Fall Out Boy remain at #1 for a second week with their monumental “Love From the Other Side”, while British band The Zangwills inch up to #2 with their cinematic “Backpatters and Shooters”. Entering the top 10 are “Tropic Morning News” by The National, jumping six spots to #6, “You Gotta Do What You Gotta Do” by Darksoft, moving up two spots to #9, and “Pepper” by Death Cab for Cutie, which climbs three spots to #10.
Three great songs make their debut this week: “I Want You Dead”, a duet by blog and chart favorite Two Feet, along with his fiance Allie Cabal, entering at #26, “Kid” by New Orleans alternative/roots rock band The Revivalists, at #29, and “Paid Off” by another favorite of mine, London-based alternative pop-rock band Oli Barton & the Movement, at #30.
LOVE FROM THE OTHER SIDE – Fall Out Boy (1)
BACKPATTERS AND SHOOTERS – The Zangwills (3)
TROUBLE WITH THIS BED – Beach Weather (2)
PAGES – White Reaper (5)
TRANSMITTER – Sea Power (6)
TROPIC MORNING NEWS – The National (12)
JUST BEFORE THE MORNING – Local Natives (9)
NIGHT BUS – Caitlin Lavagna (4)
YOU GOTTA DO WHAT YOU GOTTA DO – Darksoft (11)
PEPPER – Death Cab for Cutie (13)
SUREFIRE – Wilderado (14)
NEW GOLD – Gorillaz, Tame Impala & Bootie Brown (16)
GHOSTS AGAIN – Depeche Mode (17)
WILD AS THE WIND – HULLAH (7)
MAYFLY – Callum Pitt (8)
THE LONELIEST – Måneskin (10)
SLEEPWALKING – All Time Low (15)
SOFTEN – Alex Southey (19)
EVERGREEN – Mt. Joy (18)
EYEZ – The Arcs (22)
WEIGHTLESS – Arlo Parks (23)
FLOWERS – Miley Cyrus (27)
MODERNISE – Slow Readers Club (28)
THE WALK HOME – Young the Giant (29)
BLUEBELL WOOD – Frank Joshua (30)
I WANT YOU DEAD – Two Feet & Allie Cabal (N)
SHADOWS IN THE DARK – The Star Crumbles (20) 21st week on chart
The first time I heard “Love From the Other Side” by rock band Fall Out Boy, I knew it would be a number one hit. And sure enough, in just four weeks it’s reached the top of my weekly chart (it’s also currently #1 on the Billboard Alternative Airplay chart). I love hard-driving rock songs with symphonic elements, so “Love From the Other Side” is right up my alley. It’s their first song to ever top my chart (as well as any Billboard chart), and I can say with certainty that it’s already my all-time favorite song by them. Their first new music release in four years, the song is the lead single from their forthcoming eighth studio album So Much (for) Stardust, due for release on March 24th. The song marks a return to Fall Out Boy releasing music under the Fueled by Ramen label.
The lyrics are filled with meanings open to interpretation, but overall, they seem to address the band’s internal struggles with their own stardom and success. According to a comment on Genius Lyrics, “The song [and] music video have a general theme of a new beginning. The last release from the band was ‘Mania’ from 2018. ‘Mania’ didn’t resonate very well with the audience, and the band didn’t release anything after 2019 outside of some collaborations. The ‘apocalypse’ is the failure of Mania and the following silence, with the new album being ‘the other side’ and a new beginning for their career, popularity, and music style.” ‘The apocalypse” can also likely be construed as a reference to the Covid pandemic. The imaginative video features band member Pete Wentz as an old man, reading a fantasy story to his granddaughter.
In addition to “Love From the Other Side”, there are so many fantastic songs out now, many by veteran artists and bands. The gorgeous “Transmitter” by Sea Power climbs four spots to #6, “Tropic Morning News” by The National rises five spots to #12, “New Gold” by Gorillaz, Tame Impala (who’s now recovering from recent surgery to repair a broken hip), and Bootie Brown jumps seven spots to #16, and “Ghosts Again” by Depeche Mode leaps 13 spots to #17.
