitter / Instagram
Stream his music:  Spotify / Soundcloud / Apple Music / YouTube
Purchase:  Google Play / Bandcamp