Four songs make their debut this week: “Flowers” by Miley Cyrus finally enters my chart at #27 after having just spent six weeks at #1 on the Billboard Hot 100. Though I think she has a pretty good singing voice, I’ve never been much of a fan, as some of her slutty antics really turned me off. But after giving the song a careful listen the other day, it finally clicked with me and I have to concede that it’s a good song. With “Flowers”, Cyrus makes her very first appearance ever on my chart. The other three debuts include the boisterous “Modernise” by English rock band Slow Readers Club, at #28, the beautiful “The Walk Home” by one of my favorite American pop-rock bands Young the Giant, at #29, and the enchanting “Bluebell Wood” by English singer-songwriter Frank Joshua, at #30.
LOVE FROM THE OTHER SIDE – Fall Out Boy (3)
TROUBLE WITH THIS BED – Beach Weather (1)
BACKPATTERS AND SHOOTERS – The Zangwills (4)
NIGHT BUS – Caitlin Lavagna (2)
PAGES – White Reaper (5)
TRANSMITTER – Sea Power (10)
WILD AS THE WIND – HULLAH (7)
MAYFLY – Callum Pitt (8)
JUST BEFORE THE MORNING – Local Natives (9)
THE LONELIEST – Måneskin (6)
YOU GOTTA DO WHAT YOU GOTTA DO – Darksoft (13)
TROPIC MORNING NEWS – The National (17)
PEPPER – Death Cab for Cutie (15)
SUREFIRE – Wilderado (16)
SLEEPWALKING – All Time Low (14)
NEW GOLD – Gorillaz, Tame Impala & Bootie Brown (23)
GHOSTS AGAIN – Depeche Mode (30)
EVERGREEN – Mt. Joy (20)
SOFTEN – Alex Southey (22)
SHADOWS IN THE DARK – The Star Crumbles (11) 20th week on chart
Beach Weather maintain a firm grip on the #1 spot for a third week with their languid and sultry “Trouble With This Bed”, while their monster hit “Sex, Drugs, Etc.” also spends its 25th week on my chart. Both songs are featured on their wonderful new debut album Pineapple Sunrise. Welsh singer-songwriter and actress Caitlin Lavagna‘s “Night Bus” holds at #2 for a second week, and Fall Out Boy‘s hard-driving cinematic gem “Love From the Other Side” continues its rapid climb, moving up five spots to #3. Entering the top 10 are the beautiful “Just Before the Morning” by Local Natives, at #9, and “Transmitter” by Sea Power, at #10.
The lone debut this week is “Ghosts Again” by legendary electronic band Depeche Mode, which now essentially consists of Dave Gahan and Martin Gore. The song is their first new release since the death of co-founder and keyboardist Andy Fletcher last May. About the song, Gahan said it “captures this perfect balance of melancholy and joy“, while Gore noted it has “such an upbeat feel to it“. The duo has intimated in interviews that the song is a sort of tribute to Fletcher, touching on the fragility of life and the possibility of an afterlife, namely, that everyone will eventually turn into “ghosts again”. (Wikipedia) With “Ghosts Again”, the duo leave no doubt they can still deliver a stellar song after more than 40 years.
TROUBLE WITH THIS BED – Beach Weather (1) 3rd week at #1
NIGHT BUS – Caitlin Lavagna (2)
LOVE FROM THE OTHER SIDE – Fall Out Boy (8)
BACKPATTERS AND SHOOTERS – The Zangwills (4)
PAGES – White Reaper (5)
THE LONELIEST – Måneskin (3)
WILD AS THE WIND – HULLAH (9)
MAYFLY – Callum Pitt (10)
JUST BEFORE THE MORNING – Local Natives (11)
TRANSMITTER – Sea Power (12)
SHADOWS IN THE DARK – The Star Crumbles (6)
THIS IS WHY – Paramore (7)
YOU GOTTA DO WHAT YOU GOTTA DO – Darksoft (15)
SLEEPWALKING – All Time Low (16)
PEPPER – Death Cab for Cutie (17)
SUREFIRE – Wilderado (20)
TROPIC MORNING NEWS – The National (21)
ANTI-HERO – Taylor Swift (13)
DANCE FOR ME – Sam Rappaport (14)
EVERGREEN – Mt. Joy (22)
SAIL AWAY – lovelytheband (19)
SOFTEN – Alex Southey (25)
NEW GOLD – Gorillaz featuring Tame Impala & Bootie Brown (30)
EYEZ – The Arcs (27)
WEIGHTLESS – Arlo Parks (28)
SEX, DRUGS, ETC. – Beach Weather (23) 25th week on chart
There’s so much incredible music out now, and this week’s Top 30 is one of the best in a while, chock-full of songs I can honestly say I love. Beach Weather remain on top for a second week with their beautiful “Trouble With This Bed”, one of the many stellar tracks from their debut full-length album Pineapple Sunrise, due out this coming Friday, March 3rd. “Sex, Drugs, Etc”, another track to be included on the album, spends its 24th week on my chart. “Night Bus”, the wonderful autobiographical song by Welsh singer-songwriter and actress Caitlin Lavagna, slides into second place, followed at #3 by “The Loneliest” by Italian band Måneskin. “Pages” by American rock band White Reaper climbs four spots to #5.
Three songs move into the top 10: the stupendous “Love From the Other Side” by Fall Out Boy, leaping 13 spots to #8; the sultry “Wild as the Wind” by British singer-songwriter HULLAH, entering at #9, and the lovely “Mayfly” by another British singer-songwriter Callum Pitt, at #10. The sole debut this week is “New Gold”, a glorious collaboration between British act Gorillaz, Australian act Tame Impala, and American rapper Bootie Brown. The song is from Gorillaz’ latest album Cracker Island, which dropped this past Friday.
In the space of only six months, alternative pop-rock trio Beach Weather have become one of my favorite bands. Though they’d been around since late 2015, I first learned about them last summer when I heard their song “Sex, Drugs, Etc.”, which I loved at first listen. The song was originally recorded in 2016, and included on their debut EP Chit Chat, but wasn’t released as a single back then, and largely went unnoticed. After dropping a second EP What a Drag, the band went on hiatus as the three members, Nick Santino, Reeve Powers, and Sean Silverman, relocated to different cities and began working on their own solo projects. Fortunately for us, they reunited in late 2021, and began work on their forthcoming debut album Pineapple Sunrise, due for release on March 3rd. In the meantime, “Sex, Drugs, Etc.” went viral on TikTok and became a huge hit on alternative radio, going all the way to #1 on the Billboard Alternative Airplay chart. It’s also spent nearly six months on my Weekly Top 30, three of them at #1, and ended up at #3 on my 100 Best Songs of 2022 list.
Last August, they started releasing a string of new singles from Pineapple Sunrise, beginning with “Unlovable”, their first new release in five years. They followed in November with the melancholy but beautiful “Trouble With This Bed”, which takes over the top spot of my Weekly Top 30. (They’ve since dropped two more singles, “Homebody” in January, which I reviewed, and “Hard Feelings” this past Friday the 17th.) “Trouble With This Bed” touches on a romantic relationship crippled by uncertainty and unfulfilled desires, acted out by a young couple in the accompanying video, interspersed with scenes of Beach Weather performing the song, all on the same bed. I particularly love the song’s beautiful languid groove, Nick’s dreamy layered vocals, and that dominant bassline.
I’m excited to add four marvelous new songs to my list this week: “Love From the Other Side” by rock veterans Fall Out Boy, their first new music in four years, entering at #21; “Soften” by Canadian singer-songwriter Alex Southey, whose latest EP Common Fantasies I also reviewed last month, at #28; “Eyez” by Black Keys member Dan Auerbach’s side project The Arcs, at #29; and “Weightless” by hyper-talented British singer-songwriter Arlo Parks, her first appearance on my chart, bringing up the rear at #30.
Canadian singer-songwriter Alex Southey is a thoughtful and talented artist who makes some really outstanding music. Originally from Vancouver and currently based in Toronto, the busy artist has released a lot of music over the past four years, including three albums, three EPs and numerous singles. His style can generally be described as alternative indie folk, but it’s much more than that, as his sound is varied and eclectic, drawing from rock, folk, singer-songwriter and shoegaze elements. Like all creative artists, he’s not afraid to explore and experiment with his music, and as a result, each of his albums and EPs sound quite different from one another. I’ve featured him twice on this blog, most recently in September 2021, when I reviewed his exquisite EP My Nights On the Island. Last month (December 2022), Alex returned with a new EP Common Fantasies, containing six wonderful tracks.
Alex recorded the EP with the help of fellow musicians Christina Dare on bass & backing vocals, Gab Lavoie on Korg synth & piano, and Craig McCann on drums & percussion, all of whom played on four of the tracks (they also support him for live shows). Production, mixing and mastering were handled by Alex Gamble.
Before I discuss the songs, I’ll share what Alex wrote about his evolving creative process for the EP: “There were a lot of iterations of this EP in my mind at different times. There’s a version where it’s a full album; another where it’s a double album! There’s a version where it’s just three songs. There’s also an option where – why put it out at all? (A classic part of the process, I realise over and over and over). This is the version I went with. I felt like by placing together two delicate acoustic songs along with four bigger, grander songs there’d be this push and pull of inertia. All my big ideas would have remained totally abstract if it wasn’t for Alex Gamble, Christina Dare, Gab Lavoie, and Craig McCann, who were able to come in and help shape these blue prints into songs with real personality. This happened all the way from practices to live shows to rehearsals for the studio, to the studio, to the mix after the studio.“
Photo by Ryan Brough of Zeebrah Media
Common Fantasies opens with “Come and See“, a mostly instrumental track that starts off with a pleasant little acoustic guitar riff accompanied by soothing synths, before bursting into a riotous cinematic soundscape of explosive percussion and dramatic synths. Alex croons “Come and see“, then his vocals soar to an impassioned falsetto with the music, leaving us breathlessly anticipating what comes next! He answers with the electrifying title track “Common Fantasies“, a glorious mélange of blazing gnarly guitars, driving rhythms and smashing drums. Alex and company really let loose here, making this one of the hardest rocking songs I’ve heard by him. I’m not quite sure about the song’s meaning, but the lyrics seem to address the conflict between self-preservation and giving oneself over completely to another in a romantic situation: “I’m caught in the in-between. Loving you and loving me. I’m right where the lightning strikes, like my anger might. And these are high highs. Sucker. And common fantasies.”
“Soften” is simply stunning, with a lush synth-driven melody overlain with marvelous jangly and chiming guitars, dreamy piano keys and snappy drums. But as beautiful as the music is, it’s Alex’s plaintive vocals that really resonate with me. I love his singing voice, which goes from an emotive croon to airy falsetto, all the while raising the hairs on the back of my neck. Christina’s backing vocals are wonderful too, adding tremendous emotional heft to the song. The lyrics seem to urge us to be kinder to the earth and, by extension, ourselves: “Soften the earth so we can grow up here. Caught in the surf. Caught it in just the right way. And if you believe, they’ll teach you to serve. Teach you the right way to pray.“
The languid and gentle “Twist It” is the first of two mostly acoustic tracks on which Alex played all the instruments – guitar, Roland Juno-60 analog synthesizer and piano. He describes it as “kind of a mini cliff hanger song in a way. At the end you feel an instinct to lean forward and there is nothing to catch you.” The lyrics start off with Alex taking a rather defiant stance “I don’t like to wait. Won’t learn your name. But I can always listen“, but by the end of the song, he’s come around to a more amenable approach: “We’re cool. It won’t hurt to wait. And it won’t hurt to listen. So seal your fate and come on and twist it.”
“Open Season” is another terrific hard-driving rocker that starts off with a bit of a Foo Fighters vibe (at least to my ears), but once those sweeping synths kick in, the song transitions to more of a new wave feel, only to be shattered by a blistering guitar solo at the end. And yet again, the lyrics are somewhat ambiguous to me, but my take is that they speak to issues of honesty and trust in a romantic relationship: “You don’t lie the way I do. In the blink of an eye. Let’s share clothes and attitudes, and swap our half lines.”
The EP closes with “You Want It Brighter“, a poignant track consisting of just Alex’s pleasing acoustic guitar work and melancholy vocals. He states that he “wrote the majority of ‘You Want It Brighter’ (which is a for-no-good-reason play on ‘You Want It Darker’, a late Leonard Cohen thing) maybe two or three years ago at an ex-partner’s place.” The bittersweet lyrics speak of a relationship that’s over, with the protagonist coming to terms with having to be the one who leaves his home and son behind: “I will wait. I will sit awhile and watch as the sun sets on my son. And I admit it’ll take a while to live in – and out – of this place./ And you’ll stay. And I’ll go ‘Cause you asked for this.”
To sum up, Common Fantasies is another superb effort by Alex, and I think it’s one of my personal favorites of all his releases. He’s an outstanding songwriter and musician, with a distinctive vocal style that effortlessly flows from comforting croon to emotion-packed rawness to soaring falsetto, all of which are on fine display. He and his fellow musician collaborators have much to be proud of here.
Those of you living in, or planning to visit, Ontario in February can catch Alex at one of these upcoming shows:
Alex Southey is a Canadian singer-songwriter and musician who makes outstanding music that can generally be described as alternative indie folk, but it’s so much more than that. Originally from Vancouver and currently based in Toronto, the busy artist has released quite a bit of music over the past few years, including three albums: Christmastown in 2019, You’re Not Just a Body to Me in 2020 and, most recently …And the Country Stirred this past February. Prior to that album’s release, I featured one of its singles “Rosie” – a deeply personal and haunting love song to his erstwhile hometown of Vancouver – on a Fresh New Tracks post.
Now he’s back with an exquisite new EP My Nights On the Island, which dropped September 17th. All the songs were written, performed, and produced by Alex, and mastered by Aaron Hutchinson. The beautiful cover artwork was designed and created by Felicia Wetterlin. The EP is a departure from his more typical indie folk sound, though truth be told, his music style is rather eclectic and hard to pin down, genre-wise. Like all creative artists, he’s not afraid to explore and experiment with his music, and as a result, each of his albums sound different from one another.
In an interview with Spill Magazine, Alex explained his creative process behind “My Nights On the Island: “I was trying to make an EP that would please my 17-year-old self. So, there is a little bit of Hip Hop and beats; I am not rapping, but in terms of beats. There are a bunch of acoustic guitars, and electric guitars and there is a theme, which is breaking up.” In a later Instagram post, he further elaborated “The EP encompasses a lot of things I wanted to do, and to not do the same thing again. Instead of starting with folk songs and dressing them up with an arrangement, I tried to go backwards, starting with what might be considered secondary or accent instruments (at least for my taste) as the main instrument. It forced me to write in a slightly different way. Of course, there are some pretty simply structured songs on here, like ‘As Close As You’ll Ever Be’, but there are also plenty of moments where it’s totally abstract in a way that at least absorbed ME and continued to pique my interest enough that I followed through with them.”
Well, the result is a fascinating and sonically complex work that’s pure delight for the senses. I’ve now listened to the EP six times, and discover new atmospheric sounds, instrumental textures and vocal nuances with each successive play. While there are common threads running through all the tracks, each one sounds uniquely different, surprising and thrilling us at every turn. Using nature sounds of water, waves and birds, he takes us right to that island.
The darkly beautiful opening track “The Gods Are Fighting” starts off with sounds of a boat slowly moving through what I’m imagining to be nighttime waters, accompanied by far-off ominous synths. At around 45 seconds, the song abruptly transitions to a lovely acoustic guitar-driven melody, highlighted by gorgeous strings and what sounds like a Mellotron, soaring to a dramatic crescendo. The track calms back down at the end with gentle sounds of breaking waves. About the track, Alex told Spill Magazine: “I wrote the song around the time my last significant relationship ended. That also happened to be when it felt as though Toronto and its relationship with many of its citizens was at an all-time low. The song describes the dual positions of a relationship that has soured – where even dreams are muted and the agreed upon etiquette is out the window.” His richly layered vocals are captivating, with a melancholy quality that nicely conveys the sadness and pain of his break-up.
On the moody, atmospheric “Evergreen“, which sounds a bit like a song Bon Iver could have recorded, Alex experiments with lush, otherworldly synths and sounds, over which he layers delicate notes of what sounds like a mandolin or possibly a ukelele. The lyrics are spare, but he wistfully laments of how his feelings of love have died: “I don’t, I don’t, I don’t love you. I turned yesterday into stone.” And as its title suggests, the instrumental piece “Mellotron and Juliet” features a stunning Mellotron and his enchanting falsetto croon, creating a dreamy, yet melancholy soundscape.
“My Nights On the Island / Rich In Experience” is an interesting track, as it’s actually two distinct, but related mostly instrumental tracks that Alex has fashioned into a couplet. The first half, which is the title track, starts off with Alex’s charming strummed acoustic guitar, then deeply resonant brass sounds from what I’m guessing is his Mellotron wash over us as he sings in almost exotic-sounding ethereal vocals, accompanied by somber piano keys and a languid hip hop beat. The song appears to end at 2:30, and after a 10-second lull, we hear sounds of birds chirping along with a return of the beautiful Mellotron. Eventually, horns enter as the music swells into a lush, idyllic soundscape befitting its “Rich in Experience” title.
Perhaps the most unusual song is the dramatic and trippy “As Close As You’ll Ever Be”, which Alex first released as a single in July. The song opens and closes with sounds of a large crowd cheering, as if at a rock concert. He explained this technique to Spill Magazine: “On this song, there is kind of a crowd atmosphere which is influenced from listening to albums by Hip Hop artists and bands like Pink Floyd who would use crowd noises, and weirdly also influenced by Oasis. On their best albums they kind of do this tiny little intro and tiny little outro leading into songs.” Musically, the song features blaring, almost tortured synths and sounds, with acoustic guitar during quieter moments. The lyrics seem to speak to his partner’s lack of appreciation for his worth as a musician: “I’m the hit in your head / I’m all on your bedspread / But that’s as close as you’ll ever be. And it’s true I earn half of what the next dance gets, but I’ve got a heart of gold you’ll pay to see.” I love his vocals, which sound radically different on each track.
On the bittersweet closing track “There’s Anneko, Down the Fire Escape“, Alex comes to terms with the fact that the relationship is over for good, and that they must each let go and move on. The song has a wonderful dominant bassline throughout, overlain with mournful cinematic synths and acoustic guitar notes. His vocals are filled with sadness and regret as he laments “There’s a neat trick, that I taught myself. To let go. Let go. / I can never love you how you want. So let go. Let go.” It’s a fine, albeit dark, finish to this beautiful EP. My Nights On the Island is an impressive, masterfully-crafted work that should make Alex feel quite proud.
For my latest installment of recent releases, I’m featuring four scintillating new singles by international artists (in alphabetical order) Favourite Daughter, Lazer Squad featuring Melotika, NAYAD and Alex Southey. Three of them – Favourite Daughter, Melotika and Alex Southey – are Canadian, Lazer Squad is German and NAYAD are Swedish.
“Long Distance” by Favourite Daughter
Favourite Daughter is the music project of Toronto-born and now Montreal-based singer-songwriter Julia Kennific, who’s just released her terrific debut single “Long Distance“. Drawing inspiration from such artists as Courtney Barnett, Hayley Williams and Julien Baker, she creates her own unique brand of infectious indie pop/rock through catchy melodies, honest, vulnerable lyrics and emphatic vocals. Julia wrote and sang vocals on the song, with assistance by Sam Eastman on guitars, Sam Donald on bass, Kate Markle on synths, Edward Scrimger on drums and Gabrièle Côté-LeBreux on percussion. The track was produced, recorded and mixed by Steven Gibb at Lites Down Studio, and mastered by Richard Addison at Studio Trillium Sound.
Julia elaborates on her impetus for writing the song: “I wrote ‘Long Distance‘ on an unplugged, rented electric guitar during a blackout on a night off from an opera gig I was doing in Halifax in the summer of 2019, in tears after a frustrating phone call with my then-girlfriend. We were spending a four month stretch away from each other while I travelled for work. Neither of us were communicating well, and our daily check ins became monotonous. Both of us kept up the charade that we were good, while allowing fear and resentment to build up, which ended up costing us the relationship entirely. It’s about trying to keep up appearances that everything’s fine, while running from the inevitable.“
The rousing song features lively rhythms and chugging guitars, creating a cheerfully upbeat but anxious vibe that builds as the song progresses. It all works beautifully to convey feelings of running away from one’s problems, yet knowing you’ll have to face up to them sooner or later: “So it’ll feel like I’m dying till it doesn’t anymore / I’ll rebuild again, Lord knows that I’ve done it before.“
“Eternal Eclipse” by Lazer Squad featuring Melotika
Lazer Squad is a versatile and talented electronic artist and producer from Germany who creates EDM, Synthwave and Nu-Disco music. He began his music career over 15 years ago as a drummer for a punk and metal band, as well as playing and touring with numerous bands as a backup musician, eventually transitioning to electronic music. In 2020, he wowed critics and fans alike with his excellent debut album Undead Nightmare, which he then followed with a series of singles. His latest effort is “Eternal Eclipse“, a mesmerizing EDM track featuring sultry vocals by Montreal-based singer-songwriter Melotika, a hard-working and charming electro pop artist for whom I have a special fondness. She’s released quite a lot of music over the past three years, and I’ve had the pleasure of featuring some of it on this blog. She will soon be dropping her debut album Dancing Without You.
“Eternal Eclipse” serves up an infectious EDM groove that aims straight for the hips, giving us three and a half minutes worth of joyous escapism. The timely lyrics describe what it feels like to be stranded in the middle of a global crisis with a loved one: “Everybody’s trippin’ out / Taken back, shaken up / Nobody even knows my name / Thinking about tearing down, and I’m singing a song. Singing alone. What can I do without you?” Have a listen and prepare to move those hips!
Stockholm-based duo NAYAD create dreamy psych lofi pop, which they humorously describe as “Tame Impala, Lana Del Rey and ABBA had an orgy and the result is us” – a pretty spot-on characterization of their gorgeous sound. Last summer, they burst onto the Swedish music scene with their breakout Swedish-language single “Ingen vet”, then followed up with the English-language “Don’t be mad if I don’t come along”, gaining airplay on Swedish National Radio and other radio stations. In November, they dropped their third single “Holy Lakes (Dusk)” a stunning track celebrating their love of nature. Although the single is now more than two months old, I’m featuring it now because they just released a beautiful video for the song.
The song is utterly captivating, with achingly beautiful piano keys, accompanied by stirring atmospheric synths creating an enchanting soundscape for their sublime vocal harmonies. About the fascinating video, they provide a bit of enlightenment: “NAYAD loves mother earth. We immediately had a clear picture that the video for ‘Holy Lakes (Dusk)’ would be a journey through lakes and mountains, because that is the theme of the song. We used an introductory film to national parks around North America and cut it together with other goodies we have collected over the years.” Much of the imagery they used includes old footage of Yosemite and Yellowstone National Parks.
Alex Southey is an indie folk singer-songwriter and musician currently based in Toronto. He’s released quite a lot of music over the past few years, including two albums: Christmastown in 2019 and last year’s You’re Not Just a Body to Me. Since that release, he’s dropped three singles in advance of his forthcoming third album …And the Country Stirred, due for release on February 5th. The latest of these three singles is “Rosie“, a hauntingly beautiful and deeply personal love song to his erstwhile hometown of Vancouver. Alex sang and played guitar, piano and the soaring string arrangements, Kenny Feinstein played fiddle, and Tommy Drinkard played pedal steel and mandolin. The track was produced and mixed by JUNO Award winner John Critchley and mastered by Aaron Hutchison.
About the song’s title, Alex elaborates: “Who is ‘Rosie’? I had been wanting to write about a place, but knew that I’d have to personify it. I was trying, failing, at growing rosemary naturally on my balcony and I began to find the word alluring. I fused it with this personification concept and it became the name of the person when in reality, the song is a love letter to Vancouver where I was born. I feel a sort of mysterious attraction to Vancouver. The city sells itself well, but has its pitfalls: rain all the time, darkness, basements, high price of living – it can all seep into you. For a long time, I was giving something to it and it didn’t give me anything back.” In his sublime and plaintive vocal style, he croons of his mixed emotions: “Rosemary, I can stay away / You say it well, then you take it away / Got no problem, follow up / You’re the one I say I’m from.“
ECLECTIC MUSIC LOVER 